Overview

Full Product Details

9781611176483

Table of Contents

Reviews

Gutierrez Mouat was one of the finest readers of Latin American literature. In Understanding Roberto Bolano, his final work, we see him at the height of his critical powers, providing a map to an oeuvre that remains resistant to our cartographies. It reminds us why he will be dearly missed. Ignacio M. Sanchez Prado, Washington University Nobody understood better what we should understand in reading Roberto Bolano than Ricardo Gutierrez Moaut. If the Peruvian voice is moving and stoic, the Chilean accent is mundane and inquisitive. Irony is a Chilean tradition, pathos a Peruvian one. To write with that double edge to produce a version of the Modern world in the making (Vallejo in the 30s) and of the lost of the Modern dream (a Postumous-Modern) in the obituaries and farewells of Bolano, is the daring task of this engaging book by a critic and scholar capable of reconnecting trends, styles and obsessions in a unique writer, Bolano, capable of rewriting literature as a form in open progress. Bolano, of course, wrote against death rewriting and overwriting its final page, not without signing (as Vallejo did in Paris) his last page as the first one. This book is not only clever and grounded, it is useful to see Bolano not only as an informal artist but, more interesting, as a mature, complex, and sage artist of form and gusto. Julio Ortega, Brown University Gutierrez Mouat was one of the finest readers of Latin American literature. In Understanding Roberto Bolano, his final work, we see him at the height of his critical powers, providing a map to an oeuvre that remains resistant to our cartographies. It reminds us why he will be dearly missed. --Ignacio M. Sanchez Prado, Washington University Nobody understood better what we should understand in reading Roberto Bolano than Ricardo Gutierrez Moaut. If the Peruvian voice is moving and stoic, the Chilean accent is mundane and inquisitive. Irony is a Chilean tradition, pathos a Peruvian one. To write with that double edge to produce a version of the Modern world in the making (Vallejo in the 30s) and of the lost of the Modern dream (a Postumous-Modern) in the obituaries and farewells of Bolano, is the daring task of this engaging book by a critic and scholar capable of reconnecting trends, styles and obsessions in a unique writer, Bolano, capable of rewriting literature as a form in open progress. Bolano, of course, wrote against death rewriting and overwriting its final page, not without signing (as Vallejo did in Paris) his last page as the first one. This book is not only clever and grounded, it is useful to see Bolano not only as an informal artist but, more interesting, as a mature, complex, and sage artist of form and gusto. --Julio Ortega, Brown University

Nobody understood better what we should understand in reading Roberto Bolano than Ricardo Gutierrez Moaut. If the Peruvian voice is moving and stoic, the Chilean accent is mundane and inquisitive. Irony is a Chilean tradition, pathos a Peruvian one. To write with that double edge to produce a version of the Modern world in the making (Vallejo in the 30s) and of the lost of the Modern dream (a Postumous-Modern) in the obituaries and farewells of Bolano, is the daring task of this engaging book by a critic and scholar capable of reconnecting trends, styles and obsessions in a unique writer, Bolano, capable of rewriting literature as a form in open progress. Bolano, of course, wrote against death rewriting and overwriting its final page, not without signing (as Vallejo did in Paris) his last page as the first one. This book is not only clever and grounded, it is useful to see Bolano not only as an informal artist but, more interesting, as a mature, complex, and sage artist of form and gusto. --Julio Ortega, Brown University

Nobody understood better what we should understand in reading Roberto Bolano than Ricardo Gutierrez Moaut. If the Peruvian voice is moving and stoic, the Chilean accent is mundane and inquisitive. Irony is a Chilean tradition, pathos a Peruvian one. To write with that double edge to produce a version of the Modern world in the making (Vallejo in the 30s) and of the lost of the Modern dream (a Postumous-Modern) in the obituaries and farewells of Bolano, is the daring task of this engaging book by a critic and scholar capable of reconnecting trends, styles and obsessions in a unique writer, Bolano, capable of rewriting literature as a form in open progress. Bolano, of course, wrote against death rewriting and overwriting its final page, not without signing (as Vallejo did in Paris) his last page as the first one. This book is not only clever and grounded, it is useful to see Bolano not only as an informal artist but, more interesting, as a mature, complex, and sage artist of form and gusto. Julio Ortega, Brown University

Gutierrez Mouat was one of the finest readers of Latin American literature. In Understanding Roberto Bolano, his final work, we see him at the height of his critical powers, providing a map to an oeuvre that remains resistant to our cartographies. It reminds us why he will be dearly missed. Ignacio M. Sanchez Prado, Washington University Nobody understood better what we should understand in reading Roberto Bolano than Ricardo Gutierrez Moaut. If the Peruvian voice is moving and stoic, the Chilean accent is mundane and inquisitive. Irony is a Chilean tradition, pathos a Peruvian one. To write with that double edge to produce a version of the Modern world in the making (Vallejo in the 30s) and of the lost of the Modern dream (a Postumous-Modern) in the obituaries and farewells of Bolano, is the daring task of this engaging book by a critic and scholar capable of reconnecting trends, styles and obsessions in a unique writer, Bolano, capable of rewriting literature as a form in open progress. Bolano, of course, wrote against death rewriting and overwriting its final page, not without signing (as Vallejo did in Paris) his last page as the first one. This book is not only clever and grounded, it is useful to see Bolano not only as an informal artist but, more interesting, as a mature, complex, and sage artist of form and gusto. Julio Ortega, Brown University Gutierrez Mouat was one of the finest readers of Latin American literature. In Understanding Roberto Bolano, his final work, we see him at the height of his critical powers, providing a map to an oeuvre that remains resistant to our cartographies. It reminds us why he will be dearly missed. --Ignacio M. Sanchez Prado, Washington University Nobody understood better what we should understand in reading Roberto Bolano than Ricardo Gutierrez Moaut. If the Peruvian voice is moving and stoic, the Chilean accent is mundane and inquisitive. Irony is a Chilean tradition, pathos a Peruvian one. To write with that double edge to produce a version of the Modern world in the making (Vallejo in the 30s) and of the lost of the Modern dream (a Postumous-Modern) in the obituaries and farewells of Bolano, is the daring task of this engaging book by a critic and scholar capable of reconnecting trends, styles and obsessions in a unique writer, Bolano, capable of rewriting literature as a form in open progress. Bolano, of course, wrote against death rewriting and overwriting its final page, not without signing (as Vallejo did in Paris) his last page as the first one. This book is not only clever and grounded, it is useful to see Bolano not only as an informal artist but, more interesting, as a mature, complex, and sage artist of form and gusto. --Julio Ortega, Brown University A great introduction to the work of a remarkable and intriguing Latin American author. --CHOICE

"A great introduction to the work of a remarkable and intriguing Latin American author. -- ""CHOICE"""

A great introduction to the work of a remarkable and intriguing Latin American author. --CHOICE Nobody understood better what we should understand in reading Roberto Bola o than Ricardo Guti rrez Moaut. If the Peruvian voice is moving and stoic, the Chilean accent is mundane and inquisitive. Irony is a Chilean tradition, pathos a Peruvian one. To write with that double edge to produce a version of the Modern world in the making (Vallejo in the 30s) and of the lost of the Modern dream (a Postumous-Modern) in the obituaries and farewells of Bola o, is the daring task of this engaging book by a critic and scholar capable of reconnecting trends, styles and obsessions in a unique writer, Bola o, capable of rewriting literature as a form in open progress. Bola o, of course, wrote against death rewriting and overwriting its final page, not without signing (as Vallejo did in Paris) his last page as the first one. This book is not only clever and grounded, it is useful to see Bola o not only as an informal artist but, more interesting, as a mature, complex, and sage artist of form and gusto. --Julio Ortega, Brown University Guti rrez Mouat was one of the finest readers of Latin American literature. In Understanding Roberto Bola o, his final work, we see him at the height of his critical powers, providing a map to an oeuvre that remains resistant to our cartographies. It reminds us why he will be dearly missed. --Ignacio M. S nchez Prado, Washington University

Author Information

Ricardo Gutierrez-Mouat was a professor of Latin American literature and cultural studies at Emory University, USA and the former director of the Latin American and Caribbean studies program. He was a Chilean-born U.S. citizen and held a Ph.D. from Princeton University. Gutierrez-Mouat published books and articles on a variety of modern authors and topics and spoke at universities in Europe, Latin America, and the United States.

Tab Content 6

Customer Reviews

Recent Reviews

Countries Available