By Roberto Bolaño
A journey de strength, Amulet is a hugely charged first-person, semi-hallucinatory novel that embodies in a single woman's voice the depression and violent fresh background of Latin America.Amulet is a monologue, like Bola?o's acclaimed debut in English, via evening in Chile. The speaker is Auxilio Lacouture, a Uruguayan girl who moved to Mexico within the Sixties, changing into the "Mother of Mexican Poetry," striking out with the younger poets within the caf?s and bars of the collage. She's tall, skinny, and blonde, and her favourite younger poet within the Nineteen Seventies is none except Arturo Belano (Bola?o's fictional stand-in all through his books). in addition to her younger poets, Auxilio remembers 3 extraordinary girls: the melancholic younger thinker Elena, the exiled Catalan painter Remedios Varo, and Lilian Serpas, a poet who as soon as slept with Che Guevara. And during her imaginary stopover at to the home of Remedios Varo, Auxilio sees an uncanny panorama, a type of chasm. This chasm reappears in a imaginative and prescient on the finish of the booklet: a military of kids is marching towards it, making a song as they cross. the youngsters are the idealistic younger Latin americans who got here to adulthood within the '70s, and the final phrases of the unconventional are: "And that music is our amulet."
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Extra info for Amulet
I was sleeping in a seat at the faculty theater (a precarious institution to say the least) and dreaming of my childhood or of aliens. She sat down beside me. The theater, of course, was empty: on the stage a pitiful troupe was rehearsing a play by Garcia Lorca. At some point I woke up, and she said to me: You're Auxilio Lacouture, aren't you, in such a friendly way that I liked her immediately. She had a slightly hoarse voice, and black, not very long hair, combed back. Then she said something funny or maybe I did, and we started laughing, quietly, so the director wouldn't hear us; he'd been a friend of mine in '68, but had since become a bad director and he knew it, which made him indiscriminately bitter.
I was happy. The Mexican poets were generous and I was happy. That was when I began to get to know them all and they got to know me. I became a fixture in their group. I spent my days at the faculty, busy as a bee or, to be more precise, a cicada, coming and going in and out of the little offices, keeping up with all the gossip, all the affairs and divorces, keeping up with all the tragedies. Like the tragedy of Professor Miguel López Azcárate, whose wife left him, and who couldn't bear the pain; I knew all about it, the secretaries told me.
The ones that didn't get broken, that is. The broken ones must have nourished the dust of Mexico City. I also lost the books Pedro Garfias gave me. First the philosophy books and then, inevitably, the poetry as well. From time to time I feel as though my books and figurines were with me still. But how could they be? Are they somehow floating around me or over my head? Have the figurines and books that I lost over the years dissolved into the air of Mexico City? Have they become part of the ash that blows through the city from north to south and from east to west?
Amulet by Roberto Bolaño
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