Probably all of us, writers and readers alike, set out into exile, or at least into a certain kind of exile, when we leave childhood behind...The immigrant, the nomad, the traveler, the sleepwalker all exist, but not the exile, since every writer becomes an exile simply by venturing into literature, and every reader becomes an exile simply by opening a book.
Interpretation
This quote reflects on the transformative journey of writers and readers, suggesting that engaging with literature takes them away from their childhood and into a new realm of experience.
Roberto Bolano's quote delves into the idea that literature acts as a form of exile from the innocence and simplicity of childhood. Both writers and readers embark on a journey that disconnects them from their past selves, entering a world that involves complex narratives and emotions. This form of exile is not one of physical displacement, but rather a metaphorical transition into a deeper understanding of life, where the exploration of different perspectives can lead to self-discovery and growth.
In practice
At a literary event discussing the impact of reading on personal growth.
Coincidence obeys no laws and if it does we don't know what they are. Coincidence, if you'll permit me the simile, is like the manifestation of God at every moment on our planet. A senseless God making senseless gestures at his senseless creatures. In that hurricane, in that osseous implosion, we find communion.
The sky, at sunset, looked like a carnivorous flower.
I'd obviously never heard of the group, but my ignorance in literary matters is to blame for that (every book in the world is out there waiting to be read by me).
Every book in the world is out there waiting to be read by me.
Bright colours in the west, giant butterflies dancing as night crept like a cripple toward the east.
Being alone makes us stronger. That’s the honest truth. But it’s cold comfort, since even if I wanted company no one will come near me anymore.
All novels are fantasies. Some are more honest about it.
Nobody ever asks me why my characters don't text each other. Besides, as soon as you put something 'electronic' in a book, it's already out of date by the time it's published: everything will have changed. Human emotion, on the other hand, will never change.
I sent The World Well Lost to one editor who rejected it on sight, and then wrote a letter to every other editor in the field warning them against the story, and urging them to reject it on sight without reading it.
What I felt was, if you spend your life just writing fiction, you are going to falsify your material. And the fictional form was going to force you to do things with the material, to dramatize it in a certain way. I thought nonfiction gave one a chance to explore the world, the other world, the world that one didn't know fully.
What I try to do is write a story about a detective rather than a detective story. Keeping the reader fooled until the last, possible moment is a good trick and I usually try to play it, but I can't attach more than secondary importance to it. The puzzle isn't so interesting to me as the behavior of the detective attacking it.
The book, if you would see anything in it, requires to be read in the clear, brown, twilight atmosphere in which it was written; if opened in the sunshine, it is apt to look exceedingly like a volume of blank pages.
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