Bolaño's novels advanced from the brevity of his first incursions in narrative to the mastodon proportions of his posthumous novel, , which totals over a thousand pages. His awkward mode of narration gives the impression of being impulsive, like his characters, but eventually it is revealed that a single motor is moving apparently disparate parts. Why not Onetti, Cortázar, Puig, Vargas Llosa, García Márquez, or any of those writers forced to come together under the elastic umbrella of the Boom?Dating back to his first novel, co-written with Antonio Porta and published in 1984, , a puerile inclination was manifest: his rebellious nature, nonconformist, unwilling "to ever settle down," as he himself put it. The writers whom Bolaño read with admiration, affection, curiosity, and sometimes hatred?
His work erases the biographical, the psychological, and the local.
For Bolaño, Argentine literature lost its balance following the death of the blind poet.
It burst out of the serene waters of a pleasant dream into the turbulent chaos of nightmares.
Beyond sharing an almost religious devotion to literature, however, it is difficult to reconcile the work of Borges with that of Bolaño.
When Spanish critic Ignacio Echevarría wrote that Bolaño's was "the kind of novel Borges would have agreed to write," he paid a compliment to the Chilean writer, but what do the erudite games of Borges' very short stories have in common with the sagas of fortune and misfortune that are Bolaño's voluminous novels?