(Masterpieces of World Literature, Critical Edition)

By Night in Chile opens with Father Sebastián Urrutia Lacroix, a celebrated literary critic and poet, on his deathbed confessing to the reader that although once at peace with himself, he no longer is. He is tormented by accusations from a mysterious “wizened youth” and struggles to justify his life. What follows, printed in a single paragraph, is a turbulent montage of images, anecdotes, stories, allegories, laments, and delusions.

Who the wizened youth is and the exact nature of his accusations provide the tension. There are hints of illicit sexuality, beginning with Urrutia’s own father, who is remembered only in shadowy, phallic imagery, yet sex is but one of several diversionary leitmotifs. Urrutia enters the seminary at age thirteen, against his father’s will, and soon after graduation in the late 1950’s decides to become a literary figure. He allies himself to Chile’s preeminent literary critic, who writes under the pen name Farewell. The mentor is indeed an old-fashioned example of the Western literati, effete, independently wealthy, and sterile. Through Farewell, young Father Urrutia socializes with the cultural elite, meeting such luminaries as poet Pablo Neruda and eventually becoming a prominent critic and university professor himself.

However, as he seeks to foster Chilean literature in the patronizingly European mode of his mentor, Urrutia himself is suborned by politics. A conservative, he joins Opus Dei...

(The entire section is 526 words.)


(Masterpieces of World Literature, Critical Edition)

Andrews, Chris. “Varieties of Evil.” Meanjin 66 (September, 2007): 200-206.

Corral, Will H. “Portrait of the Writer as a Noble Savage.” World Literature Today 80 (November/December, 2006): 4-8

Deb, Siddhartha. “The Wandering Years: Roberto Bolaño’s Nomadic Fiction.” Harper’s Magazine 314 (April, 2007): 99-106.

Ocasio, Rafael. Literature of Latin America. Westport, Conn.: Greenwood Press, 2004.

Zalewski, Daniel. “Vagabonds: Roberto Bolaño and His Fractured Masterpiece.” The New Yorker 83 (March 26, 2007): 82-88.