Bruce Chatwin’s In Patagonia, winner of the 1978 Hawthorden Prize, continues to captivate readers with its enigmatic portrayal of a distant land. Despite its acclaim, in-depth critical analysis remains sparse. The book is often compared to W.H. Hudson’s evocative writings on Patagonia, both celebrated as classics that explore the region’s wild allure. Alastair Reid highlights the book’s unusual aspects, notably the absence of personal judgment in the narrative. This stylistic choice underscores the alien nature of the Patagonian landscape, linking the narrator’s sense of estrangement to his role as a wanderer. Reid describes Chatwin’s journey as a mock quest, frequently interrupted by memories and anecdotes, creating a tapestry of past and present. Adding a layer to this concept, Malcolm Deas suggests that anyone, in a metaphysical sense, could be considered Patagonian.

Critics examining Chatwin’s subsequent fictions, which followed In Patagonia, often find connections between the travel book's themes of harshness and violence and the narratives in his later works. These themes are evident in The Viceroy of Ouidah (1980), which weaves elements of mocking humor, tales of suffering and injustice, and the exploration of exotic locales, particularly the shadowy corners of South America. Originally intended as an accurate depiction of the Dahomey slave trade, The Viceroy of Ouidah blurs the lines between nonfiction and fiction, much like In Patagonia. Another remarkable link between these works is Chatwin’s recurring focus on Welsh rural and domestic life, prominently featured in his novel On the Black Hill (1982). This novel’s setting, in the rural landscape of Radnorshire, echoes the farms, peculiarities, and sheep-filled towns of the Welsh villages Chatwin describes in his earlier nonfiction.

In Patagonia serves not only as an introduction to the themes and techniques of Chatwin’s later fictions but also as a guide for the adventurous reader seeking the extraordinary. This cross-genre work, balancing between reality and imagination, mirrors the transformative experiences of those who, like Chatwin, wander through landscapes both literal and metaphorical. Within its pages, the interplay of the unfamiliar and the familiar invites readers to embark on their own journeys of discovery, making In Patagonia an essential read for anyone intrigued by the marvels of the world.