In this he recounts the story of Ramirez Hoffman, a Chilean air plane pilot who seemingly heralded a ‘new era’ in Chilean arts after the coup against Salvador Allende’s socialist government and the establishment of Augusto Pinochet’s military dictatorship. Hoffman’s poetry is written in the sky using smokes from his air plane thus announcing the new blend of technology and arts as Chile was ‘recovering its manhood’ under a military dispensation.Some of Hoffman’s poems, all one liners written on the skies, read as follows:
“GOOD LUCK TO EVERYONE IN DEATH”
“LEARN FROM FIRE”
“Death is friendship”
“Death is Chile”
“Death is responsibility”
“Death is growth”
“Death is communion”
“Death is cleansing” and so on till “Death is resurrection” and the generals themselves realize that something is amiss. It is, however, something far more macabre that leads to his downfall.
Bolano’s prose is marked by the alacrity of flash fiction (which to me is one of the most important developments in literature in the internet age), but nevertheless carries forward the tradition of the serious novel. The absence of an explicit plot in the story does not mean that there is no plot- as a post- modern reading would suggest. Instead, the plot is hidden below the surface, like an underground river.
The point that he makes is that Nazi- like brutality has a long lineage, and it resides perceptibly and imperceptibly in literature as well. Literature is, therefore, a battlefield in the recovery of humanity and is not outside the realm of politics, and neither is politics outside the realm of poetry and literature.
To look for Nazi literature in India, one does not need biographies of imaginary writers. In India, they live among us, in our times. The question of literature and politics being separate also does not arise. They are so intricately tied up that both are the same. The nightmare and the muse.