Benjamin Kunkel

‘Netherland’ is an ambiguous word. It evokes, of course, the Netherlands inhabited by the Dutch, one of whom, Hans van den Broek, tells this story of a few late years spent in that New World city founded almost four hundred years ago on Manhattan Island as New Amsterdam, in what was then the territory of New Netherland. But ‘netherland’ could also mean any faraway place, as in those ‘nether regions’ of the city where Hans’s teammates from the Staten Island Cricket Club spend their nights. (Hans spends his nights in Chelsea, a Manhattan neighbourhood hardly described in this book, notable for a high concentration of well-built gay men, new condominiums, art galleries, bank branches and large home-furnishing outlets.) ‘Netherland’ also has sinister overtones of Never Never Land, and sounds like a euphemism for Hades.

Roberto Bolaño was born in Santiago de Chile in 1953, moved with his family to Mexico City at the age of 15, and was inspired by the election of Salvador Allende to return to his native country five years later. In his short story ‘Dance Card’, which accords with the known facts of his life and does not present itself as fiction, Bolaño indicates that he hardly distinguished as a young man – if he ever did – between his politics and his love of poetry: ‘I reached Chile in August 1973. I wanted to help build socialism. The first book of poems I bought was Parra’s Obra Gruesa (Construction Work).’ He then bought another book by Nicanor Parra, the anti-rhetorical Chilean poet whose work Bolaño preferred to that of the more celebrated Pablo Neruda – a preference, it seems clear, for Parra’s plain-spokenness over Neruda’s florid multiplication of metaphor – and, in his telling, this was practically all the work towards socialism Bolaño accomplished before his arrest, following Pinochet’s coup of September 1973, as a ‘foreign terrorist’.