2666 - 3-Volume Boxed Set

One of The New York Times 10 Best Books of the Year

A New York Times Book Review Notable Book

Time Magazine's Best Book of the Year

One of The Washington Post 10 Best Books of the Year

A San Francisco Chronicle Best Book of the Year

A Seattle Times Best Book of the Year

A Village Voice Best Book of the Year

A Kirkus Reviews Best Book of the Year A Publishers Weekly Best Book of the Year

Three academics on the trail of a reclusive German author; a New York reporter on his first Mexican assignment; a widowed philosopher; a police detective in love with an elusive older womanthese are among the searchers drawn to the border city of Santa Teresa, where over the course of a decade hundreds of women have disappeared. Published posthumously, 2666 is, in the words of La Vanguardia, "not just the great Spanish-language novel of this decade, but one of the cornerstones that define an entire literature." "Well beyond his sometimes nomadic life, Roberto Bolaño was an exemplary literary rebel. To drag fiction toward the unknown he had to go there himself, and then invent a method with which to represent it. Since the unknown place was reality, the results of his work are multi-dimensional, in a way that runs ahead of a critic's one-at-a-time powers of description. Highlight Bolaño's conceptual play and you risk missing the sex and viscera in his work. Stress his ambition and his many references and you conjure up threats of exclusive high-modernist obscurity, or literature as a sterile game, when the truth is it's hard to think of a writer who is less of a snob, orin the double sense of exposing us to unsavory things and carrying seeds for the futureless sterile . . . 2666 was published in Spanish in 2004, a year after Bolaño's death. It runs to 898 pages in English and was not quite finishedyet one doesn't really feel the lack of final revisions doing much to diminish its power . . . With his skill at letting small details and their implications work in our minds, Bolaño allows us to start to map out for ourselves the larger social pattern. From description, we could probably sketch the city of Santa Teresa, quadrant by quadrant, from upscale condos to sports fields to bus stops and shacks by a makeshift latrine. Factories beckon migrants from all over Mexico to work, but offer no transport home at night beyond long, solitary walks in the dark. A creepy German nationalwhose height and blond fairness give him, in the Mexican context, a rather monstrous aspectis held on suspicion of murder. The worst police seem wired to power; the better police are under pressure to nab a suspectand the crimes go on. Fascinatingly, the United States appears as a part of characters' remembered visits; a Mexican-American sheriff from Arizona crosses over to find out what happened to a blue collar woman from his town. But the United States's relationship to the drug trade and the history of the assembly plants are not explored directly or at length. Instead of belaboring the obvious, Bolaño seems to have chosen the challenge of representing something pervasive . . . Bolaño's vision is fierce . . . Near the end of the novel, we learn the reason Reiter is headed for Mexico. And then he is gone. Instead of completion we have the physical sense of being in the presence of a controlling object, which we are not yet done investigating. For a while yet, our brain feels rewired for multiplicity. This is not just a cultural or geographical question, though if 2666 contains a lesson it is that people are always from some confluence of factors more bizarre than a country. And it goes deeper than the question of multiple voices. We have eavesdropped on characters and then felt ourselves in the funny, sad, and dangerous process of needing and making meaning. Since there is no logical endpoint, we close with an image from the novel that is out of time. A world of 'endless shipwreck,' but met with the most radiant effort. It is as good a way as any to describe Bolaño and his overwhelming book."Sarah Kerr, The New York Review of Books

"Shortly before he died of liver failure in July 2003, Roberto Bolaño remarked that he would have preferred to be a detective rather than a writer. Bolaño was 50 years old at the time, and by then he was widely considered to be the most important Latin American novelist since Gabriel García Márquez. But when Mexican Playboy interviewed him, Bolaño was unequivocal. 'I would have liked to be a homicide detective, much more than a writer,' he told the magazine. 'Of that I'm absolutely sure. A string of homicides. Someone who could go back alone, at night, to the scene of the crime, and not be afraid of ghosts.' Detective stories, and provocative remarks, were always passions of Bolaño'she once declared James Ellroy among the best living writers in Englishbut his interest in gumshoe tales went beyond matters of plot and style. In their essence, detective stories are investigations into the motives and mechanics of violence, and Bolañowho moved to Mexico the year of the 1968 Tlatelolco massacre and was imprisoned during the 1973 military coup in his native Chilewas also obsessed with such matters. The great subject of his is the relationship between art and infamy, craft and crime, the writer and the totalitarian state. In fact, all of Bolaño's mature novels scrutinize how writers react to repressive regimes. Distant Star (1996) grapples with Chile's history of death squads and desaparecidos by conjuring up a poet turned serial killer. The Savage Detectives (1998) exalts a gang of young poets who joust against state-funded writers during the years of Mexico's dirty wars. Amulet (1999) revolves around a middle-aged poet who survives the government's 1968 invasion of the Autonomous University of Mexico by hiding in a bathroom. By Night in Chile (2000) depicts a literary salon where writers party in the same house in which dissidents are tortured. And Bolaño's final, posthumous novel, 2666, is also spun from ghastly news: the murder, since 1993, of more than 430 women and girls in the Mexican state of Chihuahua, particularly in Ciudad Juárez . . . By setting his novel in Santa Teresa, a fictional town in Sonora, rather than in Juárez, Bolaño was able to blur the lines between what he kn

Based on thousands of pages of typed and handwritten notes, journal entries, letters, and story sketches, The Exegesis of Philip K. Dick is the magnificent and imaginative final work of an author who dedicated his life to questioning the nature of reality and perception, the malleability of space and time, and the relationship between the human and the divine. Edited and introduced by Pamela Jackson and Jonathan Lethem, this is the definitive presentation of Dickand#8217;s brilliant, and epic, work.

In the Exegesis, Dick documents his eight-year attempt to fathom what he called and#8220;2-3-74,and#8221; a postmodern visionary experience of the entire universe and#8220;transformed into information.and#8221; In entries that sometimes ran to hundreds of pages, in a freewheeling voice that ranges through personal confession, esoteric scholarship, dream accounts, and fictional fugues, Dick tried to write his way into the heart of a cosmic mystery that tested his powers of imagination and invention to the limit.

This volume, the culmination of many years of transcription and archival research, has been annotated by the editors and by a unique group of writers and scholars chosen to offer a range of views into one of the most improbable and mind-altering manuscripts ever brought to light.

JONATHAN LETHEM is the author of nine novels, including Motherless Brooklyn, The Fortress of Solitude, and Gun, with Occasional Music.andnbsp;Dissident Gardens is his most recent novel.