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Joshua Cohen has one of the first (hopefully of many) reviews of Roberto Bolano’s Nazi Literature in the Americas in yesterday’s .

A surprise to probably no one, the book sounds awesome:

Nazi Literature in the Americas, first published in Spanish in 1996, is not a work of nonfiction, though it reads as an encyclopedic history, or a biographical dictionary of criminous thought. [. . .]

What Bolaño has given us is a mock reference text, an indispensible companion to the work of collaborationist poets and novelists in the Americas ���Ĵ�ý� writers who, whether actively or through aesthetic allegiance, kept company with the Nazi cause. Included and representative are entries on ���Ĵ�ý�The Mendiluce Clan���Ĵ�ý�: Edelmira Thompson de Mendiluce, an austere ���Ĵ�ý�lady poet���Ĵ�ý�; Juan Mendiluce Thompson, her son, an angry novelist who denounced Julio Cortázar and his mentor Borges, ���Ĵ�ý�whose stories, so he claimed, were ���Ĵ�ý�parodies of parodies���Ĵ�ý����Ĵ�ý�; and Luz Mendiluce Thompson, the family���Ĵ�ý�s obese poet-daughter, who cherishes throughout her life a photograph of her baby self being cradled by Hitler.

One of the best aspects of the review is the passing reference to a joke manifesto Bolano once wrote:

Bolaño seems to have summarized his own life in the prankish manifesto for the literary movement he founded, ���Ĵ�ý�Infrarealism���Ĵ�ý�: ���Ĵ�ý�Experience at full tilt, self-consuming structures, stark raving contradictions . . .”

Later in this document (of which Bolaño was the sole author and signatory), he wrote: ���Ĵ�ý�Risk is always elsewhere. The true poet is always leaving himself behind.���Ĵ�ý�