Why Bolano? Ben Ehrenreich Articulates it Pretty Well

Behind the goofy hijinks is a wary, already heartbroken version of the insurrectionary spirit that had sent Bolaño to Allende’s Chile: “Our ethics is Revolution, our esthetics is Life: one-single thing,” he writes in a Breton-inspired First Infrarealist Manifesto. The depths of his political disillusion are apparent enough (“We dreamt of utopia and woke up screaming.”), but he’s hardly cynical. For all his posturing, the young Bolaño is arguing for a passionate, uncompromising commitment to poetry-as-liberation. His legions of fascist antiheroes will demonstrate again and again that purity is murderous. Transcendence stinks. Poetry that seeks it—the lyrical, the epic—reeks of dishonesty. Only the fleeting can be trusted. If it means anything, poetry means resistance, stoic courage. “The true poet is the one who is always abandoning himself,” Bolaño writes. “Leave it all behind, again,” his manifesto ends. “Take it to the road.”

Anticipation

"To amplify the mysterious title “2666” Mr. Echevarría quotes a 1999 Bolaño story, one that cites 'a cemetery in the year 2666, a forgotten cemetery under the eyelid of a corpse or an unborn child, bathed in the dispassionate fluids of an eye that tried so hard to forget one particular thing that it ended up forgetting everything else.'"

"Artist" as "Artists"