![]() ![]() (1) Beyond the violence of postdictatorship and against the grain of globalization, this text destabilizes not only the great Western narrative of progress, reason, and Enlightenment (in its capitalist and its revolutionary communist versions) but also that of humanity and human rights and its phallogocentric notion of fraternity. "A mediados de febrero, en un callejon del centro de Santa Teresa, unos basureros encontraron a otra mujer muerta," the narrator telis us in Roberto Bolano's 2666 (447/355). The second objective is to determine if Bolaño offers a solution and if so, to evaluate his solution against several philosophical and theological treatments for economic neoliberalism. The first is to examine the critiques which Bolaño makes about global investments and to show how the madness in 2666 is associated with economic neoliberalism. The objectives of this paper are two-fold. ![]() ![]() In Bolaño’s world, Johns and the lunatic asylum are metonymic for society. The act’s madness and its linkage with capital is a preview of the madness that pervades the entire novel. When asked why he mutilated himself, he replies that he believes in investments, the flow of capital. The painter’s current home is a lunatic asylum and Johns is notorious for having cut off his painting hand, embalming it and attaching it to a self-portrait. In the beginning of Roberto Bolaño’s novel 2666, three academics travel to Switzerland for a conference and while there decide to visit the residence of an artist named Edwin Johns. ![]()
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