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Notes
1. For a revision of reader response theories, see, e.g., Davis and Womack.
2. See PMLA, vol. 133, no. 5, 2018 and Poetics Today, vol. 42, no. 2, 2021.
3. The bibliography concerning Bolaño is vast. For a general study in English, see Andrews or López Calvo. For “apocalyptic” interpretations, see, for example, Hennigfeld or Moreno. For a “literary” one, see, for example, Manzoni or de Mora.
4. See the concept of lecture-écriture in Derrida and Labarrière or Barthes. However, contrary to deconstructive and poststructuralist practices, this type of creativity in Bolaño’s literature includes not only the intellect, but also emotions and the body, intensifying the reader’s projection in the text.
5. For instance, the emotional connection described by Neige Sinno (8) and Carlos Franz’s expressive vulgarisms (112).
6. These associations are by no means an exhaustive historical account of the problem. They merely serve as key reference points.
7. For a broader, cognitive approach to language comprehension, see, for example, Zwaan.
8. Unless otherwise indicated, translations are mine.
9. For an empirical study of how readers experience ambiguous forms of “you” in fiction, see Bell et al.
10. The narratee of one confession in The Savage Detectives is Arturo Belano (406), however, in most cases it cannot be him since the interlocutors are reconstructing his unknown life. Other interviews suggest multiple narratees (339: Spanish plural habéis visto, translated as “Have you seen”).
11. For studies of polyphony in The Savage Detectives, see, for example, Gómez or López Bernasocchi and López de Abiada.
12. For a discussion of autofiction and autobiography in Bolaño, see Bagué Quílez, Chihaia, and Grzesiak.
13. For a study of the authorial self as a composite being consisting of the selves present in different books and reading strategies, see, for instance, The Brain of Robert Frost by Norman Holland. One of the more intriguing solutions to the authorial question, focused on the possibility of perceiving the implied authors of different texts by the same writer as a unified entity, is Małgorzata Czermińska’s hypothesis of “the subject of all works by a single author,” unfortunately only available in Polish (“Hipoteza”).
14. This experience could be interpreted according to the theory of “expressive enactment” that actively modifies emergent affective themes (see Kuiken et al.).
Additional information
Notes on contributors
Zofia Grzesiak
Zofia Grzesiak is an Assistant Professor at the Institute of Iberian and Ibero-American Studies, University of Warsaw. Her research focuses on Latin-American literature, the fantastic, narratology, reader-response, and cognitive studies, as well as the relation of literature with science and philosophy. She is currently working on a project about Jorge Luis Borges and ‘pataphysics, supported by the National Science Centre (NCN) under Grant 2019/33/N/HS2/01704.