Prefiguration of Lalo Cura

by Roberto Bolaño

What a nice surprise it was to find another Bolaño story in the New Yorker so soon after the last one.  This time around, Bolaño revisits the character, or perhaps just the concept, of Lalo Cura, who first appeared in the incredible 2666.  I am confused though, as to whether or not this is the same Lalo Cura.

In 2666, the young cop Lalo Cura does not know the identity of his father, and it is hinted that it could have been one of the principal characters of The Savage Detectives, Bolaño's earlier novel.  His mother's life is described in detail, although I will admit that I don't remember many of those details right now.

In this story, Lalo Cura is the son of a renegade priest and a Colombian porn actress, making it impossible for it to be the same character.  More likely, Bolaño is simply returning to the name because it is a brilliant one for a character (la locura means 'madness' in Spanish).

Much of Cura's story consists of descriptions of the bizarre porn films constructed by Helmut Bittrich.  These sound a little like the porn Jodorowsky might have made; strange surrealist confections with fixations on lactation or cannibalism, constructed for a European audience.  One recurring figure in these films which starred both his mother and aunt was the actor Pajarito Gómez, a strange individual who was not particularly built for porn (if you catch my drift), but instead 'vibrated' on film and commanded a great deal of attention.

This is a very strange narrative, without much of a plot or purpose.  It feels more like it is an excerpt from a larger piece of writing.  It is well worth reading for the strength and power of Bolaño's prose.