Week 10: The Infernal Comedy

by Maria Bustillos

Every life, viagra 100mg Epifanio said that night to Lalo Cura, viagra 100mg no matter how happy it is, viagra order ends in pain and suffering.

Here is a fact that recontextualizes the crimes for us.  The weight of the crimes, not only the crimes against the murdered women but against the guys in the Santa Teresa prison, the guys who are stuck in the corrupt police force, and the crimes of the mass society, crimes of enforced poverty and ignorance, begin to assume new and different proportions in this week’s section.  As word of the crimes begins to spread, the whole world’s complicity begins to make itself felt.

The ‘snuff film’ section speaks very clearly to this alteration.  There is a real film called Snuff that was filmed in Argentina in 1971, that depicted a “Mansonesque murder cult.”  The film was originally called Slaughter. The directors of the real film are Michael and Roberta Findlay. According to Wikipedia:

Independent low-budget distributor and sometime producer Allan Shackleton later re-released another version of the film, unbeknownst to the original filmmakers. Having just read a newspaper article on the rumor of snuff films being importer from South America, he decided to cash on the urban legend and added a new ending to the film in which a woman is brutally murdered by a film crew, supposedly the crew of Slaughter[2]. Filmed in a vérité style by Simon Nuchtern, the new ending purported to show an actual murder. This new footage was spliced onto the end of Slaughter with an abrupt cut suggesting that the footage was unplanned and the murder authentic. This new version of the film was released under the title Snuff, with the tagline The film that could only be made in South America… where life is CHEAP

By this means and others that I’ll be getting to in the next few days, Bolaño demonstrates the involvement of pretty much everyone in the kind of mindset that would find the torture and murder of a woman … entertaining.

Week 10: Dreams

by Daryl L.L. Houston

521: Thinking of the Caciques, capsule Haas considers them lost in a dream.

534: Elvira Campos dreams of selling her properties and belongings to get enough money to fly to Paris and having plastic surgery to turn back the clock to her early 40s. When the bandages are removed, approved they fall to the floor and slither not like snakes “but rather like the guardian angels of snakes.” She approves of the surgery’s results, price and with a nod, “she rediscovers the sovereignty of childhood, the love of her father and mother” and steps back out into Paris.

542: The cameraman for the original snuff film thinks he’s lost in a nightmare as they make their way to the ranch at which they’ll film.

554: It’s not presented as a dream, but as Lalo Cura thinks about his lineage, he’s “half asleep, drifting between sleep and wakefulness,” and he hears or remembers voices telling him the stories of his family tree.

561: Sergio Gonzales visits Michele Sanchez’s mother, and she tells him of a dream in which her dead daughter — not her youngest in fact — was the youngest of her daughters, a baby of two or three years who was there and then suddenly not there.

562: Haas contemplates, “as if in a dream,” some of the Bisontes moving around in the prison yard as if grazing. Some of the inmates seemed, he thought, to move in slow motion. This resonates with some other mentions in past dreams about time being somehow slowed down or sped up.

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