61 pages • 2 hours read
Part 2 of 2666 focuses on Óscar Amalfitano, a Chilean professor of philosophy working at the University of Santa Teresa, who met with the critics during the previous section of the novel. This part of 2666 takes place before the previous section.
Amalfitano thinks about his life with his daughter, Rosa. He is a single parent after his wife, Lola, leaves him. She feels compelled to seek out “her favorite poet” (165), with whom she had a sexual relationship before she met Amalfitano. She is accompanied by Inmaculada, or Imma. During her journey, Lola sends letters back to Amalfitano, describing her journey and her overall good experiences. She and Imma are poor and need to earn money however they can. Lola describes the night she met the poet. At the time, there was a famous gay philosopher in Barcelona: Everyone assumed that the poet and the philosopher were in a sexual relationship, but Lola had sex with the poet at a party. She became obsessed with the poet, but he eventually disappeared. Lola arrives at the mental healthcare facility in San Sebastian in the Basque country, where the poet is being treated. The staff prevents Lola from entering. They will not allow her to visit the poet, who Lola believes is being held against his will. Lola and Imma reconvene, successfully pretending that they are a poet and a reporter, respectively. During the meeting, they also meet the doctor who is treating the poet. He claims to have written a biography about the life of the poet, but he can only publish it when the poet dies. Lola speaks to the poet. She tells him that the philosopher died recently of AIDS. She tells the poet that she loves him; he does not respond.
Lola returns the following day. This time, they are told that the poet needs to rest, so cannot meet them. Imma departs on her own journey. Lola lingers around the mental healthcare facility. Living on her meager savings, she takes a taxi to the mental healthcare facility. Her driver is a man named Larrazábal. Lola has sex with Larrazábal in a cemetery, and he tries to give her money. After she is kicked out of the lodging house where she is staying, Lola wanders the area. She sleeps where she can and struggles to find food. She returns to the cemetery to sleep. There, she meets Larrazábal with another woman. He gives her money, which she uses to return to the mental healthcare facility. The poet has refused to meet her again. From afar, she watches him interact sexually with the other male patients. In her next letter, Lola describes her relationship with Larrazábal. She declines his offer to marry her. Amalfitano chooses to believe that Larrazábal is a good person. For some time, Lola lives and works in Lourdes, but her letters to Amalfitano stop.
Five years pass without Amalfitano hearing from Lola. Unexpectedly, she writes to him from Paris. She has a job cleaning office buildings; Amalfitano pictures her, sitting at the desk after hours, smoking a cigarette as she types her letter. Two years later, Lola returns to the house she shared with Amalfitano and Rosa, but they have moved. She tries to track them down, though she does not recognize Amalfitano when she finally locates him. Amalfitano invites her back to his house, where they talk. Lola reveals to Amalfitano that she has contracted AIDS and will likely die soon. She has another child, a young son named Benoit. She wishes to speak to Lola before she dies. After a short stay with Lola and Amalfitano, Lola disappears again. Amalfitano never hears from Lola again.
Amalfitano accepts a job in Santa Teresa. He moves to Mexico with Lola and meets the various faculty members (who, in later years, welcome the critics to the town). By this time, the city is already in the grip of a spate of murders. Many young women have been killed, but Amalfitano did not know this before arriving. One day, he finds Rafael Dieste's Testimonio geométrico in his book collection. He cannot imagine how it came to be in his possession, especially after he packed all his books while moving. The geometry described in the book influences Amalfitano, but he does not know how to think about the random thoughts, shapes, and diagrams that pop into his head. He decides to hang the book on the clothesline, where he will be able to observe the way it “survives the assault of nature” (191). He continues to draw his strange geometric patterns and diagrams, almost unconsciously sketching the shapes and labeling them with the names of intellectuals. Rosa, now a teenager, observes the book hanging on the clothesline. Amalfitano wonders why he brought his daughter to this “cursed city.” He recalls his own father, who loved boxing and was intolerant of gay people. Amalfitano pays close attention to how the weather changes the book, leaving it hanging outside for days, weeks, and months. He thinks about his meetings with Dean Guerra and Guerra’s son, Marco.
Amalfitano notices “the voice” inside his head. The voice talks to him, and he wonders whose voice it could be, whether he is hallucinating or the voice belongs to a spirit or a ghost. Amalfitano begins to spend more time with Professor Perez, a colleague, and her son, Rafael. Together with Rosa, they take trips around Santa Teresa. During the trip, Professor Perez engages Amalfitano romantically, but he struggles to pay attention to her. He kisses her hand. While she drives back to the city, Amalfitano falls asleep and experiences a strange dream.
Later that night, he draws up a table of the names of intellectuals and divides them into groups. The voice speaks to him again, claiming to be his grandfather and, later, his father. The voice talks scathingly about gay individuals and insists that Amalfitano remain calm. In the following days, Amalfitano randomly encounters Marco, the son of Dean Guerra. The pair goes out drinking, and Marco describes his hatred for gay people. Occasionally, he says, he goes to bars and pretends to be gay to start a fight. Sometimes he wins, and sometimes he loses these fights. Marco takes Amalfitano to a bar where they drink Los Suicidas mezcal. Eventually, they are forced to leave.
Amalfitano reads another mysterious book, which describes the history of “telepathy” among the Araucanía people, an Indigenous group from Chile. Their gift for telepathy, the book claims, was destroyed by the arrival of colonial powers, as was their language, which was written in triangles and the movements of trees. He thinks about the recent dark history of his native Chile. Meeting Marco again, Amalfitano attends a dinner at the rector’s house. He thinks about the book describing the Araucanía’s telepathic powers. In a dream, he sees the former President of Russia, Boris Yeltsin, speaking to him about the nature of life, which he says is “supply + demand + magic” (228).
In this section of 2666, the nonlinear structure of the novel weaves Part 1 and Part 2 together through the character of Óscar Amalfitano. In Part 1, Amalfitano was a side character: The critics arrived in Santa Teresa in search of Archimboldi and found the philosophy professor particularly unimpressive. Part 2 then jumps back in time to explore Amalfitano’s life leading up to his meeting with the critics, shedding light on his past to provide context for his alienated, anxious character in Part 1. This nonlinear structure is an important part of the novel’s depiction of the tension between past and present: Events in the present are informed by events in the past, but those past events are so distant and remote that they seem unknowable. This emphasizes the sense of alienation in the society, as the characters are disconnected—in a structural and emotional sense—from the events that define them. The result of this nonlinear structure is not only to cast Amalfitano in a new light but to reveal the pretentious and foolish nature of the critics who were so quick to dismiss the Chilean professor. The text uses irony to highlight the critics’ fascination with Archimboldi, who is enigmatic, while also drawing attention to a seemingly mundane character—Amalfitano. Despite appearing ordinary, Amalfitano holds a long, tragic history and remains unnoticed by the critics. This notion of people as either worthy or unworthy of investigation highlights the danger of Hunger for Meaning in Life. In trying to sort people into these categories, the critics miss interesting stories like Amalfitano’s, choosing instead to remain caught up in the process of investigation. This context is significant, as it highlights the frivolousness of the critics and the meaning of a common person’s life, suggesting that value can be found in the most unexpected places.
The structure of 2666 breaks with traditional narrative form, but the opening of Part 2 is an example of epistolary fiction. Epistolary fiction is composed of a narrative presented as a series of letters. Lola’s letters to Amalfitano after she decides to leave him are key to understanding the power dynamic in their relationship. To understand Amalfitano, the audience must understand the power imbalance in their marriage. Their relationship is unilateral; Lola decides what she must do and does it, without regard for the way this will affect Amalfitano or Rosa. She feels an urge to track down a poet with whom she once had a sexual relationship and, with the help of her friend, she leaves. The use of an epistolary format reflects the imbalance in the relationship: even after she has gone, Amalfitano is powerless. He is beholden to her agency; her story becomes his story, but related to him from afar, in a time, manner, and place of Lola’s choosing. The series of letters are sent by Lola, describing her sad and faltering attempts to free a poet who does not want to be freed. Meanwhile, Amalfitano must wait patiently for the next installment. The letters from Lola are not responses to his letters but rather her autobiography, sent back to her ex-husband for the sake of posterity when it is convenient for Lola. While she becomes a drifter, detached from society, he plods along in his career, waiting calmly for the next update. Lola’s letters blot out Amalfitano’s own life, just as her departure functions as the catalyst for his alienation. Amalfitano never recovers from his failed marriage, no matter what he tries. For the rest of his life, he flits around in search of the purpose and meaning that Lola gave him. Lola has lived with a fierce Hunger for Meaning in Life and a sense of obsession that rivals the critics in Part 1.
Amalfitano has a Hunger for Meaning in Life, which, though somewhat unsatiated, is sought through artistic and experimental means. Amalfitano hears strange voices in his head and obsesses over the dead languages of the Indigenous people of Chile. These voices are relevant to Amalfitano because they represent a struggle to communicate with the rest of the world. Amalfitano empathizes with these dead languages because he understands how it feels to be isolated, and his passivity gives the sense of being ghost-like himself. However, Amalfitano’s introverted nature can also be read as a source of summoning for otherworldly voices, calling to him through history because they feel a sense of kinship with him. Amalfitano hangs a geometry book from a clothesline to see what nature will do with it, offering an experimental approach to Literary Criticism as a Mode of Understanding Interpersonal Relationships. The relationship that he seeks is between himself and this disembodied other that speaks to him through mysterious books, geometric shapes, and dead languages. He also practices automatic writing in the hope that these experimental techniques will teach him something different about his relationship with the world. Amalfitano’s personal Hunger for Meaning in Life relies on untraditional communion with unknown voices, presenting a parallel approach to the reoccurring concept of obsession in that it is private.
By the end of Part 2, Amalfitano is at least aware of a fundamental alienation that has taken hold in his life, partly because of his introverted ways. His attempts at integrating into society fully have failed. He moved himself and his daughter to a small city in Mexico, a decision that he regrets but does not know how to reverse. He is entangled in an awkward and uncertain romantic relationship with his colleague as he does not know how to reciprocate affection. Amalfitano feels deeply and loves his daughter, but he has been left hollowed out by the loss of Lola. However, the text suggests that this lack of selfishness or active ambition makes him a host for greater channeling. The section closes with his dream about telepathy following his discovery of a mysterious book on the subject; the Araucanía people experienced their telepathy through geometric shapes and the movement of trees, validating Amalfitano’s experimental artistic processes, which involve both shapes and trees. Amalfitano represents alternative forms of communication when human connection injures or fails a person.
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