The degrees of intertextuality in Roberto Bolaño's true cop's work: some approaches to fiction and literary silence

Abstract

The works of Roberto Bolaño are for sure a good excuse to conciliate the intertextuality with the theory of possible worlds: we can see clearly a taxonomic rupture between the degrees of the first one. Even if this novel is a posthumous work, Los sinsabores del verdadero policía does not become an unfinished thing, instead it starts once the reader moves from one text to another, therefore this is how we can stand out the wealth of the degrees in the intextuality. This behavior is typical of the narrative silence—a game of traces in the orientation of the text—. Not only the narrator(s) is the principal road of the selection and filiation of narrative information, also the appropriation of other texts creates a textual expansion in every genre, especially in narrative. In this academic essay we’re going to question some aspects of intertextuality through some specific moments of this novel, especially in those where the intratextual presence is notorious, such as the example in which Amalfitano reads a poem by Rimbaud.