The protagonist-narrator of The Invented Part and The Dreamed Part returns to find an answer the question: how does a writer remember? In particular, how does a he—a writer who no longer writes but can’t stop reading and rereading himself—remember.
The Writer takes us hurtling through the refracted funhouse of his recursive and referential-maniac mind with a host of debut performances and redux appearances: the howling ghost of electricity and the defective Mr. Trip; the wuthering and heightened Penelope and her lost son; 2001: A Space Odyssey and Blade Runner; the absent Pertusato, Nicolasito and the omnipresent IKEA; the dead Colma, the deceased ZZYZX, the departed Nothing, and the immortal Sad Songs; the irrealist Vladimir Nabokov and the surrealist Karmas; Wish You Were Here playing on (im)mobil(izing) phones and Dracula being invited in; the disturbed Uncle Hey Walrus and parents who are models but not at all model parents; The Beatles and The Beatles; a nonexistent country of origin and a city in flames; an unforgettable night that wants nothing more than to be rewritten; and so many more accelerated particles and freewheeling fragments and interlinked cells searching for a storyline to give them some structure, some meaning.
With mordant wit, capacious intelligence, and vertiginous prose, The Remembered Part closes Rodrigo Fresán’s sprawling tryptic novel. A novel that has at its heart the three component parts of literary creation, the engines that drive the writing of fictional lives and the narration of real works of art: invention, dream, and memory. It is a masterpiece by one of contemporary literature’s most daring and innovative writers.
From the winner of the 2018 Best Translated Book Award
"A kaleidoscopic, open-hearted, shamelessly polymathic storyteller, the kind who brings a blast of oxygen into the room."—Jonathan Lethem
"Rodrigo Fresán is the new star of Latin American literature. . . . There is darkness in him, but it harbors light within it because his prose—aimed at bygone readers—is brilliant."—Enrique Vila-Matas
"I've read few novels this exciting in recent years. Mantra is the novel I've laughed with the most, the one that has seemed the most virtuosic and at the same time the most disruptive."—Roberto Bolaño
"Rodrigo Fresán is a marvelous writer, a direct descendant of Adolfo Bioy Casares and Jorge Luis Borges, but with his own voice and of his own time, with a fertile imagination, daring and gifted with a vision as entertaining as it is profound."—John Banville
"With pop culture cornered by the forces of screen culture, says Fresán (knowing the risk to his profile of 'pop writer,' even coming out himself to discuss it), there's nothing left but to be classic. That's the only way to keep on writing."—Alan Pauls
"A splendid though demanding entertainment, playful and pensive at once and beautifully written throughout."—Kirkus, starred review
"What Fresán has written is a strangely beautiful and beautifully strange novel: these two things at the same time and in the same space."—Magalí Urcaray
"Fresán’s paragraphs can be mere single lines, his lines phrasal, his phrases elliptical, his ellipses infuriating and provocative, but in the end his prose bristles with energy. He never lets the reader feel totally comfortable or linger in the groove. He withholds resolution until the reader just about wants to give up—but then he delivers."—Joey Rubin, Los Angeles Review of Books