By Harold Bloom
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No, brother. Nothing. I take everything with me wherever I go. —You really have it your way. —said Lonstein—. You want to have the pie and eat it too, right? 40 But as much as this novel takes Cortázar into exploring his own social and political concerns, Libro de Manuel is also, like his previous works, part of his relentless effort to liberate man. This new man should be the product of a new kind of humanism Cortázar has striven to outline throughout his poetry, essays and fiction. ” As there are no easy answers for Cortázar, there are no final answers either.
As there are no easy answers for Cortázar, there are no final answers either. ” NOTES 1. Carlos Fuentes, “A Demanding Novel,” Commentary (New York), October 1966, pp. 142–43. 2. Donald Keene, “Moving Snapshots,” The New York Times Book Review, 10 April 1966, p. 1. 3. Graciela de Sola, Julio Cortázar y el hombre nuevo, Buenos Aires, Sudamericana, 1968, p. 9 (my translation). 4. Luis Harss, Barbara Dohmann, Into the Mainstream, New York, Harper & Row, 1967, pp. 214–15. 24 Jaime Alazraki 5. Julio Denís (Julio Cortázar), “Rimbaud,” Huella (Buenos Aires), no.
Who writes? The most superficial consideration of Los reyes immediately leads to the issue of individuality and origin. The very appeal to classical mythology, to the dawn of Western literary tradition, is suggestive of a concern about the beginning of writing. The recourse to classical mythology is in itself hardly original, but rather a characteristic of the modern tradition: Nietzsche, Freud, Joyce, Pound, Unamuno; all take recourse to classical figures. In Latin America there is a strain of classicism of this sort that runs from Lugones and Borges through Reyes, Carpentier and Paz.