By Peter Standish
This article recounts the various literary achievements of 1 of Latin America's such a lot acclaimed and prolific 20th-century writers. Structuring his evaluate round metaphors drawn from boxing, the writer considers Cortazar's performs, tales, novels, political essays and poetry.
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Extra resources for Understanding Julio Cortázar (Understanding Modern European and Latin American Literature)
Example text
The literature he wrote instead is both cosmopolitan and quintessentially Argentine. It has a playfulness beneath which there lies a deep ontological concern. It is occasionally outrageous but always motivated by a strong sense of the ethical. 15 CHAPTER 2 The Weigh-In Early Publications There was a long silence of some ten years between Julio Denis’s publication of the poems in Presencia and Julio Cortázar’s first book, which appeared in his late thirties. In his interview with Ernesto González Bermejo1 he explains that rigorous self-criticism was the reason for his silence: admitting that he was perhaps erring on the side of vanity at the time, he says that he had set himself a high standard and was not prepared to publish anything more until he felt that that standard had been met, in part, perhaps, as a reaction to the readiness of so many contemporaries in Argentina to publish indiscriminately.
A musicological explanation might be that it combines parts of the names of two other well-known saxophone players, Johnny Hodges and Benny Carter. Another explanation follows from the idea that in this story Cortázar is in some sense confronting himself: in other words, CH. P. becomes J. C. in order to allude to Julio Cortázar. This equivalence, however, must not be taken too literally, for it is clear that Cortázar is in Bruno as much as in Johnny. Thirdly, the initials perhaps allude to that most famous of persecuted people, Jesus Christ.
22 THE STORIES It is noticeable, too, that once the pair find themselves confined and forced to modify their routines, the brother occupies himself by going over a stamp collection, as if regressing to childhood. What is one to make of the fact that, as they eventually leave the house, Irene abandons the garment she has been making and whose thread leads under the door to the skein, still inside the house? Does this symbolize a break with the past, or perhaps the end of the narrative text (the yarn that has been spun)?