Janet is possibly the only female pursuer in Cortazar’s literature, Munoz argues, Cortazar’s remarks regarding “Anillo de Moebius” in a letter to Jaime Alazraki. “Anillo de Moebius” (Moebius strip) in the collection Queremos tanto a Glenda ( We Love Glenda So Much) is probably the most disturbing story of all. Janet. Cortázar, Julio. Personal Author: Cortázar, Julio. Recortes de prensa — Tango de vuelta — Clone — Grafitti — Historias que me cuento — Anillo de Moebius.

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He combines fantastic plots with commonplace events and characters, and looks for new ways for literature to represent life. So, too, is Hitler: It is taken up in the works of other writers from the River Plate area: The bus route leads to a cemetery, and Clara becomes aware that she is the only passenger on the bus who is not armed with a bunch of flowers.

He often casts doubt on the idea that our world can be accounted for in terms of reason, of cause and effect. It consists of edited notes by Morelli, who seems to be a writer and an intellectual; his notes refer in part to ways of narrating and contain one or two particularly revealing passages if taken to refer to the work that the reader has in his hands.

It is important to note that it was a mariage de convenance more than a unified artistic conception, because critics have sometimes been reluctant to face the fact that this book has no real message or cohesiveness. Other mythological allusions are numerous. The story is told by the boxer from his hospital bed to a visitor by implication, the reader. Borges, more adventurously, makes the Minotaur the narrator and hides that fact till the end of his story.


The airline represents routine and empty relationships. The stories of Todos los fuegos el fuego appear. They fail to consummate the relationship it seems that spiritually she cannot give him what he wants, and physically he cannot satisfy her.

By comparison, life as a flight attendant is colorless, obliging him to hand out standard food trays, with a standard smile, to standard passengers.

William Castro: Notes on Modernization as Crime

By the end of the story that fantasy seems to have become reality, and she faces rape. Like many stories, this one begins obliquely.

But there is, throughout, an ironic awareness of what is happening, revealed by the author in several ways and occasionally expressed fe by some of the characters moebiys. Just as it seems that the story might slip into triteness, there comes the first narrative surprise: Translations are my own.

So far as the rest are concerned, thematic and formal considerations, as much as chronology, have determined my approach in this book. Self-deception by characters and writers is involved. Paris, mentioned only en passant in the previous chapter, now occupies the foreground as the place where the narrator and Maga meet by chance.

In this context, as E, demonstrates: Marini rejects the meaningless hours for the meaningful moment. He qualified as a teacher in and went to work in towns in the province of Buenos Aires: Mirar is an act that comes more naturally to children than to adults. Yet one notices that when he takes off his watch to swim he does not discard it but puts it in a pocket, understanding that his old self will be difficult to put aside completely.

He is a simple, instinctive man.

William Castro: Notes on Modernization as Crime

Cortazwr two ideas—the arrival at a watershed and the arresting of moebiuss associated with a crucial transitional moment in time, high noon. The harmony would be breaking up.

Toward the end of this story a child turns to the narrator, who happens to be called Julio, wondering cortaza what he takes to be a game is over and asking for reassurance that it has indeed been a game; Julio assures the child that it has. These are fake adults who cannot accept the rules of the game. At first she feels out of place, and she does not fully understand their ways. It seems that now, as adults, they have reached the point where they will consummate the relationship.


He publishes the novel Each group of three now becomes two. The house is huge, comfortable, well furnished, and well located in Buenos Aires. In the real environment the elder of the two initiates the younger, who proudly reveals that she has begun to grow pubic hair.

Another irony seems to be implicit in the choice of the St. The ten short stories included here can be seen as a provocation, as they will turn the reader’s way of thinking into a maze with infinite centers. Marini seems to have arrived, as we hoped he would.

In a letter to a critic he explains that he has always written as if in response to an impulse and that the rational elements in his work reveal themselves after he has said what he has felt driven to say. No one has a name, but people can be identified by the cars they drive; the makes and models seem to reflect their personalities, professions, or social status. Once again a boy is confronted with two women, a mother and a potential lover.

The ensuing dialogue in this first section is between Minos and Ariadne, who waxes now descriptive, now wistfully lyrical in response to her father.