Julio Cortázar

The first translation of Julio Cortazar's genre-jumping meta-comic/novella, featuring Cortazar himself, Susan Sontag, and Octavio Paz in a race to prevent international bibliocide. Octavio Paz: "If you love art, do something, Fantomas!" Fantomas: "I will, you can depend on it." First published in Spanish in 1975 and previously untranslated, Fantomas versus the Multinational Vampires is Julio Cortazar's genre-jumping mash-up of his participation in the Second Russell Tribunal on human rights abuses in Latin America and his cameo appearance in issue number 201 of the Mexican comic book series Fantomas: The Elegant Menace. With his characteristic narrative inventiveness, Cortazar offers a quixotic meta-comic/novella that challenges not only the form of the novel but its political weight in contemporary cultural life. Needing something to read on the train from Brussels (where he had attended the ineffectual tribunal meeting), our hero (Julio Cortazar) picks up the latest issue of the Fantomas comic. He grows increasingly absorbed by the comic book's tale of bibliocide (a sinister bibliophobic plot to obliterate every book from the archives of humanity), especially when he sees the character Fantomas embark upon a series of telephone conversations with literary figures, starting with "The Great Argentine Writer" himself, Julio Cortazar (and also including Octavio Paz and a tough-talking Susan Sontag). Soon, Cortazar begins to erase the thin line between real-life atrocities and fictional mayhem in an attempt to bring attention to the human rights violations taking place with impunity in the country from which he was exiled.

In 1955, the painter and sculptor Julio Silva met the author Julio Cortázar in Paris. From the first moment, there was a spark of genuine friendship and professional respect between the two Julios which lasted until Cortázar’s death in 1984. El último combate is a homage to their friendship, gathering all of their collaborations, including the entire text of Los discursos del Pinchajeta: hitherto unpublished in Spanish in a translation by Aurora Bernárdez and Cortázar himself. The volume also includes Silvalandia; the text “Un Julio habla del otro,” in which Julio Cortázar describes Julio Silva; the correspondence between the two; and, as an added bonus, “La pluma y la tijera,” an interview with Silva conducted by Saúl Yurkievich, a close friend of both the Julios, about their way of working together.

Kronoper & famer [1962] är ett av den latinamerikanske 1900-talsmästaren Julio Cortázars mest lästa och älskade verk. I bokens första del dissekeras en absurd blandning av aktiviteter och föremål. Därefter redogör berättaren för de besattheter och böjelser som kännetecknar hans familj. Men det är främst på historierna om kronoperna och famerna som bokens berömmelse vilar. Cortázar låter sina fantasifigurer framträda i en rad bisarra situationer. Med lekfullt djupsinne och absurd humor väver han trådar långt in i de mänskliga egenheternas labyrinter. Denna utgåva avslutas med tre nytillkomna historier om kronoperna och famerna. Dessa hittades i en byrålåda av Cortázars änka efter hans död och görs här för första gången tillgängliga på svenska i bokform. I översättning av Karin Sjöstrand. »Dessa absurda små historier är om möjligt ännu underbarare än jag kunnat föreställa mig. För här ställs inte bara verkligheten på sin spets. Här främmandegörs den, och därmed människan själv, ända in i sina grundvalar, och återuppstår därmed i en skinande ny dager. Det är naturligtvis mycket oroande men också fasansfullt roligt. Det är faktiskt obeskrivligt befriande.« JENNY HÖGSTRÖM, HELSINGBORGS DAGBLAD »Att läsa Cortázar är att, samtidigt man skrattar sig halvt fördärvad, fyllas av den upplyftande och leende insikten att litteraturen förmår göra allting nytt. Har man ännu inte stiftat bekantskap med detta egensinniga författarskap finns nu ett gyllene tillfälle. Så jag kapitulerar, säger helt enkelt: läs den...« JOHN SJÖGREN, UPPSALA NYA TIDNING »Det är korta, roliga, underfundiga och helt vansinnigt absurda texter, egentligen omöjliga att referera. Här ställs på författarens typiska vis allt på huvudet...« MATS GELLERFELT, SVENSKA DAGBLADET »Cortázar bränner av hela sitt fantasifulla fyrverkeri i dessa udda berättelser. Hans korta texter, helst 1-2 sidor, kan intas som medicin mot det tråkiga, mot det okultiverade utan att det snobbiga tillåts sätta ned sina välputsade skor. Det är ett sätt att tänka på som gör att du som läsare måste hålla dig alert: belöningen är en större, rikare värld.« BJÖRN KOHLSTRÖM, BERNUR »Cortàzar tar sönder berättelser, vinner ny mark och raserar åter, just för att uppnå raserandets uppfriskande eufori. Man skrattar. Man försöker komma bakom kulisserna och inser snart vad man gått miste om i den användbara förmågan att kunna se bortom det närvarande i denna fördunklade värld.« BENNY HOLMBERG, TIDNINGEN KULTUREN

Verano de 1972, Julio Cortázar recibe en Saignon, las pruebas de galera del Libro de Manuel y decide corregirlas lejos de su casa. Durante unos días abandona la ciudad francesa y a bordo de Fafner, su querida camioneta Volkswagen, recorre la Provenza con la única compañía de unas latas de conserva, vino tinto y una máquina de escribir. El resultado de esta travesía singular es esta breve obra maestra, donde la meta más significativa no será el libro corregido, sino las reflexiones laterales, el taller secreto que lo sustentaba, el modo de vida que permite una vida excepcional. Summer 1972. In Saignon, France, Julio Cortázar receives the galley proofs of Libro de Manuel and decides to correct them away from home. For several days he abandons Saignon and in “Fafner,” his beloved Volkswagen van, he tours Provence in the exclusive company of a few tins of food, some red wine, and a typewriter. The result of this singular journey is a brief masterpiece in which the most significant focus is not the book that was to be corrected but rather the parallel reflections, the secret workshop that support it, the way of life that permitted an exceptional existence.

Hoppa hage har hyllats som ett av 1900-talets stora romantekniska experiment. Det är en bok som kan bli två, om man väljer att följa den alternativa läsplanen. Men först och främst är det en storslagen kärleksroman som utspelar sig under sent femtiotal, existentialismens, bohemernas och jazzens decennium. Huvudpersonen Horacio Oliveira är en vinddriven argentinsk intellektuell som söker meningen med livet vid kaféborden i Paris. Där möter han den trolska Maga från Uruguay. Tragiska omständigheter skiljer dem åt, Maga försvinner utan spår och Oliveira söker sig tillbaka till Latinamerika för att leta efter henne. JULIO CORTÁZAR [1914 1984] är en av det förra seklets största och mest älskade författare. Han har haft en oöverskådlig betydelse för utvecklingen av den moderna latinamerikanska prosan.» Den som inte läser Cortázar är fördömd. Att inte läsa honom är en allvarlig, osynlig sjukdom som med tiden kan få fruktansvärda följder. Något i stil med en man som aldrig har smakat persikor. I tysthet skulle han bli allt sorgsnare... och antagligen skulle han så småningom tappa håret.« PABLO NERUDA

El dibujo a tinta de la portada es de Ricardo Martínez. Apareció en la primera edición de Pedro Páramo, que se terminó de imprimir el 19 de marzo de 1955. Editorial RM is publishing this facsimile of the first edition (1967) of Julio Cortázar’s “La vuelta al día en 80 mundos” designed by Julio Silva. The author creates a collage of scattered prose pieces accompanied by images and drawings, blurring the bounds of literary genres and transforming the reading of the book into a genuine adventure within his own literary, poetic, and artistic world. “I owe the title of this book to my namesake Jules Verne, and to Lester Young the freedom to alter the saga of Phileas Fogg without committing an offense against it.” Julio Cortázar

Written in 1950 (just before the fall of Perón's government), Final Exam is Julio Cortázar's bitter and melancholy allegorical farewell to an Argentina from which he would soon be permanently self-exiled. In a surreal Buenos Aires, a strange fog has enveloped the city to everyone's bewilderment. Juan and Clara, two students at a college called "The House," meet up with their friends, and, instead of preparing for their final exam, wander the city, encountering strange happenings and pondering life in cafés. All the while, they are trailed by the mysterious Abel. With its daring typography, shifts in rhythm, as well as wildly veering directions of thought and speech, Final Exam breaks new ground in the territory of stream-of-consciousness writing. Darkly funny—and riddled with unresolved ambiguities—Final Exam is one of Cortázar's best works. Author of Hopscotch and Blow-Up, Julio Cortázar's (1914-1984) was a novelist, poet, essayist, and short-story writer. He was born in Brussels, lived in Argentina, but moved permanently to France in 1951, where he became one of the twentieth century's major experimental writers.

Autonauts of the Cosmoroute is a travelogue, a love story, an irreverent collection of visual and verbal snapshots. In May 1982, Julio Cort zar and Carol Dunlop climbed aboard Fafner, their VW camper van, and embarked on an exploration of the uncharted territory of the Paris-Marseilles freeway. It was a route they d covered before, usually in about ten hours, but his time they loaded up with supplies and prepared for an ardous voyage of thirty-three days without leaving the autoroute. Along the way they would uncover the hidden side of the freeway and record The trip's vital minutiae with light-hearted abandon. At roadside rest areas, armed with typewriters, cameras, and mutual affection, the authors composed this book.

Pered vami - "Igra v klassiki". Kniga, kotoruju literaturnye kritiki traditsionno sravnivajut to s "Igroj v biser" Germana Gesse, to s "Ulissom" Dzhejmsa Dzhojsa. Kniga, schitajuschajasja svoeobraznym etalonom magicheskogo realizma. "Igra v klassiki". Tekst v tekste. Roman, v kotorom misticheskie otkrovenija podlezhat zhestkoj klassifikatsii, a obychnye sobytija obretajut glubinnyj, mnogourovnevyj smysl. Kniga, bez kotoroj ne bylo by ne tolko Faulza i Koelo, no dazhe i "pozdnego" Markesa!" Igra v klassiki" - znamenityj roman Khulio Kortasara, gde on daet novyj vzgljad na vzaimootnoshenie formy i soderzhanija v literaturnom proizvedenii. Roman-eksperiment mozhno chitat dvumja sposobami - linejno ili vkljuchaja v povestvovanie dopolnitelnye glavy. Perevodchik: Sinjanskaja Ljudmila Petrovna

Julio Cort?zars Liebesgeschichten kommen auf leichten Füßen und scheinbar verspielt daher, und die Liebe wird in den vielfältigsten Formen aufgefächert: Ein Ehepaar versucht, ihr nach zwanzig Jahren auf freundschaftliches Miteinander reduziertes Leben wieder mit Energie und Verlangen aufzuladen; "das Fräulein Cora" tut als Krankenschwester mehr als ihre Pflicht; das Spiel der Annäherung in einer U-Bahn führt zu einer Katastrophe. Die hier zusammengestellten Liebesgeschichten sind ein weiterer Beweis für die außerordentliche Kunst Cort?zars, die Leser zu entführen, zu verführen, im schönsten Sinn des Wortes zu becircen.

En este libro, Cortazar ofrece a sus lectores artefactos sutiles, perfectos y desmontables que apelan en igual medida a la sensibilidad estetica, la suspicacia linguistica y la inteligencia descifradora. Son relatos escritos en los bordes del azar y el ajedrez, de la logica y del coup de des, que apuntan a descubrir nuevas perplejidades ante los viejos enigmas: las pasiones, las vidas imaginarias, los espacios y tiempos paralelos y las ficciones cotidianas. La lengua y su infinito juego de combinaciones es, en estos relatos, protagonista indiscutible. ENGLISH DESCRIPTION All Fires the Fire offers eight great examples of the creative fullness that encompasses Cortazar's stories. From the exasperated metaphor of human relationships that is "La autopista del sur" through the masterpiece that is "El otro cielo," Cortazar once again paves the way to stories that are a must-read for lovers of the story genre in general. "La salud de los enfermos," "Reunion," "La senorita Cora," "La isla a mediodia," "Instrucciones para John Howell," and "Todos los fuegos el fuego" are a celebration of intelligence, passion, and genius.

Historier om kronoper og famøser Julio Cortázar Oversat af Peer F. Bundgård Julio Cortázar (1914-1984), argentinsk forfatter. Regnes for det tredje medlem af den fantastiske litteraturs store argentinske trojka, som ud over ham bestod af Adolfo Bioy Casares og Jorge Luís Borges. I sit forord skriver Peer F. Bundgård bl.a. om Historier om kronoper og famøser:”Teksterne er en art groteske, dels højkomiske, dels dramatiske transformations-tour-de-forcer, der ikke forpasser en eneste lejlighed til at vende vrangen ud på enhver genstand, ethvert sted, enhver situation, enhver nok så triviel beskæftigelse. Som læseren snart vil se, findes der verdener, hvor vejledninger i at gå op ad trapper og i at dræbe myrer i Rom reelt er uundværlige. Og atter andre, man selv kan frembringe ved at slå en knude på et hår, montere tigre eller bygge skafotter i forhaven. Og så er der selvfølgelig den verden, som på alle punkter ligner vor – var det ikke for kronoperne, famøserne og forhåbningerne.”

As one of the main characters, the intellectual Juan, puts it: to one person the City might appear as Paris, to another it might be where one goes upon getting out of bed in Barcelona; to another it might appear as a beer hall in Oslo. This cityscape, as Carlos Fuentes describes it, "seems drawn up by the Marx Brothers with an assist from Bela Lugosi " It is the meeting place for a wild assortment of bohemians in a novel described by The New York Times as "Deeply touching, enjoyable, beautifully written and fascinatingly mysterious." Library Journal has said 62: A Model Kit is "a highly satisfying work by one of the most extraordinary writers of our time."

A young girl spends her summer vacation in a country house where a tiger roams... A man reading a mystery finds out too late that he is the murderer's victim... In the stories collected here--including Blow-Up, on which Antonioni based his film--Julio Cortazar explores the boundary where the everyday meets the mysterious, perhaps even the terrible. This is the most brilliant and celebrated book of short stories by a master of the form.

Once relatos en los que Cort zar vuelve a erigirse como el gran cuentista argentino. «Tambi n en el ajedrez y en el amor hay esos instantes en que la niebla se triza y es entonces que se cumplen las jugadas o los actos que un segundo antes hubieran sido inconcebibles. Alguien que anda por ah (1977) re ne once cuentos en los que Cort zar vuelve a superarse a s mismo. Se abre con la inquietante melancol a de "Cambio de luces" y culmina con la violencia policial de "La noche de Mantequilla". Cort zar no s lo crea climas y situaciones irrepetibles, tambi n es capaz de sorprender con proezas estil sticas como "Usted se tendi a tu lado", donde la historia se narra simult neamente en dos registros distintos; o de rescatar un cuento escrito en los a os cincuenta -"La barca o nueva visita a Venecia"-, intercalando comentarios que lo cargan de iron a y matices infinitos. ENGLISH DESCRIPTION Eleven stories confirming Cort zar's status as Argentina's great storyteller. "In chess and in love, there are instants in which the fog clears, and it is then that moves are made that would have seemed inconceivable a second before." Someone Out There (1977) is a collection of eleven stories in which Cort zar again outdoes himself. It opens with the unsettling melancholy of "Cambio de luces" A Change of Light] and closes with the police brutality depicted in "La noche de Mantequilla" Mantequilla's Night]. A master not only of quirky settings and situations, Cort zar is capable of stylistic feats such as "Usted se tendi a tu lado" They Lay Down at Your Side], in which the narrative is presented in two voices simultaneously, or reviving a story originally written in the 1950s --"La barca o nueva visita a Venecia" The Ferry, or Another Trip to Venice] - and sprinkling it with commentary that imbues it with irony and infinite nuances.

Ocho relatos unidos de forma sutil que confirman a Julio Cort zar como uno de los mejores cuentistas argentinos. «A vos que me le s, no te habr pasado eso que empieza en un sue o y vuelve en muchos sue os, pero no es eso, no es solamente un sue o? Algo que est ah pero d nde, c mo. Cuando Cort zar parec a haber alcanzado la perfecci n en el g nero, Octaedro (1974) aport novedades de su maestr a incomparable a la hora de escribir cuentos. Los ocho relatos que componen Octaedro -una figura tan geom trica como misteriosa, tan perfecta como reticente- entremezclan cierto contenido social y pol tico que Cort zar hab a abordado en Libro de Manuel (1973) con sus tem ticas m s recurrentes: el amor, el sue o, la enfermedad, la muerte, el umbral entre lo cotidiano y lo fant stico. Pero, adem s, estos relatos funcionan como caras que, en su conjunto, van completando el sentido de la figura total: as , quien relata su propia muerte en "Liliana llorando" tendr su contracara en "Las fases de Severo". Cada una de las tramas encuentra a lo largo de este libro continuaciones alternativas, extra as formas de resonancia. Compacto y, al mismo tiempo, ilimitado; preciso y tambi n impredecible, si a un libro de cuentos le cabe el atributo de novela encubierta, no hay dudas de que es a Octaedro. ENGLISH DESCRIPTION Eight short stories, linked in a subtle way, that reaffirm Julio Cort zar as one of the best Argentinian storytellers. "You who read me, has it happened to you that a dream begins and returns in many other dreams, but it isn't that, it isn't only a dream? Something that is there, but where, how." By the time Cort zar seemed to have reached perfection in this genre, Octahedron (1974) provided new insights into his incomparable mastery when it comes to writing short stories. The eight tales in Octahedron--a figure as geometric as it is mysterious, as perfect as it is reticent--commingle certain social and political topics that Cort zar had already addressed in A Manual for Manuel (1973) with his most recurring themes: love, dreams, disease, death, the threshold between the ordinary and the fantastic. Also, these stories work as faces that, together, complete the figure in its entirety. Thus, the person recounting his own death in "Liliana Weeping" will have his counterpart in "Severo's Phases." Throughout the book, each plot finds alternative continuations, bizarre forms of resonance. Compact and at the same time limitless, precise and unpredictable, if there is a collection of short stories that could have the attribute of being a covert novel, it would unarguably be Octahedron.