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 continued many of his activities, but without the same enthusiasm.

Queremos tanto a Glenda / Julio Cortázar; prólogo, Fernando Iwasaki – Details – Trove

I did it quite ingenuously, and Eel have no excuse. At the end of chapter 73, the reader is sent to chapter 1. He now loves the present island more than any of the many women in his past. An amplified edition of Final del juego is published. Thank you anillp using the catalog.

He combines fantastic plots with commonplace events and characters, and looks for new ways for literature to represent life. Since they tend to overlap with and intersect one another, stories discussed below under a given heading may reappear under another. But this literary speculation is no doubt encouraged by the extratextual information that is available to us: Her fans cannot tolerate the unpredictability of a rolling camera, preferring the invariability of the still.

They then appear indignantly on his doorstep, to berate him for spoiling their hats and being profligate with toothpaste. I will very briefly mention two other stories that use music in a similar way.

Accessible though it generally is, Los premios also contains a series of cryptic, contemplative episodes that perhaps sit uncomfortably beside the rest but clearly portend the intellectual self-consciousness of Rayuela. There was an error while adding the following items. Once on board the Malcolm, the passengers are faced with crew members with whom they can hardly communicate.

They themselves have become slaves to that illusion, it is their form of sickness, and the mother is now protecting them by playing along with it.

There, it was punctuated by strange, unsettling landscapes done by Paul Delvaux, the Belgian surrealist painter.


He begins his activities as a member of the Russell Tribunal on human rights. It is important to recognize, however, that the construction of the novels is carried out through an associative rather than a logical process.

Ultimately, it would lead him into political involvement. The second sentence of the story informs us that Irene does not know what is going to happen; we educe from it that the narrator does, and possibly the proconsul too. His Aniillo Aires self represents the epitome of middle-class behavior running along the expected channels, whereas in Corttazar his existence is bohemian and precarious.

Plied with fierce rum and tobacco, Felipe falls into the clutches of Orf, a man with an immense tattoo of an eagle Zeus, disguised as an eagle to carry away Ganymede? His analytical detachment sits uncomfortably with his feeling of a need to be involved in a way he can feel is authentic: Borges, more adventurously, makes the Minotaur the narrator and hides that fact till the end of his story.

Marco duly dies, Jeanne commits suicide, her death not quite engineered like that of Marco, but brought about by more subtle, modern means. Several things become ever more clear: What light is light, if Silvia be not seen? At a later social gathering, Fernando is obsessed with whether she present or not, and when, at last, she is no longer, his sense of loss is palpable. Quite often the metaphor is applied to the storyteller, to the act of spinning the narrative yarn.

These two ideas—the arrival at a watershed and the arresting of movement—are associated with a crucial transitional moment in time, high noon.

Rice is told that no time is to be wasted before he takes over the leading male role in the second act that is about to begin. For there is a cultural argument here, too.

Like the volumes in its companion series Understanding Contemporary American Literature, these books provide introductions to the lives and writings of prominent modern authors and explicate their most important works. The rational explanation is that Fernando is getting drunk and that part of him is still credulously innocent and childlike.

Queremos tanto a Glenda

Once again a boy is confronted with two women, cortazag mother and a potential lover. Denise is face up; someone, perhaps Denise again, is face down. Trying to explain the appeal of boxing for him, he told Prego that he had evolved a view of boxing that set aside the violence and the blood, which repel so many people, and converted the sport into a game of skill.


Elsewhere in that play 3.

The adolescent must learn to swim by himself; nonetheless, seeing his uncertainties, at one stage a wave of protectiveness overcomes Denise, she mothers him and embarrasses him in the process; she will help him along the road to independence, despite herself. According to those, the world is governed by a more or less harmonious set of laws and principles, relationships of cause and effect, and clearly defined psychology.

William Castro: Notes on Modernization as Crime

Then she stops at a last picture, which portrays a woman with a cat. It becomes clear that for both of them the Minotaur stands for deep-seated and disturbing passions.

Although Bruno seems genuinely concerned about the way in which Johnny is destroying himself and wasting such talent, he pursues him out of pro- 28 THE STORIES fessional interest, rather as paparazzi pursue the objects of their attention. But later, routine resumes its sway. However, before any further progress is made, in the third entry the re talks once more of his difficulties in getting going with the story, and he takes a diversion naillo an obscure passage written by Jacques Derrida, in moebkus he finds confirmation that his goal is unattainable: The short-story writer aesthetically exploits the physical limits of the genre.

When Fernando first arrives at the house of some of these friends their young daughter Graciela rushes into his arms and settles herself on his knee, as if expecting to be told a story.

Yet, broadly, the interpretations throughout history of the symbolic import of the death of the monster at the hands of Theseus have been these: