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In secondary schools, stories like “Continuity of the Parks” or “Axolotl” are still read, but that does not mean that in the cultural field he is an author who retains vitality. Does his work or his personal style survive? INFOBAEfebruary , (: p.m.) The Argentine writer Julio Cortázar, Latin American emblem. Reading The Argentine writer Julio Cortázar, Latin American emblem. Reading TAGS: WRITER JULY CORTAZAR years after the death of Julio Cortázar: the writer who was a style in himself The poet César Vallejo wrote, more than a century ago: “I will die in Paris in a downpour, a day of which I already remember.” As a joke, perhaps as a prophecy, Julio Cortázar recited those verses and, indeed, he died in Paris on a rainy February , “I refused to accept that Julio was mortal, and I preferred to remember him alive, eternally young,” he wrote. the Uruguayan Cristina Peri Rossi, who knew how to be her friend. The author of “Hopscotch” and classic stories like “Casa Tomada” and “Axolotl”, translator of Edgar Allan Poe, managed to leave his mark on literature. But if we learned anything from Dorian Gray, it's that it's not just people who age. Time also passes for works, sometimes even more cruelly.
In that sense, it is worth asking if Cortázar's work remains “alive, eternally young.” It is not easy: each era has its own way of reading and, as with Sabato or Mujica Láinez, it is likely that the memory of having read them is more powerful than the reading itself. AN INDIRECT INFLUENCE “I think Cortázar is an enormous writer whose work survives above all through his stories,” Liliana Heker tells Infobae Leamos. “I'm not saying all of them, some must Cell Phone Number List undoubtedly be minor, but he has a truly exceptional work of short stories, which I believe is becoming historic for each generation. Stories like 'The Pursuer', 'The Gates of Heaven', countless stories remain anthological." At the time of The Golden Beetle, a Latin American literary magazine directed by Abelardo Castillo in the s, “a good percentage of the short story contests we organized were a copy of Cortázar,” explains Heker. Luckily, “those writers in which Cortázar was noticeable have been erased.” “Beyond that, he is a master of narrative,” describes the author of “Zona de Cleavage,” although “his novelism is more questionable.
There is an essay by Borges in which he talks about the influence of Walt Whitman: he says that it is so great that no one realizes that he was really influenced by Whitman. If something is very, very big, says Borges, we do not see it, in the same way that we cannot perceive that the Earth is round. Something similar could be said of Cortazar. “He happily became a writer who indirectly influences all of us,” says Heker, although “not in a recognizable way.” For example, “the permission to break certain rules, although to break certain rules you have to know why; Cortázar was very skilled at doing it, it's not that he varied the placement of the punctuation marks just because, but he was very efficient. That, well read, can be a learning experience, not to copy it but to be authorized to break certain strict rules when the text requires it.” THERE IS A CONFLICT Let's be honest, reader. If this note exists, if someone wonders about Cortázar's validity, it is because there is a conflict. In secondary schools people continue to read “Continuity of the Parks” or “Axolotl”, but that does not mean that in the cultural field he is an author who retains vitality.
In that sense, it is worth asking if Cortázar's work remains “alive, eternally young.” It is not easy: each era has its own way of reading and, as with Sabato or Mujica Láinez, it is likely that the memory of having read them is more powerful than the reading itself. AN INDIRECT INFLUENCE “I think Cortázar is an enormous writer whose work survives above all through his stories,” Liliana Heker tells Infobae Leamos. “I'm not saying all of them, some must Cell Phone Number List undoubtedly be minor, but he has a truly exceptional work of short stories, which I believe is becoming historic for each generation. Stories like 'The Pursuer', 'The Gates of Heaven', countless stories remain anthological." At the time of The Golden Beetle, a Latin American literary magazine directed by Abelardo Castillo in the s, “a good percentage of the short story contests we organized were a copy of Cortázar,” explains Heker. Luckily, “those writers in which Cortázar was noticeable have been erased.” “Beyond that, he is a master of narrative,” describes the author of “Zona de Cleavage,” although “his novelism is more questionable.
There is an essay by Borges in which he talks about the influence of Walt Whitman: he says that it is so great that no one realizes that he was really influenced by Whitman. If something is very, very big, says Borges, we do not see it, in the same way that we cannot perceive that the Earth is round. Something similar could be said of Cortazar. “He happily became a writer who indirectly influences all of us,” says Heker, although “not in a recognizable way.” For example, “the permission to break certain rules, although to break certain rules you have to know why; Cortázar was very skilled at doing it, it's not that he varied the placement of the punctuation marks just because, but he was very efficient. That, well read, can be a learning experience, not to copy it but to be authorized to break certain strict rules when the text requires it.” THERE IS A CONFLICT Let's be honest, reader. If this note exists, if someone wonders about Cortázar's validity, it is because there is a conflict. In secondary schools people continue to read “Continuity of the Parks” or “Axolotl”, but that does not mean that in the cultural field he is an author who retains vitality.