Bøger af Julio Cortazar

The story of two young writers whose lives are playing themselves out in Buenos Aires and Paris to the sounds of jazz and brilliant talk, Hopscotch, written in 1963, was the first hypertext novel.

”På de store rastepladser med servicestation, butik og som regel restaurant vokser der hver nat en lille, flygtig og omskiftelig by frem, som kun vil eksistere en enkelt gang for så at blive erstattet af en anden, der ligner, men er anderledes end den foregående dags. Pludselig er byen fyldt op, og det er verdens mest internationale by med bulgarske, franske, tyske, spanske, græske og belgiske huse, dybe huse med påskrifter eller store presenninger, der dækker over mysteriet …” Ud fra devisen rejser skal være digte sætter de forelskede ’autonauter’ Julio Cortázar og Carol Dunlop sig en varm forårsdag i 1982 for at gennemføre en 33 dage lang rejse ad ’kosmostradaen’ fra Paris til Marseille i dragen Fafner – et langsommeligt rødt Folkevognsrugbrød – med hver en skrivemaskine. Og motorvejen mod syd og dens 65 rastepladser forvandles umærkeligt fra grå asfalt til klingende poesi gennem finurlige cortazarske og dunlopske betragtninger over stort og småt. Her dokumenteret ved hjælp af dagbogsoptegnelser, brevvekslinger, fotografier, skitser over ruten og ikke mindst fri fantasi. Beretningen i sin bogform er også en endelig afsked og sidste kærlighedserklæring; Carol Dunlop døde få måneder efter hjemkomsten, bare 36 år gammel.

Cortazar's stories are descriptions of ordinary moments in which something impossible quietly takes place. His characters are all innocent: things happen to them but, if they are responsible for what takes place, their responsibility is not revealed to them. They must make sense of fated events.

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.”

Novellemesteren fra Buenos Aires Julio Cortázars fascination for metroen begyndte, da han som 8-9-årig jævnligt tog med sin bedstemor fra forstaden Banfield ind til Buenos Aires for at aflægge visit hos nogle venner. For dernede, i underverdenen, er alting anderledes. Lugtene, lydene og det matte, døde lys – et fastfrosset, moderne helvede. En sort handske på en metalstang, der umærkeligt sniger sig ind på en brun handske. Et møde i en rude mellem to spejlbilleder. En passagerkontrol, der afslører, at der ved dagens slutning er gået flere mennesker ned i metroen, end der er kommet op igen; og en mand, der sætter sig for at opklare mysteriet.

Encontros (Meetings) is the largest and most prestigious book collection of interviews with Brazilian artists and thinkers. With more than 50 published titles, Encontros provides a broad panorama of Brazil's cultural and intellectual wealth. Julio Cortázar is one of the most important writers of the 20th century. This special volume of the Encontros Collection is the result of interviews conducted between 1970 and 1977, in Paris, Barcelona, and Saignon, by Uruguayan writer and journalist Ernesto González Bermejo. In them, he reveals a Cortázar, at the same time intimate and extremely lucid about the procedures of his writing, in engaging talks about literature and his political commitment in the last years of his life. An indispensable book to get to know this great Argentinean author.

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.

Segundo de los libros-almanaques de Julio Cortázar, se publicó por primera vez en México en 1969 y fue diseñado por Julio Silva. Cortázar se respondía a sí mismo en una autoentrevista sobre el contenido: "... en Último round hay un 'Homenaje a Alain Resnais' que se puede leer permutatoriamente, lo que modifica cada vez el sentido al mismo tiempo que conserva el clima inicial de 'L'année dernière à Marienbad'. Hay también una despedida a Teodoro W. Adorno, que se ha convertido al catolicismo; hay varios cuentos, largos y cortos, hay una especie de diario de un día de vida en mi aldea provenzal de Saignon. Hay una defensa de Salvador Dalí (¡oh!); hay un examen general de los problemas del erotismo en la expresión literaria latinoamericana; hay un ensayo sobre el cuento breve y sus alrededores, cuestión que me sigue preocupando y sobre la cual no se ha escrito gran cosa. ¿Te bastan esos botones, o necesitás todo el costurero?" This second of Julio Cortázar's almanac-books was first published in Mexico in 1969 and designed by Julio Silva. In an interview with himself, Cortázar described the contents: "In Último round there is a 'Homage to Alain Resnais' which can be read in a permutational fashion, in such a way that its meaning changes even as the initial atmosphere of L'année dernière à Marienbad is preserved. There is also a farewell to Theodor W. Adorno, who has converted to Catholicism; there are several stories, long and short; and there is a sort of diary of a day in my life in the Provençal village of Saignon. There is a defense of Salvador Dalí (ah!); there is a general analysis of the problem of eroticism in Latin American literature; there is an essay on the short story and its surroundings, a subject which continues to preoccupy me and about which not much has been written. Are these samples enough, or do you want the whole sewing basket?"

Includes letters from Silva to the artist, and an interview.

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

"Orbes 1959-2016 es un poemario excepcional. Con intelecto diáfano y maestría verbal, Mecedes Cortázar crea aquí un complejo tapiz de sensaciones visuales, auditivas y táctiles. Ciudades y mapas sirven de marco a reflexiones poético-filosóficas sobre el ser y el sentir. No importa lo que esté describiendo, bien sea una multitud en confusión, un mapamundi antiguo, el cosmos de una naranja o Afrodita cabalgando, la poeta logra imprimir sus imágenes con gran destreza en nuestra memoria. Este es un libro de tonos variados y aguzadas alusiones vitales en el que con sabia mordacidad Mercedes logra un inusitado canto a la vida como una aventura desquiciada". Prof. Dra. Carlota Caulfield, Profesora de Español y Estudios Hispanoamericanos, Mills College, Oakland, California Orbes 1959-2016 contains the collected poetry of Mercedes Cortázar up to the time of publication. "Orbes 1959-2016 is an exceptional book of poems. With crystal clear intellect and verbal mastery, Mercedes Cortázar creates here a complex tapestry of visual, auditory and tactile sensations. Cities and maps are used as a framework for poetic-philosophical reflections about being and feeling. It does not matter what is being described, a crowd in confusion, an old mappa mundi, the cosmos in an orange, or Aphrodite riding the waves, the poet is able to imprint her images with great dexterity in our memory. This is a book of various and sharp, vital allusions, in which with wise and biting wit Mercedes succeeds in creating a chant to "life as an unhinged adventure." --Carlota Caufield Professor of Spanish and Spanish American Studies W. M. Keck Professor in Creative Writing Mills College, Oakland, California This is the most chilling and distressing statement in Cuban poetry posterior to 1959 with respect to the tangle of negativities and dispersions faced by a nation that has not been possible in its totality. Compiled here are more than fifty years of a poetic oeuvre up to the present time, dispersed in a multitude of publications or, in the most lamentable of cases, unpublished, of one of the most vigorous voices in Cuban poetry. Orbes 1959-2016 represents a will power of poetic justice and literary archaeology that is an essential contribution not only to the work of the poet, but also to that of the Cuban literary community in exile, of the Latinos residing in the United States, and lastly to the study of postrevolutionary Cuban literature. --Alberto Abreu Arcia, literary critic and author of Short Story Writers of El Puente and Silences in the Cuban Narrative Canon; For a Black Cuba: Literature, Race and Modernity in the Nineteenth Century; and other titles key to understanding the evolution of post-revolutionary Cuba

Libro de Manuel es la gran novela política de Julio Cortázar.Libro de Manuel (1973) es una síntesis polémica de las búsquedas estéticas de Cortázar y de su interés por los movimientos revolucionarios de aquellos años. Puede leerse como un desplazamiento natural de los personajes y los temas de Rayuela hacia las urgencias y los fervores de un mundo convulsionado. Pero conserva de aquella novela fundamental toda la fantasía, el desenfado y la frescura que han hecho de Cortázar un escritor único e irrepetible dentro del panorama literario del siglo XX.Reseña:«Cortázar es uno de los mejores escritores argentinos.»Adolfo Bioy CasaresENGLISH DESCRIPTIONThis, Cortázar's great political novel, focuses on the political condition of Latin America. It is a controversial blend of his aesthetic searches and his interest in the revolutionary movements of those times. This manual for the child Manuel is a sort of collage of press clippings, and among other things it reveals torture techniques used by U.S. soldiers in the Far East and juxtaposes them to similar tortures suffered by Latin American political prisoners.

A life-altering road trip with one of the greatest writers of the twentieth century.

"The Instruction Manual," the first chapter, is an absurd assortment of tasks and items dissected in an instruction-manual format. "Unusual Occupations," the second chapter, describes the obsessions and predilections of the narrator's family, including the lodging of a tiger-just one tiger- "for the sole purpose of seeing the mechanism at work in all its complexity." Finally, the "Cronopios and Famas" section delightfully characterizes, in the words of Carlos Fuentes, "those enemies of pomposity, academic rigor mortis and cardboard celebrity-a band of literary Marx Brothers." As the Saturday Review remarked: "Each page of Cronopios and Famas sparkles with vivid satire that goes to the heart of human character and, in the best pieces, to the essence of the human condition."

En este volumen, los lectores y lectoras encontrarán todas las colecciones de cuentos de Cortázar publicadas entre 1969 y 1982 y, como novedad, aquellos relatos aparecidos póstumamente en Papeles inesperados (2009) que por título o fecha pudieron pertenecer a ellas:Último round, Octaedro, Alguien que anda por ahí, Un tal Lucas, Queremos tanto a Glenda y Deshoras conforman este segundo volumen de los cuentos completos cortazarianos.«La verdadera revolución de Cortázar está en sus cuentos.»ENGLISH DESCRIPTIONCortazar is a must for any reader. His stories brilliantly portray unlikely beings full of magic and tenderness. They are the greatest synthesis of his literary work as well as an opportunity to embark on an endless voyage, guided by the hand of a true master. Cortazar's literature is brought to life in three exceptional volumes written by this immortal cronopio, one of the best storytellers of the twentieth century.The collection includes an in-depth introduction by Mario Vargas Llosa. Includes short stories published between 1969 and 1982 likeÚltimo round, Octaedro, Alguien que anda por ahí, Un tal Lucas, Queremos tanto a Glenda y Deshoras. Also the extensive assortment of writings and unedited texts written throughout Cortázar's life published as Papeles inesperados / Unexpected Writings

Que cada cosa cruel sea tú que vuelves, de la colección «Poesía portátil» constituye una ventana a la poesía de uno de los escritores argentinos más relevantes del siglo XX. La obra de Julio Cortázar es uno de los pilares de la literatura de habla hispana del siglo XX. Conocido especialmente por sus cuentos y novelas, el autor argentino era un poeta hasta cuando escribía en prosa y supo imprimir en sus versos la misma emoción que conmocionó en obras como Rayuela.-------«No me des tregua, no me perdones nunca.Hostígame en la sangre, que cada cosa cruel sea tú que vuelves.¡No me dejes dormir, no me des paz!Entonces ganaré mi reino,naceré lentamente.No me pierdas como una música fácil, no seas caricia ni guante;tállame como un sílex, desespérame.» ENGLISH DESCRIPTION "An inside look into the poetry of one of the most important Argentine writers of the 20th century. Julio Cortazar's work is one of the great pillars in Spanish-language literature of the 20th century. Renowned for his short stories and novels, the Argentine author was a poet even when writing prose and knew how to infuse in his verses the same emotion evident in works like Hopscotch."

Newly expanded edition of a classic: the first and only collection of Cortazar's poetry to appear in English.

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.

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