Book : Hopscotch, Blow-up, We Love Glenda So Much (everyman

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Review Formidable. . . . Probably the finest single-book option you’ll ever have for the Spanish master. . . . To read it now is to be nearly dazed that someone could do what Cortazar does. -The Boston Globe These three groundbreaking works by Julio Cortazar-a major figure of world literature and one of the founders of the Latin American Boom-are published together in one volume for the first time, in honor of the centenary of his birth. With his influential “counternovel” HOPSCOTCH and his unforgettable short stories, Cortazar earned a place among the most innovative authors of the twentieth century. HOPSCOTCH is a nonlinear novel about an Argentinean writer living in Paris; it consists of 155 short chapters that the author advises the reader to read out of order. BLOW-UP and WE LOVE GLENDA SO MUCH bring together the most famous of Cortazar’s short fiction, including “Axolotl,” “End of the Game,” “The Night Face Up,” “Continuity of Parks,” “Bestiary,” and “Blow-Up”. These are stories in which invisible beasts stalk children in their homes, the reader of a mystery finds out that he is the murderer’s intended victim, an injured motorcyclist is pursued by Aztec warriors, and a man becomes a salamander in a Parisian zoo. In Cortazar’s work, laws of nature, physics, and narrative fall away, leaving us with an astonishing new view of the world. About the Author JULIO CORTÁZAR (1914-1984) was an Argentine novelist and short story writer. Born in Belgium, he spent most of his childhood in Buenos Aires, and moved to France as an adult. Cortazar influenced an entire generation of Spanish-speaking readers and writers in the Americas and Europe. ILAN STAVANS teaches at Amherst College. Author of The Hispanic Condition and Spanglish, he is editor of The Norton Anthology of Latino Literature, The Oxford Book of Latin American Essays, and The Oxford Book of Jewish Stories. Born in Mexico, he was the host of a PBS television program from 2001 to 2006 called Conversations with Ilan Stavans, and is the recipient of a Guggenheim Fellowship, the Latino Literature Prize, and Chiles Presidential Medal. Excerpt. © Reprinted by permission. All rights reserved. Excerpted from the Introduction ---All terror is a simplicity. -Ray Bradbury, Long After Midnight‘‘Only one thing was strange: to go on thinking as usual . . .’’ Thus announces Julio Corta zar’s amphibious narrator in ‘‘Axolotl,’’ a lucid, unsettling story about a Parisian man (or is it a salamander?) who spends his day visiting the aquarium at the Jardin des Plantes, until it becomes apparent he is trapped in the body of a salamander (or is it a man’s?). Everything is strange in this tale: a routine activity quickly turns into a phantasmagoria. Without fully realizing it, the reader witnesses a process of transubstantiation. Mind you, it isn’t like Gregor Samsa in Kafka’s Metamorphosis because middle-class angst is not one of Corta zar’s themes. He is attracted - possessed, even - by displaced identities and the dislocation of contemporary life. Are we truly who we say we are? Look carefully and you’ll realize that the self is less stable in its presentation than we tend to think; in fact, it is in constant mutation, never static, always in the act (and art) of becoming.Strange? Well, everything around us is strange, even incongruous. To think otherwise is to be a fool. Baudelaire believed that strangeness is a necessary ingredient in beauty. This sense of strangeness is at the heart of Corta zar’s oeuvre and distilled in this volume are, undoubtedly, the best examples of his philosophy. My own favorite stories are here. They were originally included in three collections, Bestiario (1951), Final del juego (1956), and Las armas secretas (1959), and they belong to Corta zar’s first creative period. Roughly, that period stretches from 1938, when he published his first book, until 1967, when he published the extraordinary
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