{"id":130116,"date":"2018-10-17T11:00:48","date_gmt":"2018-10-17T15:00:48","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=130116"},"modified":"2018-10-17T11:16:12","modified_gmt":"2018-10-17T15:16:12","slug":"bring-back-cortazar","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2018\/10\/17\/bring-back-cortazar\/","title":{"rendered":"Bring Back Cort\u00e1zar"},"content":{"rendered":"
\"\"<\/a>

Argentine writer Julio Cort\u00e1zar at home in Paris. Photo: Ulf Andersen \/ Getty Images.<\/p><\/div>\n

Sometimes I think the only thing we did in school was read Julio Cort\u00e1zar. I remember taking tests on \u201cThe Night Face Up\u201d in each of my last three years of school, and countless were the times we read \u201cAxolotl\u201d and \u201cThe Continuity of Parks,\u201d two short stories that the teachers considered ideal for filling out an hour and a half of class. This is not a complaint, since we were happy reading Cort\u00e1zar: we recited the characteristics of the fantasy genre with automatic joy, and we repeated in chorus that for Cort\u00e1zar the short story wins by knockout and the novel by points, and that there was a male reader and a female reader and all of that.<\/p>\n

The tastes of my generation were shaped by Cort\u00e1zar\u2019s stories, and not even the xeroxed tests could divest his literature of that air of permanent contemporaneity. I remember how at sixteen, I convinced my dad to give me the six thousand pesos that Hopscotch<\/em> cost, explaining that the book was \u201cseveral books, but two in particular,\u201d so that buying it was like buying two novels for three thousand pesos each, or even four books for fifteen hundred pesos each. I also remember the employee at the Ateneo bookshop who, when I was looking for Around the Day in Eighty Worlds<\/em>, explained to me patiently, over and over, that the book was called Around the World in Eighty Days<\/em>\u00a0and that the author was Jules Verne, not Julio Cort\u00e1zar.\u00a0<\/p>\n

Later, at university, Cort\u00e1zar was the only writer who was undisputed. Dozens of wannabe Oliveiras and Magas milled about on the lawns at the University of Chile\u2019s college of philosophy, while some professors endeavored to adopt Morelli\u2019s speculative distance in their classes. Almost all seductions began with a pitiful rendition of chapter seven of Hopscotch<\/em> (\u201cI touch your lips, with a finger I touch the edge of your mouth \u2026\u2009\u201d), which at that time was considered a stupendous text, and there were so many people speaking Gliglish (\u201camalating the noeme,\u201d as they say) that it was hard to get a word in in Spanish.<\/p>\n

I never liked the stories in Cronopios and Famas<\/em> or A Certain Lucas<\/em>: the fleeting, playful prose was lacking, I thought, in real humor. But on the other hand, I don\u2019t think anyone could deny the greatness of stories like \u201cHouse Taken Over,\u201d \u201cWe Love Glenda So Much,\u201d \u201cThe Pursuer,\u201d and another twenty or thirty of Cort\u00e1zar\u2019s stories. Hopscotch<\/em>, meanwhile, is still an astonishing book, although it\u2019s true that sometimes we\u2019re astonished that it has astonished us, because it can often sound old-fashioned and overwrought. But still, today, the novel is full of truly beautiful passages.<\/p>\n

In a recent essay, the Argentine writer Fabi\u00e1n Casas recalls his first reading of Hopscotch<\/em> (\u201cit was all cryptic, promising, wonderful\u201d) and his later disappointment (\u201cthe book started to seem naive, snobbish, and unbearable\u201d). That is my generation\u2019s experience: sooner rather than later we end up killing the father, even though he was a liberating and quite permissive dad. And it turns out that now we miss him, as Casas says at the end of his essay, in a happy, sentimental turn: \u201cI want him to come back. I want us to have writers like him again: forthright, committed, beautiful, forever young, cultured, generous, loud-mouthed.\u201d<\/p>\n

I agree: bring back Cort\u00e1zar. It\u2019s a mysterious mechanism, the one that makes an admired writer become, suddenly, a dispensable legend. But literary fashions are almost never based on real readings or rereadings. Maybe now, when everyone drags his memory through the mud, we regret having denied him three times. Maybe we\u2019re only just now ready to read Cort\u00e1zar, to truly read him.<\/p>\n

\u2014Translated from the Spanish by Megan McDowell.<\/em><\/p>\n

 <\/p>\n

Alejandro Zambra is a Chilean writer who lives in Mexico City. His books include\u00a0<\/em>Multiple Choiceand\u00a0<\/em>My Documents, among others.<\/em><\/p>\n

Megan McDowell is a literary translator from Kentucky who lives in Santiago, Chile.<\/em><\/p>\n

Excerpted from\u00a0<\/em>Not to Read<\/a>, by Alejandro Zambra, translated by Megan McDowell, published by Fitzcarraldo Editions.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Alejandro Zambra proposes we revisit the work of a literary 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