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25 YEARS WITHOUT Julio Cortazar.

start with the end. I visited a few days before his death in his apartment on Paradise Street. He offered me a stiff drink at eleven in the morning of that winter of '84. We talked for the first time as friends. For the first time I beat him in awe that I could approach him in the ways of simple afecto.Hablamos of fellow Canadian Carol Dunlop, who had died two years earlier, the expeditionary who accompanied him on his journey a month by the Highway South. With that sincerity teenager who apparently never lost I said "What luck we could make that trip!". We had seen many times before, but never at home with a glass of whiskey in his hand at that early hour! I see now in front of the Embassy of Argentina in Paris, in the demonstration that lasted for six years, every Thursday , winter and summer, in solidarity with the Mothers of Plaza de May. I remember that unmistakable voice, those huge eyes, his bearing prominent, the strong presence and a quiet time.

His patient kindness and understanding for those who had lost everything-first exiled relatives of the disappeared, and in the midst of the collective tragedy clung to his arm like a castaway on a log. He knew it could be comforting and lavished his patience and manly tenderness. "Julio, how does a habeas corpus?" "But my dear," said stroking a white head, ask that to the lawyers, and drew more than one present in front of the embassy, \u200b\u200bthey know more than me. " "How pathetic your story in which someone you sleep with anesthesia in the operating room wakes up in the torture chamber. Only fiction can be both. "To which I responded with a gentle rejection." Who knows if it happened in reality ... "He began 1981, the dictatorship seemed eternal, still had more than one year to the disaster of the Falklands. And the Argentine exile to rally in solidarity, reporting and important reflection of that time, the Colloquium in Paris in July that would give a definite theme with the title of his speech Denial of oblivion. He talked of the Argentine military circle added to the Inferno of Dante, of necessity, in that intense moment of the meet- communion in the French Senate, feeling the missing present, to share something of her life, her dreams, her journey through the world and not just institutional information about what happened. Was opening the doors of memory, with truth and justicia.Retrocedo time: Rome 1976. On the eve of the coup meets the Russell Tribunal II on Latin America. July is among the jurors. I touched earlier report the Condor. Stories sometimes aroused the skepticism of our partners and that are now common theme of court cases for crimes against humanidad.Ya at other times I had read with passion Julio (I know of indifference against his life and his work, it's admiration or rejection). But I did not read it in the years of exile. Then I have not talked to him literatura.Cuando intelligence agents of the military dictatorship Luis Martínez, Rubén Sánchez Reisse Leandro scarves and were jailed in Geneva on charges of having attempted to collect the ransom for the kidnapping of a banker in car in which the Swiss police stop is among other things stolen from the hotel sheets where they had stayed, "he writes in July, calling for his intervention, and promise to news about the fate of Haroldo Conti. July I delivered the letters. After many efforts are revealed as a mirage más.Una Cortazarian paradox of light and shade for me had to mark his last day. I had been swimming in the pool of municipal stadium Fontenay sous Bois, a Paris suburb where he lived with my wife and my children during the last part of our exile. At one point he left the pool and suddenly noticed a body without moving slowly descending to the bottom of the pool at the deep end. I looked around looking for the lifeguard. Not appear anywhere in the middle of the splash and screams and laughter of bathers, mostly young children and I jumped into the pool and pulled him out of the hair. Had reached the bottom or near bottom. Immediately lifeguards appeared still unconscious and the boy began vomiting water. Soon a helicopter came and took him away. He would never know that little boy who saved his vida.Debo have been on the same day last July. Argentine newspapers took him and the New York Times on the part of the hospital. I like me attending a doctor Modigliani. I asked if it would be a relative of the painter. "Selo never ask," Julio said with a tone counter (probably the rejection of attaching importance to fame). He spoke a bit of Argentina, who had just visited, after the years I remember as a silent scream, and where they had received only friends not the new president Alfonsin. Soon arrived and I play along retiré.Supe that had died shortly after. In his apartment I met Juan Gelman. In the cemetery of Montparnasse in the midst of the cold wind, with Miguel Angel Estrella. Gusts blew the austere freedom and other unavoidable democracia.Como writers Julio Cortázar invites us to look at this world and imagine other worlds from a few large windows open to the prospect of everything at the same time to act. Much as it tells us important keys that offers to try to figure our way the vast book in the world with our own reading. We knew that his support for the revolutions had to accept aesthetic orthodoxies, political or philosophical beliefs of any kind. That his quest was to revolutionize everyday life, personal morality and aesthetics and not just politics and economics. At the same time we know that he was aware of what lay ahead-mountains of selfishness, power and privileges insolent, and therefore felt that there is no individual salvation and so much cynicism and so ironically contemptuous intellectual committed to action colectiva.Hubiera could be friends with less awe.

By Rodolfo Mattarollo (Consultant to the Ministry of National Human Rights) Source: Looks to SurMed information: Www.miradasalsur.com

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SEARCH FOR A TRACKER. WRITE Mario Goloboff

often said that the best of the work of Julio Cortázar is in his stories. And his novels the spoil. The first thing it still seems true. Secondly, only relatively. Indeed, Cortazar has (unlike other great storytellers in the literary history), not one or two but more than a dozen pieces that should be universal anthology of short stories. From "Casa tomada" to "All Fires the Fire" from "Letter to a Young Lady in Paris" to "The night face up "from" Continuity of Parks "to" La autopista del sur "(and many more, not to mention" The Tracker ", an extraordinary novella), one can say that their stories are of a formal invoice extreme, a perfect resolution does not lessen the poetic and, in many cases, political and ético.Es true, as all good writers, had ups and downs. Probably one of his novels (Libro de Manuel, for example) have tried to be too in tune with the times, when, in the words of Oscar Terán, "the imam of politics" drew everything, and hinder its dependence of current events or the transparency of their intentions. It is also possible that some of his books-object o Final round of the cosmoway Motornauts, containing texts that do not represent the quality. But it is an enviable prizes traditional novel with novel language and thematic hits, 62 Model Kit is of considerable daring, the most celebrated, Rayuela, is one of the best attempts to renew the novelistic genre in the twentieth century, and contains pose advanced in the pace of reading, the role of the reader and with it, the subversion of consumer habits, questioning the fact of leer.A tell and each of these novels (like so many other texts ) led him moreover, his desire, infrequent to great artists and writers, not to keep the recipe that had ensured the success, to change, to try new horizons, new risks. Risk, inclusive, of illegibility: After Rayuela (from one of its chapters, 62), begins writing a book quite different. So different, that even today is the worst reading of Cortázar: 62 Model Kit, his novel less traveled, perhaps the most bold and experimental, which comes after Rayuela, whose aura had dragged him previous books: Bestiary, End of game, secret weapons. Was, for me, many virtues writer, and perhaps the greatest of these was the constant search for new forms, new ways. As if within its mandate had been to continue working as long and not keep the facility, not repeat, no solace in his own rhetoric. Many writers of so-called boom continued, comfortably, writing things equal or worse. Cortázar, however, was, until the end, a persecutor. This is perhaps one of the secrets of his permanencia.Por Mario Goloboff (writer and university professor. Biographer Cortázar.) Source: Page 12But information: www.página12.com.ar

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text Julio Cortázar What do you like best? "He asked journalists to play along just walked through the door of the Centro de Arte Moderno in Madrid, where he arrived to attend the presentation a book collection with three previously unpublished texts Cronopios and Famas. She shrugged, perhaps inhibited by the harassment of cameras, flashes and microphones. It only took a few seconds and replied with one word: "Everyone." Their silence left many cracks for questions that swarmed over his 89 years. "And what was the favorite book of Cortázar?" a television reporter insisted. The first wife of the author of Rayuela, universal heir and executor of his work, left everyone with the desire to hear more: "Who knows. I think all too." The cold of the English capital is not intimidated woman who moved from Paris, where he has lived for decades and who shared his life with Cortázar from 1955 until the late 60's, to be present on one occasion that justified it: the publication three unpublished stories left out of Cronopios and Famas (first released by Sudamericana in 1962): Lunch, Never stop the press and Highways. Aurora rescued files left by Cortázar and first authorized publication in this deluxe edition made by The Editors Center, a tribute to the Argentine writer to 15 years after his death. This is an edition of only 100 copies made by hand, numbered and signed by the illustrator, calligrapher and editor. The texts are presented in three folders covered in hand-printed paper provided, in turn, in a case lining. A unique piece of art collectors and fans cronopios Cortazar's work that can pay what it's worth every copy: 260 euros. But these three texts are just the tip of the iceberg Cortazarian unpublished. Content director of editorial Alfaguara in Spain Juan González, confirmed yesterday Clarin April to publish a volume of nearly 400 pages with lots of unknown material Cortázar, Rayuela from fragments and other writer's novels to short stories, articles loose notes, compiled Aurora Bernardez After a thoughtful editing of that material. The book already has a title: Papers inesperados.Rodeando this living legend is play along were those responsible for publishing, Claudio Pérez Manrique Raul Miguez and Girón, illustrator and calligrapher Judith Lange Jose Maria Passalacqua. Around, the noise increased with the arrival of writers such as Carlos Franz Chilean-aggregate culture of his country's Embassy in Spain, Uruguayan Carmen Posadas, Argentine Tomás Eloy Martínez and English Juan Cruz, among others. So yes, the widow of Cortázar was encouraged at every reunion with old friends displaying a steel power and lucidity that is usually closed to journalists, because he never gives interviews. This was the comment heard, for example, that he agreed with the Carmen Balcells Literary Agency, representing the work of Cortázar, charged for the use of their image or their texts: "Whenever I agreed to not pay anything if is for educational purposes, because I support these kinds of initiatives. But for other things, no. I am an advocate copyright, "he said referring to the attempt of the Government of the City of Buenos Aires to make a campaign Cortázar phrases to mark the anniversary of his muerte.Más afternoon, while the flap was placed in a photo of July that would give him attendees to join the library of the Centre of Modern Art, a place packed with first editions for sale, "Juan Cruz Aurora reminded the unusual story of when, in 1993, while leading the Alfaguara publishing house, he stubbornly republish the works of Cortázar in Spain: "The problem is that to publish it here, we would have to translate," he told Aurora decían.La how did it Instruction history to climb a ladder that integrates Cronopios stories and Famas, "We were with Julio walking down the Via Medici and saw a wonderful step that was shaped like the long tail of a dress. I did it pointed out to him, and amused at the idea. " This first reader inside the author of titles like Final game is also encouraged, in fact, to play with the cronopios: "You prefer to be cronopio because it is nicer and more poetic. But we are all around: we cronopios, fame and we hope we . Everyone has a little of everything. Even though I know they are cronopios reputations, and sometimes cronopios that hope, and sometimes fame "he summarized. It ended with a toast and the images of cronopios imagined by the Italian illustrator displayed in a showcase of the Modern Art Centre. The Aurora ran a smile, recalling perhaps better than anybody else cronopio more.

By: Ezequiel Martínez Source: