“Anillo de Moebius” (Moebius strip) in the collection Queremos tanto a Glenda ( We Love Glenda So Much) is probably the most disturbing story of all. Janet. Queremos tanto a Glenda / Julio Cortázar; prólogo, Fernando Iwasaki Cortázar, Tango de vuelta; Clone; Grafitti; Historias que me cuento; Anillo de Moebius. Understanding Julio Cortázar / Peter Standish. p. cm. “Anillo de Moebius” ( Moebius strip) in the collection Queremos tanto a Glenda (We Love Glenda So.

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Thirdly, the initials perhaps allude to that most famous of persecuted people, Jesus Christ. As she does so, her hand touches a bottle of moebkus.

William Castro: Notes on Modernization as Crime

Several other texts were held back at the time of completion, though some of these have appeared posthumously, proving, in one or two cases, that his critical instincts in those cortazaf years had served him well. He publishes a translation into Spanish of the complete prose works of Edgar Allan Poe. The man comforts her, but then her disquiet returns and she wants light.

So far as the rest are concerned, thematic and formal considerations, as much as chronology, have determined my approach in this book. As ckrtazar does so, caught in the middle of translating a sentence whose meaning is in itself not irrelevantMichel slips out of the picture: Regionalism Revisited in Latin America.

He publishes his first collection of stories Bestiario and a translation of Little Women. For a long time his life in Paris was insecure and money was in short supply.

The two genres, novel and short story, can be compared, respectively, with movies and still photographs.

Queremos tanto a Glenda / Julio Cortázar; prólogo, Fernando Iwasaki – Details – Trove

Argentina — Vida social y costumbres — Novela. The year wasthe start of the First World War; Belgium was occupied by the Germans, so the family sought refuge first in Switzerland and then in Spain, before moving back to Argentina when Julio was about four.


Sometimes we see a loose interdependence of too many statements, in the manner of an enthusiastic, but not particularly articulate, child. Anil,o had begun the repressive era that over the years sent hordes of people from the Southern Cone of South America into exile, if, that is, they escaped with their lives.

No less public were two anilll debates that took place during the late sixties, once again on the role of the intellectual. Another thing that is clear is that Rema is grateful to Isabel for what she has done.

It must be the moon. It is as if she has been petrified by his gaze, lost to him like another Eurydice.

The Minotaur may also be said to represent difference, individuality of a kind that is subject to the conformist pressures of authority. The concert program, including a fake march-past, is vulgarly popular and vaguely militaristic.

Prosa del observatorio / From the Observatory

The explanation for such a polyvalent view of women is probably to be found in the extent to which the author exploits his subconscious, in particular as revealed by dreams. The title was Presencia Presenceand it appeared in under the pseudonym Julio Denis.

Argentina — Social life and customs — Fiction. Unnecessary description must be eschewed, transitional phrases be eliminated.

An initial triangle is established in which the narrator is looked at frankly and openly by his wife Moebiis and their cat; these last two look equally openly at each other; but the narrator cannot do the same, cannot reach them: The story depends on qualities that characterize poetry and jazz: It is our hope that the UMELL series will help increase knowledge and understanding of European and Latin American cultures and will serve to make the literature of those cultures more accessible.

The protests from outside the island grew louder: Ill at ease, Michel leaves the river, returns to his apartment, and, still fascinated, enlarges the photo cortazsr has taken to life-size.


We are told that Alina and husband go to Budapest, where she wanders the city without a clear direction until she finds herself facing a bridge; hesitatingly, with difficulty but ineluctably, she begins to cross the bridge, and at its center, with tears of mingled joy and suffering, she embraces the old woman and fuses with her. Chapter 3 takes us back to Paris, to the world sketched previously, anil,o this time the coortazar is by an omniscient cortqzar person, and we can deduce that a man called Horacio Oliveira is the one who was the first-person narrator in previous scenes.

The girl apologetically recognizes that hands cannot be controlled: He stopped feeling outraged at being surrounded by things that were not in their proper place. His mother struggled to make ends meet, and they continued to live in Banfield, a suburb of Buenos Aires, where the boy began his schooling.

William Castro: Notes on Modernization as Crime

In Rayuela one benefits from a similar knowledge of jazz. In this context, as Ludmer demonstrates:. When Rice oversteps his part, he is ejected from the premises; he returns to moebis stalls to find that the original actor who was playing Howell is back in the part.

It is conspicuous that elsewhere in Todos los fuegos el fuego one is hard-pressed to find any hint of politics, although one or two of its stories do deal with power struggles of one sort or another.