Julio Cortazar

Julio Florencio Cortázar (Ixelles, August 26, 1914-Paris, February 12, 1984) was a writer, teacher and translator, a job he carried out for Unesco and various publishers. In 1981, without giving up his Argentine nationality, he opted for the French one in protest against the military dictatorship in his country, which banned his books and which he denounced to the international press from his residence in Paris.

Considered one of the most innovative and original authors of his time, he was a master of short stories, poetic prose, and short stories in general. He was also the creator of important novels, especially Hopscotch, that contributed to the renewal of the genre in the Hispanic sphere. Together with Gabriel García Márquez, Mario Vargas Llosa and Carlos Fuentes, he is one of the central exponents of the Latin American boom. His fictions move from the real to the fantastic and for this reason he is usually related to magical realism and surrealism.

He lived until he was four years old in Belgium, Switzerland and Spain. Some time later, his family returned to Argentina, where Cortázar would reside until 1951, the year in which he settled in France, a country that served as the setting for some of his works and where he lived for the rest of his life. He visited for the last time his country in early December 1983, after the presidential elections that marked the return to democracy. On December 7 he returned to Paris, where he died two months later, probably due to leukemia.

Biography

Childhood

Julio Cortázar at the age of two (Switzerland; 1916).

Julio Florencio Cortázar was born in Ixelles, a district south of the city of Brussels, capital of Belgium, a country invaded by the Germans in the days of his birth. Little "Cocó", as his family called him, was the son of Argentines Julio José Cortázar and María Herminia Descotte. His father was an official at the Argentine embassy in Belgium, where he served as a commercial attaché. Julio would later comment on his birth: "My birth was a product of tourism and diplomacy."

Towards the end of the First World War, the Cortázars managed to cross over to Switzerland thanks to the German status of Julio's maternal grandmother, and from there, a short time later, to Barcelona, where they lived for a year and a half. Cortázar was four years old when he and his family returned to Argentina. He spent the rest of his childhood in Banfield, south of Greater Buenos Aires, with his mother, an aunt, and Ofelia, his only sister (one year younger than him). He lived in a house with a fund, but he was not entirely happy. "A lot of servitude, excessive sensitivity, a frequent sadness."

According to the writer, his childhood was foggy and with a different sense of time and space than others. When the future writer was six years old, his father abandoned the family, and he no longer had contact with his mother. father. Julio was a sickly child and spent a lot of time in bed, so he was accompanied by reading. At the age of nine he had already read Jules Verne, Victor Hugo and Edgar Allan Poe, suffering from frequent nightmares for a while. He also used to spend hours reading a Little Larousse dictionary. He read so much that his mother first went to the principal of his school and then to a doctor to ask if it was normal, and they recommended that her son stop reading or read less for five or six months, so that he could go out and sunbathe.

Julio Cortazar's home in Brussels and termite located in front. A search for the Argentine sculptor Edmund Valladares.

Plate at Cortazar's home. Translation: «Here was born Julio Cortazar, Argentine writer 1914-1984. Huge timing."

He was a precocious writer, at the age of nine or ten he had already written a small novel —“fortunately lost”, according to himself— and even before that some short stories and sonnets. Given the quality of his writings, his family, including his mother, doubted the veracity of his authorship, which caused great regret in Cortázar, who shared that memory in interviews.

Youth

After completing his primary studies at School No. 10 in Banfield, he trained as a normal teacher in 1932 and a professor of Literature in 1935 at the Mariano Acosta Normal School for Teachers. It was at that time that he began to frequent the stadiums to watch boxing, where he devised a kind of philosophy of this sport "eliminating the bloody and cruel aspect that provokes so much rejection and anger." He admired the man who always went ahead and with sheer strength and courage managed to win.

When he had just turned nineteen, he read in Buenos Aires Opium: Diary of a Detoxification by Jean Cocteau, translated by Julio Gómez de la Serna and with a prologue by his brother Ramón de él. This dazzled him and became one of his bedside books, accompanying him for the rest of his life.He began his studies in Philosophy at the University of Buenos Aires. He passed the first year, but he understood that he had to use the title he had to work and help his mother. He taught classes in Bolívar, Saladillo (a city that appears in his Civic Book as an enrollment office); and then in Chivilcoy. He lived in solitary rooms in boarding houses, taking advantage of all his free time to read and write. Between 1939 and 1944 Cortázar lived in Chivilcoy, at whose Normal School he taught literature as a professor and was a regular at gatherings of friends that were held at Ignacio Tankel's photography shop. At his suggestion, he made his first and only participation in a cinematographic text, where he collaborated on the script for the film La sombra del pasado, which was filmed in that city between August and December 1946. That This episode of his life was treated in the documentary film Buscando la sombra del pasado, directed by Gerardo Panero, which premiered in 2004. In 1944, he moved to the city of Mendoza, where the University Nacional de Cuyo taught French literature courses.

Plaque in Alfredo De Angelis Square in the town of Banfield, which recalls the writer's childhood in that city.

Her first story, «Bruja», was published in the magazine Correo Literario. He participated in demonstrations in opposition to Peronism. In 1946, when Juan Domingo Perón won the presidential elections, he submitted his resignation. "I preferred to resign my professorships before being forced to take off my jacket, as happened to so many colleagues who chose to continue in their posts." . He returned to Buenos Aires, where he began working at the Argentine Book Chamber and that same year he published the story "Casa tomada" in the magazine Los Anales de Buenos Aires, directed by Jorge Luis Borges, as well as also a work on the English poet John Keats, «The Greek urn in the poetry of John Keats» in the Revista de Estudios Clásicos de la Universidad de Cuyo. In 1947, he collaborated in several magazines, among them, Realidad . He published an important theoretical work, Tunnel Theory , and in Los Anales de Buenos Aires , where his short story “Bestiario” appears.

Cut in your youth.

From the late 1940s until 1953, he collaborated with the magazine Sur, founded and directed by Victoria Ocampo. Her first work for said magazine was an article on the death of Antonin Artaud. Said magazine had acquired a large part of its historical relevance due to the production in previous years of a group of writers that went down in history under the name Grupo Florida, of which writers such as Jorge Luis Borges, or Victoria Ocampo herself and others were a part. writers, who were known that way because of the location of the magazine's office and the coffee shops where they met, in dialectical and ideological contrast with the Grupo Boedo, of much humbler roots, which published in Editorial Claridad and was met in the historic Café El Japonés.

In 1948 he obtained the title of public translator of English and French, after completing studies in just nine months that normally take three years. The effort caused him neurotic symptoms, one of which —the search for cockroaches in food— disappeared with the writing of the story "Circe," which together with the two previously mentioned stories —appeared in the magazine Los annales de Buenos Aires Aires—, would be included in his first book under his name: Bestiario. In 1949, he published the dramatic poem "Los reyes", the first work signed with his real name and ignored by the criticism. During the summer he wrote a first novel, Divertimento , which in a way prefigures his novel Hopscotch , which he would write in 1963.

In addition to collaborating with Reality, he wrote for other cultural magazines in Buenos Aires, such as Cabalgata. In the literary magazine Oeste de Chivilcoy she published the poem «Semilla». In 1950, he wrote his second novel, El examen, rejected by the literary adviser of Editorial Losada, Guillermo de Torre. Cortázar submitted it to a contest organized by the same publishing house, again without success, and, like the first novel, it only saw the light of day in 1986, also posthumously. In 1951, he published Bestiario , a collection of eight stories that earned him some recognition in the local environment. Shortly after, dissatisfied with the government of Juan Domingo Perón, he decided to move to Paris, a city where, except for sporadic trips to Europe and Latin America, he would reside for the rest of his life.

Couples

In 1953, he married Aurora Bernárdez, an Argentine translator, with whom he lived in Paris with some financial straits until he accepted the offer to translate the complete works, in prose, of Edgar Allan Poe for the University of Puerto Rico. This work would later be considered by critics as the best translation of the work of the American writer. He lived with his wife in Italy for the year that the job lasted, then they traveled to Buenos Aires by boat and Cortázar spent most of the trip writing a new novel on his portable typewriter.

In 1967, he broke his relationship with Bernárdez and joined the Lithuanian Ugné Karvelis with whom he never married and who instilled in him a great interest in politics.

With his third partner and second wife, the American writer Carol Dunlop, he made numerous trips, among others to Poland, where he participated in a solidarity congress with Chile. Another of the trips he made with Carol Dunlop was recorded in the book Autonauts on the Cosmopista , which narrates the couple's journey along the Paris-Marseille motorway. After Carol Dunlop's death, Aurora Bernárdez accompanied him again, this time during her illness, before becoming the sole heir to his published work and her texts.

Friendships

Cortázar was a friend of numerous writers, something that was reflected in the more than five hundred dedicated books in his personal library at the time of his death. He corresponded between 1965 and 1973 with the Argentine writer Graciela Maturo. He also had several painter friends, such as Sergio de Castro, Luis Seoane, Julio Silva, Luis Tomasello, Eduardo Jonquières or Chumy Chúmez, extending his artistic interest towards the plastic arts. Among his great literary friends are, in addition to many others, José Lezama Lima —of whose work he was an important diffuser—, Octavio Paz, Pablo Neruda and Carlos Fuentes. Cortázar also cultivated a close relationship with the poet Alejandra Pizarnik with his wife Aurora Bernárdez, adopting an attitude of older brothers towards her. friendship, mixed with love, passion and respect and professional admiration was the one he maintained during the last years of his life with the then young writer Cristina Peri Rossi whom he he n she dedicated fifteen poems.

Political interest, international recognition and trips to Nicaragua

Cut in 1947.

The Cuban Revolution showed me in a cruel way and that I was very hurt by the great political vacuum that was in me, my political inutility. The political issues were getting into my literature.

In 1963, Cortázar visited Cuba invited by Casa de las Américas to serve as a jury in a contest. From then on, he never stopped being interested in Latin American politics. During that visit he also personally met José Lezama Lima, with whom he had been in correspondence since 1957, and whose friendship remained until his death. In that same year, what would be his greatest editorial success appeared and would earn him the recognition of being part of the Latin American boom: the novel Rayuela, which became a classic of literature in Spanish.

The copyrights of several of his works were donated to help political prisoners in various countries, including Argentina. In a letter to his friend Francisco Porrúa in February 1967, he confessed: «Cuba's love for Che made me feel strangely Argentine on January 2, when Fidel greeted Comandante Guevara in the Plaza de la Revolucion, there where he is, he unleashed an ovation that lasted ten minutes from 300,000 men ».

In November 1970, he traveled to Chile, where he expressed his solidarity with the government of Salvador Allende and spent a few days in Argentina to visit his mother and friends.

Cut in 1970. (Review)

The following year, together with other close writers —Mario Vargas Llosa, Simone de Beauvoir, Jean-Paul Sartre—, he opposed the persecution and arrest of the author Heberto Padilla, disillusioned with the attitude of the Cuban process. In May 1971, he reflected his ambivalent feelings towards Cuba in "Policrítica en la hora de los chacales", a poem published in Cuadernos de Marcha and later reproduced by Casa de las Américas. Despite this, he continued closely the political situation in Latin America. In November 1974 he was awarded the Médicis étranger for Manuel's Book and gave the prize money to the Unified Front of the Chilean resistance. That year he was a member, along with the writers Gabriel García Márquez and Armando Uribe (the latter, in his capacity as a jurist), of the Russell II Tribunal meeting in Rome to examine the political situation in Latin America, particularly human rights violations. The result of this participation was the comic later published in Mexico Fantomas contra los vampiros multinationals, which Gente Sur published in 1976. Also, in 1974, together with other writers such as Borges, Bioy Casares and Octavio Paz, they called for the release of Juan Carlos Onetti, imprisoned by deliberate as a jury in favor of the story The Bodyguard by Nelson Marra, and whose imprisonment meant traumatic consequences.

According to an investigation during the constitutional government of María Estela Martínez de Perón, on August 29, 1975, the DIPPBA (Buenos Aires Province Police Intelligence Directorate) created file number 3178 with a file containing six data: surname (Cortázar), name (Julio Florencio, the second written by freehand), nation (Argentina; France), town, profession (writer) and social background or entity: "Habeas". The writer's file was found among 217,000 other personal files, revealing a persecution against him by the parapolice group known as Triple A, in charge of the democratic government, and whose persecution continued during the dictatorship as of March 24, 1976.

Cortázar was persecuted during the military dictatorship that occurred in Argentina between 1976 and 1983, denounced and led the denunciations and accusations against the human rights organizations of Argentine exiles in Paris to the international press against the dictatorship. The journalist Samuel Chiche Gelblung ―who was editor-in-chief of the magazine Gente from 1976 to 1978)―, on May 25, 1978 made a note from France about the accusations by human rights organizations of the Argentine exiles in Paris ―led by by the writer―entitled «Face to face with the heads of the anti-Argentine campaign».

In 1976, he traveled to Costa Rica where he met Sergio Ramírez and Ernesto Cardenal, embarking on a clandestine trip to the town of Solentiname in Nicaragua. This trip marked his life forever and was the beginning of a series of visits to that country. After the triumph of the Sandinista revolution, he visited Nicaragua on several occasions and closely followed the process and the reality in both Nicaragua and Latin America. These experiences resulted in a series of texts that would be compiled in the book Nicaragua, so violently sweet .

In 1978, at the request of the Chilean musical group Quilapayún, he remodeled part of the text of the Cantata de Santa María de Iquique, which caused the displeasure of its author, the composer Luis Advis, who did not had been consulted. The version with Cortázar's corrections was recorded twice, but later Quilapayún reinterpreted the work according to the original by Advis.

Last years and death

Cortázar tomb in Montparnasse, Paris. On the tombstone the image of a Timeline, character created by the writer

In August 1981, he suffered a gastric hemorrhage and miraculously saved his life, but that did not stop him from continuing to write. Soon after, President François Mitterrand granted him French nationality. Two years later, in 1983, after the return to democracy in Argentina, Cortázar made one last trip to his homeland, where he was received by his admirers, who would stop him in the street or ask for his autographs, in contrast to the indifference of the national authorities —President Raúl Alfonsín refused to receive him.

He lived his last years in Paris, in two houses: one on rue Martel and the other on rue de L'Eperon. The first corresponded to a small apartment located on the third floor without an elevator, comfortable, bright and full of books and music records, where he used to kindly receive continuous visits from other writers who passed through the city, in the company of his cat Flanelle.

Carol Dunlop had already died on November 2, 1982, plunging Cortázar into a deep depression. On February 12, 1984, due to leukemia, Cortázar passed away. However, in 2001, the Uruguayan writer Cristina Peri Rossi stated in her book about the writer that she believed that the leukemia had been caused by AIDS, a virus that Cortázar allegedly contracted during a blood transfusion in poor condition in the south of France. Two days later, he was buried in the Montparnasse Cemetery, in the grave where Carol Dunlop lay. The tombstone and the sculpture were made by his friends: the artists Julio Silva and Luis Tomasello. Many friends attended his funeral, as well as his ex-partners Ugné Karvelis and Aurora Bernárdez. The latter attended him during his last months, after the Dunlop's death.

Legacy

Plaza Cortázar in Palermo, Buenos Aires.

• In the city of Buenos Aires, the Plaza Cortázar (formerly Plaza Serrano) is named, located at the intersection of the streets Serrano, Jorge Luis Borges and Honduras (in the Palermo Viejo district).
• A street in Barrio Rawson (Espinoza) changed its name because the writer lived in the place a few years before leaving for Paris.
• The Cortázar Bridge, located on the avenue San Martín, in the neighborhood of Agronomy (in the city of Buenos Aires), was named for the same reason.
• Several educational institutions bear their name:
  • The Basic Secondary School No. 13 "Julio Cortázar" (in the province of Buenos Aires).
  • El Colegio Secundario No. 1 "Julio Cortázar" (in the neighborhood of Flores, Buenos Aires).
  • School No. 10 "Julio Cortázar", where Cortázar studied (Banfield, Lomas de Zamora party).
  • The School of Media Education No. 8 "Julio Cortázar", of the city of Florencio Varela, in the southern area of Gran Buenos Aires.
  • The Julio Cortázar school of the Ituzaingó party (in the west zone of the Greater Buenos Aires).
  • Colegio de Educación Infantil y Primaria Julio Cortázar (in the town of Getafe)
• In 1984 the Konex Foundation granted him post mortem the Konex Award of Honor for its great contribution to the history of Argentine literature.
• The University of Guadalajara, Mexico, inaugurated, on 12 October 1994, the Latin American Chair Julio Cortázar, in honor of the writer. This inauguration was attended by Mexican writer Carlos Fuentes, of Colombian Gabriel García Márquez and of the widow of Cortázar, Aurora Bernárdez. This chair pays tribute to the memory, the person, the work and the intellectual concerns that led the Argentinean life.

Nowadays it is customary to leave mementos such as pebbles, notes, dried flowers, pencils, letters, coins, subway tickets with hopscotch drawn on them, an open book, or packets of cherries on their tombstone.

In April 1993, Aurora Bernárdez donated the author's personal library on Calle Martel to the Juan March Foundation in Madrid; more than four thousand books, of which more than five hundred are dedicated to the writer by their respective authors, and most of them have numerous annotations by Cortázar, about which he talks about in the work Cortázar y los libros (2011), by Jesús Marchamalo.

During 2014, on the occasion of the hundred years since his birth, as a tribute, books were published and exhibitions about the author were held in various countries. In Buenos Aires, in the Plaza Libertador of the National Library, a monument was inaugurated in his honor.

His work has been translated into several languages. Hopscotch has translations into more than 30 languages. Mandarin versions appeared in China from the pen of scholar Fan Yan.

I believe that since very small my misery and my bliss, at the same time, was not accepting things as they were given to me. It wasn't enough for me to be told that that was a tableor the word mother It was the word. mother And that's it. On the contrary, in the object table and in the word mother I started a mysterious itinerary for myself that sometimes came to open and sometimes crashed. In short, from a small, my relationship with words, with writing, does not differ from my relationship with the world in general. I seem to have been born not to accept things as given to me.

Julio Cortázar.

Style and influences

Cortázar had a great interest in the ancient classical writers. In this interest, the presence of the Argentine professor Arturo Marasso was essential, who encouraged him to read them by lending him his own books. A youthful turning point in his way of writing was due to the book Opium: a detoxification diary by Jean Cocteau, which was one of his regular bedside books. Cortázar thus held from his youth a great admiration for the work of this author, as well as for that of John Keats, who continued to be one of his favorite poets over the years.

He always felt great admiration for the work of Argentine Jorge Luis Borges, an admiration that was always mutual despite their ideological differences; this because while Cortázar was a left-wing activist, Borges encouraged individualism and rejected totalitarian regimes in general —even despite having agreed to receive decorations from countries in dictatorships.

His literary tastes were very broad, and he had a special attraction to books about vampires and ghosts, which due to his allergy to garlic, was the reason for jokes on the part of his friends.

Cortázar himself claimed to have read more French and Anglo-Saxon novels than Spanish, which he made up for by reading a lot of Spanish poetry, including Salinas and Cernuda, to whom he gave enthusiastic comments.

Works

Novels

• 1960: The awards
• 1963: Rayuela
• 1968: 62 Model for arming
• 1973: Book of Manuel
• 1986: Divertimento (written in 1949)
• 1986: The review (written in 1950)

Stories

• 1951: Best
• 1956: End of game
• 1959: Secret weapons
• 1966: All the fires the fire
• 1974: Octaedro
• 1977: Someone who walks around
• 1980: We want Glenda so much.
• 1982: Deshoras
• 1994: The other side (written between 1937 and 1945)

Short Prose

• 1962: Stories of cronopios and fame
• 1979: One such Lucas

Miscellaneous

• 1966: Les discours du Pince-Gueule (The Speeches of the Pinchajeta) (French text of Cortázar and drawings of Julio Silva; a Spanish version was included in Last fight)
• 1967: Round the day in eighty worlds
• 1968: Buenos Aires, Buenos Aires (photos by Sara Facio and Alicia D'Amico, texts by Cortazar)
• 1969: Last round
• 1972: Prose of the observatory (text and photographs of Cortázar)
• 1975: Silvaland (July Silva images and Cortázar texts; included in Last fight)
• 1976: Human, Reading Circle, Madrid (photos by Sara Facio and Alicia D'Amico with a text by Cortázar, "Strictly non-professional", which was later included in Territories1978)
• 1978: Territories (texts of Julio Cortázar and paintings of 17 painters)
• 1983: The autonauts of the cosmopista (with Carol Dunlop)
• 1984: Alto Peru (photos of Manja Offerhaus and Cortázar texts)
• 2009: Unexpected papers (1940-1984). Unpublished texts. Collection of Aurora Bernárdez and Carles Álvarez Garriga.
• 2014: Last fight (recollecting some work done with Julio Silva and letters from Cortázar to Silva)

Theater

• 1949: The kings
• 1984: Nothing to Pehuajó (one act) - Goodbye, Robinson.(bone work)
• 1991: Two words games. Nothing to Pehuajó. Goodbye, Robinson. (bone work)
• 1995: Goodbye, Robinson and other brief pieces (bone work)

Poetry

• 1938: Presence (sonetos, with the pseudonym of Julio Denis)
• 1971: Pameos and meopas
• 1984: Except the twilight

Criticism

• 1970: Literature in Revolution and Revolution in Literature1970 (Cortázar and Vargas Llosa with Oscar Collazos; the text of Cortázar, which gives title to the book, is also included in Critical work2006).
• 1970: Travel around a table (including in Critical work2006).
• 1973: Test correction in Alta Provenza (in Convergences, divergences, incidences, edited by Julio Ortega; included in Critical work2006 and published as an independent book in 2012).
• 1983: Nicaragua so violently sweet (arts; including in Critical work2006).
• 1984: Argentina: Years of Cultural Wings (arts; including in Critical work2006).
• 1994: Critical work (in three volumes published by Alfaguara and then by Punto de Lectura. Edition coordinated by three specialists in Cortazar: Saul Yurkievich, Jaime Alazraki and Saul Sosnowski. Includes Tunnel theory. Notes for a location of surrealism and existentialism, written in 1947 and published for the first time in this edition).
• 1996: Image of John Keats (Postuma work, written between 1951 and 1952; published as an independent book in 1996 and then in volume Poetry and poetics, of 2005, which is part of the complete works of Cortázar published Galaxia Gutenberg-Circle of readers).
• 2006: Critical work (in a volume published by Gutenberg-Circle of Readers. Edition of Saul Yurkiévich. The edition of Alfaguara is extended and some texts that are intended for other volumes of the complete works of Cortázar are deleted.
• 2013: Literature classes. Berkeley, 1980 (transcription of the tapes that collect the classes dictated by Cortazar).

Interviews

• 1978: Conversations with Cortázar (with Ernesto González Bermejo)
• 1978: Cut for Cortázar (with Evelyn Picon Garfield)
• 1996: The fascination of words (with Omar Prego)

Epistolary

• 1990: Letters to a redhead (correspondence with Evelyn Picon Garfield)
• 1992: Unknown letters from Julio Cortázar 1939-1945. Mary's Edition of the Mercedes Arias Mignon Domínguez.
• 2000: Letters 1. 1937-1963, first edition
• 2000: Letters 2. 1964-1968, first edition
• 2000: Letters 3. 1969-1983, first edition
• 2009: Cortázar-Dunlop-Monrós Correspondence
• 2010: Letters to the Jonquières
• 2012: Letters 1. 1937 - 1954, second expanded edition
• 2012: Letters 2. 1955 - 1964, second expanded edition
• 2012: Letters 3. 1965 - 1968, second expanded edition
• 2012: Letters 4. 1969 - 1976, second expanded edition
• 2012: Letters 5. 1977 - 1984, second expanded edition

Others

• 1973: The box of the Morelli (anthology). Julio Ortega Edition.
• 1975: Ghosts against multinational vampires (comic)
• 1981: The root of the ombú (comic), with Alberto Cedron
• 1983: Rayuela logbookwith Ana María Barrenechea
• 1995: Diario de Andrés Fava.Detached narrative fragment The review and published as an independent book.
• 1997: Zihuatanejo notebook. The Book of Dreams (non-venal edition)
• 2008: Bear Speech (Illustrated version of his brief narrative, originally included in Stories of cronopios and fame)
• 2014: Cut from A to Z. Anthology with mostly known texts and some unpublished. Collection of Aurora Bernárdez and Carles Álvarez Garriga. Alphaguara.

Translations

• Robinson CrusoeDaniel Defoe (1945), English for Viau. Abbreviated version.
• The man who knew too muchG. K. Chesterton (1946), English for Nova.
• Memories of a dwarfWalter de la Mare (1946), English for Nova.
• The immoralistof André Gide (1947), of the French for Argos.
• Pure poetryof Henri Bremond (1947), of the French for Argos.
• Philosophy of laughter and cryingAlfred Stern (1950), from French to Iman.
• Little womenLouisa May Alcott (1951), English for Codex.
• The snakeof Marcel Aymé (1952), of the French for South America.
• The life of othersfrom Ladislas Dormandi (1952), from French to South American.
• Memories of AdrianoMarguerite Yourcenar (1955), from French to South American.
• Life and Letters of John KeatsLord Houghton (1955), English for Imam.
• Works in proseby Edgar Allan Poe (1956), English for the University of Puerto Rico.
• Eureka: essay on the material and spiritual universe, by Edgar Allan Poe,(1972) of English for Editorial Alliance.
• «Preface» to Music of Buenos AiresVirgil Thompson (1966), English for South American.
• Filled with children the trees, by Carol Dunlop (1983), unspecified language (English or French) for New Nicaragua-Monimbó.

Discs

• Cortazar reads to Cortazar1966. Maze.
• Readings by Julio Cortázar1967. Washington Library of Congress.
• Julio Cortázar1968. Voz Viva Collection of Latin America. UNAM.
• Cut for himself1970. AMB.
• Narrations and poems1978. House of the Americas.

About Cortázar and his work

Books

Biographies

• 1998: Julio Cortázar. The biographyMario Goloboff. Seix Barral.
• 2001: Julio Cortázar, the other side of thingsMiguel Herráez. AMI. It was reprinted by Alrevés editorial as Julio Cortázar, a revisited biography (2011).
• 2002: Cutting, timing and commitmentsEnzo Maqueira. Longseller.
• 2014: Julio Cortázar. From literary subversion to political commitmentRaquel Arias Careaga. Silex.
• 2015: Julio Cortázar. The fugitive timingMiguel Dalmau. Edhasa.

Testimonials

• 1986: We want Julio so much. 20 authors for Cortázar. Coordinated by Hugo Niño. New picture.
• 2001: Julio CortázarCristina Peri Rossi. Omega.

Essays

• 1968: Julio Cortázar and the new manGraciela de Sola. South American. Reissued and updated as Julio Cortázar. Reason and revelation (2014), signed by the author as Graciela Maturo.
• 2013: Two cities in Julio CortázarMiguel Herráez. Alrevés.
• 2014: The construction of the political in Julio CortázarCarolina Orloff. Godot Editions.

Others

• 1985: Cut. Iconographyfrom Alba C. de Rojo and Felipe Garrido. Economic Culture Fund.
• 2011: Cutting and booksJesus Marchamalo. Cut it out.
• 2014: All Cortázar. Bio-bibliographyLucio Aquilanti and Federico Barea. Fernández Blanco.
• 2014: Cortázar in Mendoza: A Crucial MeetingJaime Correas. Alphaguara.
• 2017: Julio Cortázar for girls and boysNadia Fink and Pitu Saá. Comic. Maimé Mujer.
• 2017: CortázarJesus Marchamalo and Marc Torices. Comic. Nordic.
• 2020: The happiness of the museums. Julio Cortázar, someone who walked through ItalyMary Amalia Barchiesi. Cleup.

Filmography

• The odd figure1962, Manuel Antin.
• Circe1964, Manuel Antin.
• Intimacy of parks1965, Manuel Antin.
• The persecutor1965, Osías Wilenski.
• Blow-Up, 1966, by Michelangelo Antonioni, with David Hemmings, Vanessa Redgrave, Sarah Miles, Peter Bowles and Veruschka von Lehndorff. The film is based on The Bass of the Devil and Cortazar appears as a cameo in one of the photographs shown in the film.
• Night sunadaptation Graffiti; 1990, say: Raúl García R.
• Cortázar1994, documentary directed by Tristan Bauer.
• Diary of a story, adaptation of «Continuity of parks»; 1995, dir.: Raúl García R.
• Diary for a story1998, Jana Bokova.
• Cortázar: notes for a documentary, 2002; led by Eduardo Montes Bradley.
• Graffiti, 2005, short film by Pako González, based on the homonymous story. Part one, part two.
• Pious liars2009 by Diego Sabanés; free version of the story The health of the sick. Trailer.
• Chronium, 2013, short film by Omar Gómez, a tribute.
• Cortázar en Mendoza, 2015, documentary by Alejandro Biondo.
• Shortness and Antin: illuminated letters, 2018, documentary by Cinthia Rajschmir.