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Rayuela (Edición conmemorativa de la…
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Rayuela (Edición conmemorativa de la RAE y la ASALE) (Spanish… (original 1963; edition 2019)

by Julio Cortázar (Author)

MembersReviewsPopularityAverage ratingMentions
3,542782,226 (4.21)115
Member:hnn
Title:Rayuela (Edición conmemorativa de la RAE y la ASALE) (Spanish Edition)
Authors:Julio Cortázar (Author)
Info:RAE (2019), 405 pages
Collections:Your library, Kindle
Rating:
Tags:latin america

Work details

Hopscotch by Julio Cortázar (1963)

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English (38)  Spanish (34)  French (3)  Catalan (2)  Romanian (1)  All languages (78)
Showing 1-5 of 38 (next | show all)
Davanti a un capolavoro, non ci si dovrebbe sentire in obbligo di scrivere una recensione. Dovrebbe essere sufficiente scrivere: un capolavoro del romanzo contemporaneo. Anzi, un capolavoro del romanzo di tutti i tempi. Uno di quei libri rispetto ai quali c’è un prima e un dopo, come per l’Ulysses di Joyce, o la Recherche di Proust, o L’uomo senza qualità di Musil.

Il problema è che, per quel poco che so, Il gioco del mondo è stato un romanzo largamente frainteso. La maggior parte dei commentatori ne ha colto lo sperimentalismo, il suo essere un romanzo ipertestuale ante litteram (l’autore ne suggerisce, accanto alla lettura sequenziale, che si limita ai primi 56 capitoli, una lettura guidata dai rinvii numerici alla fine dei ogni capitolo, che integrano nella lettura altri 99 capitoli “sovrannumerari” e che, per di più, porta a saltare il capitolo 55 – che ha un suo “doppio” nei capitoli sovrannumerari – e poi conduce a un loop infinito degli ultimi due capitoli).

In realtà, Rayuela è molti romanzi in uno solo.

Partiamo dalle parentele che ci ho trovato io. Henry Miller, per prima cosa (prima nel senso epidermico del termine, come se sbucciassimo una cipolla), per il clima degli expats a Parigi e anche per l’erotizzazione della città – anche se la Maga è un personaggio molto più profondo e complesso delle donne di Miller (Cortázar, sospetto, ha un rapporto con le donne molto più profondo e complesso e maturo e simpatetico di quanto Miller possa sognarsi di avere). Robert Musil (che prima non ho citato a caso) per la capacità di scrivere insieme un romanzo e un mondo enciclopedico, senza penalizzare né l’uno né l’altro dei due versanti, e senza mai essere né pedante né didascalico nelle digressioni filosofiche e di estetica. Il Joyce del Portrait of the Artist as a Young Man per l’uso del monologo interiore e, ancora di più, per essere anche Rayuela un Künstlerroman.

Il gioco del mondo è soprattutto un gioco di specchi e di doppi: di qua e di là dell’oceano, Oliveira e Traveler, la Maga e Talita. Un gioco di ponti precariamente gettati. Un mondo di gioco e di giochi. Il circo e la follia. Il dolore irrisolto. L’abiezione.

Non so chi ha scritto la quarta di copertina della mia edizione Einaudi, ma è stato un genio con il dono della sintesi:

Un capolavoro del Novecento che ha cambiato la storia del romanzo e la vita di molte persone che lo hanno letto.

Concordo in pieno. Non è un’esagerazione, nemmeno nell’affermazione che cambia la vita del lettore che vi si abbandoni, come ho fatto io. Leggetelo.

Su Wikipedia (inglese) c’è una bella voce (Hopscotch, il nome inglese del gioco).

Su YouTube c’è una bella intervista di Cortázar rilasciata alla televisione spagnola nel 1977. ( )
  Boris.Limpopo | Apr 29, 2019 |
Entre 3.5 y 4.

Bueno, ni hablar. Hay mucho que decir sobre Rayuela. A la guisa de Cortázar, ai les va reseña en varios puntos, que, por supuesto, pueden leerse en cualquier orden pero yo sugiero leerlos como están (je).

1.- Triste, pero cierto: como le pasa también a "Cien años de soledad" y a casi toda la obra de Fuentes, "Rayuela" está sobrevalorada. No porque no sea excelente, sino porque la comunidad lectora las ha encumbrado tanto que es humanamente imposible alcanzar tales niveles de asombro y perfección, y mucho menos a lo largo de 700 páginas.

2.- Aún así, la encontré (sobre todo los primeros capítulos, según el orden sugerido por Cortázar) bastante entretenida y de fácil digestión, gracias al uso de capítulos cortos y viñetas a lo largo de casi toda la novela. Por eso, me costaron trabajo especialmente los capítulos de treinta páginas o más, que son los que pretendían cargar más peso emocional pero que sólo hacían que me quisiera dormir.

3.- Para los completistas como yo: el capítulo 55 falta en la cuenta de Cortázar, tal vez porque se parece mucho a otro sí incluido, dios sabrá por qué.

4.- No hay que leer a Cortázar por sus personajes. Si lees Rayuela por los personajes, te encontrarás con un grupo de mamarrachos esnobísimos y machistas que nunca lograron caerme bien. La única que me gustó como persona (y eso con sus asegunes) fue la Maga y la cabrona se desaparece a la mitad del libro, así que ni modo.

5.- Hay que leer a Cortázar por su prosa, por sus ideas, por su imaginación y su extraordinario uso del lenguaje.

6.- En esto podré equivocarme, y haría falta un experto en esta novela para sacarme del error, pero creo que la experimentación de Cortázar en Rayuela también está bastante inflada. Sí, para ser una novela de 1963, esto es un prodigio técnico, pero si la vemos fríamente, la sección 1-56 forma una novela bastante convencional para estándares latinoamericanos (novela, de hecho, bastante parecida a "La vida breve" de Onetti en anécdota). Lo demás es una serie de viñetas, en sí, explicativas y accesorias, tanto que podrían servir de epígrafes o notas al pie. En un par de instancias, el lector sí se involucra en una decodificación de la novela más profunda (se convierte en lector-macho, según la desafortunadamente nombrada teoría de Cortázar), pero no es así en muchas otras secciones.

7.- Para que de verdad fuera una novela revolucionaria en ese sentido, cada lector tendría que atreverse a leer Rayuela de una forma distinta: saltándose capítulos, al revés, ordenando las secciones de tal forma que la conclusión de la novela fuera distinta, etcétera. Aún así, toda la gente que conozco que ha leído Rayuela la ha leído como nos pide Cortázar que la leamos, lo cual tal vez lo pondría de mal humor. Con lo que se demuestra que para que haya libros verdaderamente revolucionarios se necesitan lectores aún más revolucionarios.

8.- Pero entonces, cualquier libro podría leerse así, saltándose capítulos o al revés, jugando a la rayuela con las secciones y los tomos. No sólo Rayuela puede leerse como nadie se atreve a leer Rayuela. Es decir, como a Cortázar le hubiera gustado.

9.- Se ha dicho que Rayuela es posmoderna, o que es el umbral de lo posmoderno en castellano. Sí, pero no hay que ignorar que también es una novela surrealista (por esto de la libre asociación), cubista, vanguardista. Sí, en Rayuela podemos ver, treinta años antes, las aspiraciones de un David Foster Wallace, o de un viejo Pynchon. Pero también el lenguaje juguetón de Girondo, el mundo del jazz y de los dadaistas, la metaficción borgesiana y el intento de totalidad modernista. Rayuela es el gran paso hacia adelante porque sabe lo que está por venir, y lo expresa sin dejar de ser un excelente resumen de lo que deja atrás, y hay que reconocerlo aunque, como ya lo dijo René López Villamar, pueda parecer que no está envejeciendo de la mejor forma.

10.- Último consejo para los lectores principiantes de Rayuela (o primero, o de en medio, no sé cómo hayas decidido leer esta reseña): no te preocupes si en algún momento no entiendes un carajo. A veces esa es la idea, que tu cabeza trabaje como trabaja cuando ves una pintura de Magritte o escuchas un disco de Coltrane o ves una película de Buñuel. Para la lógica, parece que no hay relación entre un capítulo y otro. Pero el verdadero libro está entre los capítulos, en los hilos con los que tú conectas todas las piezas.

En fin, eso es todo. Ya es muy noche, cierro el libro al fin, paf se acabó. ( )
  LeoOrozco | Feb 26, 2019 |
He went back to sleep like a person who is looking for his place and his house after a long road in the rain and the cold.

I should pen an untimely aphorism detailing my experiences with Hopscotch. This is not that effort. It appears that I read the linear, sequential version of this novel in my mid-20s. I suspected such about midway through my more spirited reading of this last week. A phone call to Stephen J. Powell confirmed it. Apparently I gave Mr. Powell a copy of the novel and raved about it for weeks during the Clinton years. I barely recall such. Our reading group samizdat attempted a group read in the summer of 2001 but abandoned such after Roger growled that the characters should all get a job.

I felt inspired for my return to Rayuela by the curious examples of his short fiction and early novel Final Exam. That said, I don't think I anticipated depth of joy I would encounter. Maybe Morelli was waiting for my return as well. I'd like to visit him in the hospital, even if I don't like hospitals.

Nothing easier than putting the blame on what's outside, as if one were sure that outside and inside are the two main beams of the house. But the fact is that everything is in bad shape, history tells you that, and the very fact that you're thinking about it instead of living it proves to you that it's bad, that we've stuck ourselves into a total disharmony that the sum of our resources disguises with social structure, with history, with Ionic style, with the joy of the Renaissance, with the superficial sadness of romanticism, and that's the way we go and they can turn the dogs on us.

I listened to a great deal of Fats Waller and Sonny Clark during my reading. I'm conflicted on the assurances but heartily endorse this novel and a concurrent pondering of meaning and failure. I think differently now, especially towards strands of thread on the sidewalk.
( )
  jonfaith | Feb 22, 2019 |
(Original Review, 1981-05-15)

If you like your novels simple and straightforward, don’t read “Hopscotch”.
If you have an allergy to extended brainy digressions and convoluted debates, you better avoid “Hopscotch”.
If you abhor puns, double entendre and wordplay, I most seriously advise you to stay clear of “Hopscotch”.
If you can’t stand literary, philosophical, musical and artistic references cramming your narrative, I sincerely prompt you to veer off taking “Hopscotch” from the bookseller’s shelf.
If you like your narrative to be free of phrases, expressions and vocabulary from languages you don’t know and don't care for, maybe “Hopscotch” is not a book for you.

Plot is definitely not what matters most in “Hopscotch”, but I’ll give you the gist of it anyway. Horacio Oliveira is an Argentine expat living in Paris and sharing rooms with girlfriend la Maga. They belong to a multinational group of young people who like spending soirées together discussing books and ideas while listening to jazz. One day Oliveira makes the acquaintance of obscure writer Morelli and then read some of his unpublished essays. Change of scenery: Oliveira returns to Buenos Aires where he meets former best buddie Manú Traveler and his wife Talita. He lives at close quarters and all three work together in a circus before accepting new jobs in a lunatic asylum.

That’s it; and yet so much more than that. As a novel “Hopscotch” seems most difficult to describe and categorise, its main interest lying in the adventurous linguistic tricks in which Cortázar famously excels. In a literary style clearly reminiscent of the French surrealists, he piles allusion upon allusion, citation upon citation to a point an honest soul might find openly extraneous. The references to authors, artists and musicians are so overwhelming one would suspect Cortázar of spending his days skimming aimlessly acros Wikipedia entries and lists had he written this novel last month. As it is, in the early 60s internet didn’t exist, and in any case the Argentine clearly knows what he’s talking about (although, in all honesty, he could be a bit less garrulous as regards his cultural tastes and influences, especially when so evidently outweighing their relevance to the narrative).

“Hopscotch” is famous for its unusual structure. Divided in 155 chapters of unequal length and split in three different parts, the reader is invited to take the novel following two different methods: either obeying the customary process of progressing from chapter I until the novel’s last page, or engaging in a ‘Table of Directions’ provided by the author and which displays a different order for the reader to follow. Those who choose the first are not required to go beyond chapter 56, the last part being comprised of ‘expendable’ material not wholly essential to the understanding of the novel (so implies Cortázar); the ones who prefer to follow the Table will jump from chapter to chapter along the book thus getting a more complete vision of the writer’s intention (or that’s what he says).

I suspect Cortázar of using these instructions in order to play with us. His theory relies on the fact that most readers are only interested in the classic plot and will therefore be thankful for being spared the third section of the novel where much relatively unrelated material - mostly theoretical - is hotch-potched. On the other hand, not only the first two sections are also filled with philosophical digressions but the last one includes chapters that provide snippets of the story after the events described in chapter 56. If the reader is really interested in knowing what happened he will do well to read some of this not-so-expendable material. Besides information accessory to the plot, this last part includes a number of pieces titled ‘Morelliana’ which expose Morelli’s literary conceptions that together form a kind of theory of the novel not uninteresting to get acquainted with.

There are two more features worth mentioning about “Hopscotch.” First, Cortázar’s novel is extremely humorous and can only be fully appreciated if taken on its playful grounds - the whole book can be interpreted as one big joke, though one of the chapters sounds clearly more serious in tone. Second, the Argentine’s interest in avant-garde literature and experimental narrative techniques inspires some of the most unorthodox moments in the novel: a whole chapter where two different accounts are overlapped and can only be individually understood if read every two lines in turn; a chapter where an obituary notice is transcribed according to an alternative spelling system where phonemes are ascribed an uniform phonetic realisation; glíglico, a language composed of imaginary vocabulary of amorous terms devised by la Maga and Oliveira. And many other ingenious concoctions.

To sum up, “Hopscotch” is not an easy read. One may even say you’ll only read everything if you’re curious enough about Cortázar’s techniques and don’t mind about brainy discussions and the many nods to high-culture. Jovial playfulness surely seems to be a prerequisite. But most of all, don’t worry if you don’t understand everything; Cortázar clearly wants to play with you and not everything he exposes in such a convoluted way is expected to be interpreted as more than an aesthetic incursion into the fabulous world of literature and art.

On the other hand, and to be honest, I sensed Rayuela's point was somewhere else, and I don't think I was wrong. If you ask me I think the male portraits are only sketches: they all sound alike to me, maybe with the exception of Ferraguto who doesn't sound like anything. But the women are something else; la Maga, Talita, even the few bits with Pola seem remarkably done. They're the only interesting people in the novel. The men are too boring, and bland, and chatty. The beauty of it is that Cortázar doesn't even say if he jumped/fell at all (but he was really surprised when Rayuela was called pessimistic and Oliveira - suicidal). He doesn't explain what happened to la Maga, by the way, not even in the expendable chapters. When it comes to female characters Cuca Ferraguto is my absolute favourite: charming, intelligent, oh wait…

NB: “Hopscotch” is sometimes quoted as one of the literary sources which inspired the Fighting Fantasy adventure books. ( )
  antao | Dec 14, 2018 |
I wanted to read this because I had seen it included in some lists of the twentieth century's great novels. It is a very interesting book, quite entertaining in places but I can't pretend it is an easy read. Before one even starts there is a preamble which explains that you have at least two choices - either to read the first 56 chapters in sequence (presumably ignoring the rest) or to follow an alternative path through the book which is listed at the start and misses out Chapter 55. I opted for the latter, and I think it was a wise decision, but there is enough logic to the second path to deduce what the straight path would have been like, since it does respect the ordering of the core chapters, with frequent and sometimes long digressions into the additional material, some of which is very odd and of limited relevance to the core story.

The core plot is fairly simple - it explores the world of Horacio Oliveira, an intellectual drifter. The first part of the book is set in Paris in the 1950s, and although it seems quite episodic and random, the nature of this appears to reflect Oliveira's own experiences and his state of mind, and those of his friends - there are also lengthy digressions on music (jazz, classical and popular), literature, philosophy and much else, with a lot of surreal episodes reminiscent of some of the pataphysical/Oulipo writers of the time.

After a bizarre episode in which Oliveira is arrested after befriending a tramp, he is deported back to Argentina, and the remainder of the book charts his mental disintegration.

The writing is fragmented and often wilfully obscure (though not as obscure as Joyce, who is clearly an influence) and there are chapters which are literary games, for example a chapter in which the odd numbered lines follow one story and the even numbered lines another (with breaks in mid sentence). My impression was that as long as one does not get too obsessed with following everything in detail or understanding the many references, the whole is a pleasurable and stimulating reading experience, so not without a little reluctance I am awarding a full five stars..., paff, the end.
* * *
Expendable appendices:

(i) I realised about halfway through that there were a lot of unfamiliar words (in addition to much quoted French, Spanish and Latin). I made this list of unfamiliar words that appear after this point:
antinomy, aulic, auscultation, cadastral, catoblepas, chitterling, chryselephantine, cinerary, coenaesthesis, columbarium, coprolite, cuniculture, cuspidation, echolalia, eclogue, elution, epistomology, epithelial, exordium, extravasation, geometrid, gnoseologist, helicoid, incunabula, macaronic, mana, mantic, mnemotechny, nebiole, nephelibate, obolus, oneiromancy, palmiped, promissoration, propedeutic, rotogravure, ruleman, satori, serape, soteriology, stupa, teleleological, tragacanth, trismegistic

(ii) Chapter 55, which is omitted from the "hopscotch path" is effectively reproduced elsewhere, but without the lengthy but entertaining digressions on a bizarre treatise postulating an idealistic system of world government, which a character is reading while the action goes on around him...

(iii) I found that when following the "hopscotch path" I still wanted to know where I was in terms of overall progress, so I put the chapter lengths into a spreadsheet so that I could say how much I had read at any stage. Since this may be useful to other readers, here are the numbers:
Chapter, Pages, Total, Percent
73, 3, 3, 0.53
1, 10, 13, 2.30
2, 5, 18, 3.19
116, 2, 20, 3.55
3, 5, 25, 4.43
84, 4, 29, 5.14
4, 6, 35, 6.21
71, 5, 40, 7.09
5, 4, 44, 7.80
81, 1, 45, 7.98
74, 2, 47, 8.33
6, 2, 49, 8.69
7, 1, 50, 8.87
8, 2, 52, 9.22
93, 4, 56, 9.93
68, 1, 57, 10.11
9, 4, 61, 10.82
104, 1, 62, 10.99
10, 2, 64, 11.35
65, 2, 66, 11.70
11, 3, 69, 12.23
136, 1, 70, 12.41
12, 6, 76, 13.48
106, 1, 77, 13.65
13, 3, 80, 14.18
115, 1, 81, 14.36
14, 3, 84, 14.89
114, 1, 85, 15.07
117, 1, 86, 15.25
15, 6, 92, 16.31
120, 2, 94, 16.67
16, 3, 97, 17.20
137, 1, 98, 17.38
17, 6, 104, 18.44
97, 1, 105, 18.62
18, 4, 109, 19.33
153, 1, 110, 19.50
19, 5, 115, 20.39
90, 5, 120, 21.28
20, 11, 131, 23.23
126, 1, 132, 23.40
21, 5, 137, 24.29
79, 3, 140, 24.82
22, 3, 143, 25.35
62, 3, 146, 25.89
23, 25, 171, 30.32
124, 2, 173, 30.67
128, 1, 174, 30.85
24, 5, 179, 31.74
134, 1, 180, 31.91
25, 2, 182, 32.27
141, 3, 185, 32.80
60, 1, 186, 32.98
26, 3, 189, 33.51
109, 2, 191, 33.87
27, 4, 195, 34.57
28, 33, 228, 40.43
130, 1, 229, 40.60
151, 1, 230, 40.78
152, 1, 231, 40.96
143, 3, 234, 41.49
100, 4, 238, 42.20
76, 2, 240, 42.55
101, 2, 242, 42.91
144, 2, 244, 43.26
92, 3, 247, 43.79
103, 1, 248, 43.97
108, 6, 254, 45.04
64, 3, 257, 45.57
155, 6, 263, 46.63
123, 3, 266, 47.16
145, 1, 267, 47.34
122, 3, 270, 47.87
112, 2, 272, 48.23
154, 6, 278, 49.29
85, 1, 279, 49.47
150, 1, 280, 49.65
95, 3, 283, 50.18
146, 1, 284, 50.35
29, 5, 289, 51.24
107, 1, 290, 51.42
113, 1, 291, 51.60
30, 2, 293, 51.95
57, 5, 298, 52.84
70, 1, 299, 53.01
147, 1, 300, 53.19
31, 6, 306, 54.26
32, 4, 310, 54.96
132, 2, 312, 55.32
61, 2, 314, 55.67
33, 2, 316, 56.03
67, 2, 318, 56.38
83, 2, 320, 56.74
142, 3, 323, 57.27
34, 7, 330, 58.51
87, 1, 331, 58.69
105, 1, 332, 58.87
96, 4, 336, 59.57
94, 1, 337, 59.75
91, 1, 338, 59.93
82, 1, 339, 60.11
99, 11, 350, 62.06
35, 4, 354, 62.77
121, 1, 355, 62.94
36, 15, 370, 65.60
37, 7, 377, 66.84
98, 1, 378, 67.02
38, 2, 380, 67.38
39, 2, 382, 67.73
86, 1, 383, 67.91
78, 4, 387, 68.62
40, 4, 391, 69.33
59, 1, 392, 69.50
41, 30, 422, 74.82
148, 1, 423, 75.00
42, 2, 425, 75.35
75, 1, 426, 75.53
43, 4, 430, 76.24
125, 3, 433, 76.77
44, 5, 438, 77.66
102, 1, 439, 77.84
45, 4, 443, 78.55
80, 2, 445, 78.90
46, 6, 451, 79.96
47, 5, 456, 80.85
110, 1, 457, 81.03
48, 5, 462, 81.91
111, 3, 465, 82.45
49, 4, 469, 83.16
118, 1, 470, 83.33
50, 3, 473, 83.87
119, 1, 474, 84.04
51, 7, 481, 85.28
69, 2, 483, 85.64
52, 2, 485, 85.99
89, 3, 488, 86.52
53, 4, 492, 87.23
66, 1, 493, 87.41
149, 1, 494, 87.59
54, 10, 504, 89.36
129, 6, 510, 90.43
139, 1, 511, 90.60
133, 11, 522, 92.55
140, 2, 524, 92.91
138, 3, 527, 93.44
127, 2, 529, 93.79
56, 23, 552, 97.87
135, 1, 553, 98.05
63, 1, 554, 98.23
88, 1, 555, 98.40
72, 1, 556, 98.58
77, 1, 557, 98.76
131, 1, 558, 98.94
58, 2, 560, 99.29
(131 again...)
~
55, 4, 564, 100.00
(less) ( )
2 vote bodachliath | Feb 23, 2018 |
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Author nameRoleType of authorWork?Status
Julio Cortázarprimary authorall editionscalculated
Pol, Barber van deTranslatorsecondary authorsome editionsconfirmed
Rabassa, GregoryTranslatorsecondary authorsome editionsconfirmed
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Information from the Spanish Common Knowledge. Edit to localize it to your language.
Y animado de la esperanza de ser particularmente útil a la juventud, y de contribuir al a reforma de las costumbres en general, he formado la presente colección de máximas, consejos y preceptos, que son la base de aquella moral universal, que es tan proporcionada a la felicidad espiritual y temporal de todos los hombres de cualquiera edad, estado y condición que sean, y a la prosperidad y buen orden, no sólo de la república civil y cristiana en que vivimos, sino de cualquiera otra república o gobierno que los filósofos más especulativos y profundos del orbe quieran discurrir.

Espíritu de la Biblia y Moral Universal, sacada del Antiguo y Nuevo Testamento, Escrita en toscano por el abad Martini con las citas al pie:
Traducida en castellano
Por un Clérigo Reglar de la Congregación de San Cayetano de esta Corte.
Con licencia.
Madrid: Por Aznar, 1797.
Siempre que viene el tiempo fresco, o sea al medio del otonio, a mí me da la loca de pensar ideas de tipo eséntrico y esótico, como ser por egenplo que me gustaría venirme golondrina para agarrar y volar a los paíx adonde haiga calor, o de ser hormiga para meterme bien adentro de una cueva y comer los productos guardados en el verano o de ser un bívora como las del solójicO, que las tienen bien guardadas en una jaula de vidrio con calefación para que no se queden duras de frío, que es lo que les pasa a los pobres seres humanos que no pueden comprarse ropa con lo cara questá, ni pueden calentarse por la falta del querosén, la falta del carbón, la falta de lenia, la falta de petrolio y también la falta de plata, porque cuando uno anda con biyuya ensima puede entrar a cualquier boliche y mandarse una buena grapa que hay que ver lo que calienta, aunque no conbiene abusar, porque del abuso entra el visio y del visio la dejenradés tanto del cuerpo como de las taras moral de cada cual, y cuando se viene abajo por la pendiente fatal de la falta de buena condupta en todo sentido, ya nadie ni nadies lo salva de acabar en el más espantoso tacho de basura del desprastijio humano, y nunca le van a dar una mano para sacarlo de adentro del fango enmundo entre el cual se rebuelca, ni más ni meno que si fuera un cóndoR que cuando joven supo correr y volar por la punta de las altas montanias, pero que al ser viejo cayó parabajo como bombardero en picada que le falia el motor moral. ¡Y ojalá que lo que estoy escribiendo le sribalguno para que mire bien su comportamiento y que no searrepienta cuando es tarde y ya todo se haiga ido al corno por culpa suya!

CESAR BRUTO,Lo que me gustaría ser a mí si no fuera lo que soy (capítulo: Perro de San Bernardo).
DEL LADO DE ALLA

Rien ne vous tue un homme comme d'être obligé de représenter un pays.

Jacques Vache, carta a André Breton.
Dedication
First words
(From chapter 1)
¿Encontraría a la Maga?
(From chapter 73)
Sí, pero quién nos curará del fuego sordo, del fuego sin color que corre al anochecer por la rue de la Huchette, saliendo de los portales carcomidos, de los parvos zaguanes, del fuego sin imagen que lame las piedras y acecha en los vanos de las puertas, cómo haremos para lavarnos de su quemadura dulce que prosigue, que se aposenta para durar aliada al tiempo y al recuerdo, a las sustancias pegajosas que nos retienen de este lado, y que nos arderá dulcemente hasta calcinarnos.
Would I find la Maga?
Quotations
Last words
(Click to show. Warning: May contain spoilers.)
Disambiguation notice
Publisher's editors
Blurbers
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References to this work on external resources.

Wikipedia in English (1)

Book description
Haiku summary
I don't have a plot.
Perhaps I can sell this book
with a trite gimmick.
(Carnophile)
Paris, poets, chance:
La vie de Bohème meets jazz
And pataphysics
(thorold)

Amazon.com Product Description (ISBN 0394752848, Paperback)

Horacio Oliveira is an Argentinian writer who lives in Paris with his mistress, La Maga, surrounded by a loose-knit circle of bohemian friends who call themselves "the Club." A child's death and La Maga's disappearance put an end to his life of empty pleasures and intellectual acrobatics, and prompt Oliveira to return to Buenos Aires, where he works by turns as a salesman, a keeper of a circus cat which can truly count, and an attendant in an insane asylum. Hopscotch is the dazzling, free-wheeling account of Oliveira's astonishing adventures.

(retrieved from Amazon Thu, 12 Mar 2015 18:12:20 -0400)

(see all 3 descriptions)

When La Maga, his mistress, disappears, Horacio Oliveira, an Argentinian writer living in Paris, decides to return home to Buenos Aires.

(summary from another edition)

» see all 5 descriptions

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