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, Freewheeling Account Of Oliveira S Astonishing AdventuresThe Book Is Highly Influenced By Henry Miller S Reckless And Relentless Search For Truth In Post Decadent Paris And Daisetz Teitaro Suzuki S Modal Teachings On Zen BuddhismCort Zar S Employment Of Interior Monologue, Punning, Slang, And His Use Of Different Languages Is Reminiscent Of Modernist Writers Like Joyce, Although His Main Influences Were Surrealism And The French New Novel, As Well As The Riffing Aesthetic Of Jazz And New Wave CinemaIn , Gregory Rabassa Won The First National Book Award To Recognize The Work Of A Translator, For His English Language Edition Of Hopscotch Julio Cort Zar Was So Pleased With Rabassa S Translation Of Hopscotch That He Recommended The Translator To Gabriel Garc A M Rquez When Garc A M Rquez Was Looking For Someone To Translate His Novel One Hundred Years Of Solitude Into English Rabassa S One Hundred Years Of Solitude Improved The Original, According To Garc A M Rquez

10 thoughts on “Rayuela

  1. says:

    Table of InstructionsThis review consists of two reviews The first can be read in a normal fashion Start from 1 and go to 12, at the close of which there are three garish little stars which stand for the words The End Consequently, the reader may ignore what follows with a clean conscience.The second should be read by beginning with 1 and then following the sequence indicated at the end of each sentence or paragraph For example, if you see 24 , then proceed to paragraph sentence 24 which is conveniently labelled and bolded.From The Other Side1 I expected this book to be inventive than it turned out to be, based mostly on how much hoopla there was around its experimental form I had it in my head that the book could be read in an infinite variety of ways While it certainly can be, the instructions at the beginning specifies only 2 official ways of reading it And besides, they are subsets of each other with slight inconsistencies, for example chapter 55 is left out of one version It seemed almost like watching a movie on a DVD and having the ability to watch it with or without the deleted scenes.But as I progressed, I felt that the flipping of pages had a different effect on me 17 2 It lent a physical structure to the route that the book was taking Having the expendable chapters wedged in between the normal chapters instead of at the end would have resulted in pretty much the same novel, but would also have had a slightly different, lesser effect The need to flip constantly back and forth made the enterprise into a kind of personal search, with a possibility of getting completely lost 273 This is an exciting possibility Unlike in a normal book where I could gauge my progress by the heft of pages in my right vs left hands almost like a subconscious scale , in this book it was clear that the page I was on meant nothing at all In parts, where the narrative took me on a whole string of hopping around among the expendable chapters, I felt completely disoriented, but in a good way Like I was swimming with no sight of the shore 234 What s , the expendable chapters can be seen as a sort of appendage to the main book In this way, the book is not a thing with defined borders, but one that flows and overflows in soft focus Because the novel talks constantly about literature itself, it is inevitable to think of all the works that the novel references and there are many Oblomov, The Man without Qualities, Bouvard and Pecuchet, Under the Volcano, The Notebooks of Malte Laurids Brigge, The Confusions of Young T rless, The Life and Opinions of Tristram Shandy, to name just a few off the top of my head as expendable novels that are part of this one if you were to just expand those fuzzy borders slightly 145 So that another way of reading this book not included in the instructions at the beginning would be to read it straight through but at any mention of another novel, you must go immediately and read it in its entirety, then come back to this book where you left off 296 Similarly, one could expand the borders even further to works influenced by this book including Cort zar s own 62 A Model Kit, inspired by chapter 62 of this book Or even further into fictional works that exist only in the book, like Morelli s novels, and Ceferino s writings One could keep going until this book included all of literature, or you die of exhaustion, whichever comes first guess 7From This Side7 But maybe all this bullshit about form is way overblown Maybe it s all an elaborate distraction so that the book itself can be hidden underneath a quilt with its little hopscotch squares performing its exquisite covering over nature 208 Because the form of the book is so dazzling, its shimmering surface attracts the reviewers full attention They can t look away What ends up being ignored are the things hidden underneath, which sheds light on the whole reason for the circuitous form to begin with 169 Throughout the book, Cort zar is concerned not only with literature and writing itself, but with the possibility of writing at all Is it even possible to say a thing, to communicate with an other If the person you are communicating with is truly an other , then communication would not be possible at all For how can you talk unless you have some kind of shared experience And yet if the other person was not an other then they are the same as you, and you are in essence just talking to yourself And what is the point of that Mental masturbation Therefore, is not the only worthy venture for language to communicate the impossible To attempt interactions with an other who will always misunderstand 2410 Then again, isn t it sometimes harder to communicate with someone you re close with 3111 At the center of this question is a deliberately silly scene It s morning and Oliveira wants some fresh mate as well as some straight nails His best friend Traveler and wife Talita are just across the way, also on the same floor, but in an opposite apartment building It would be easy for him to go downstairs, then go back up the stairs in Traveler s apartment building, get the mate and nails, go back downstairs, then go up the stairs in his own apartment Instead, they build an elaborate bridge from planks of wood and rope, weighing it down with the bed and the dresser and their own bodies like a scale On this precarious contraption, Talita is asked to deliver the goods by crawling across the planks, risking a fall to her bloody death This is a circus act made only funny by its inelegant obviousness Traveler and Talita actually work in a circus 2512 Even the simplest communications require a circus act And yet, we all carry within ourselves some morsel of deep understanding about everything, some essence that is impossible to share Is Cort zar saying it is not worth trying No, he obviously went through the circus act of writing this book, and made you go through the circus act of flipping through the pages Because, for Cort zar, this bridge across what he calls the unbridgeable distance is never achieved elegantly but so humanly in its inelegance , and never completely And precisely because of that, we should try all the harder He seems to be saying Look what fun can be had along the way but watch out, you can also fall to your death 21 From Diverse Sides Expendable Sentences 13 page 307 The unbridgeable difference, a problem of levels that had nothing to do with intelligence or information 3314 At the center is the metaphor of imaginative numbers Torless learns of them in math class, and spends some pages thinking about how we can start with something completely real, apply an element that does not exist to it but we pretend it does, temporarily, just for the sake of conjecture and that the logical result of that because the imaginative numbers eventually cancel each other out on both sides of the equation is a real result But that the bridge between the two real worlds is one that s completely made up from my Goodreads review of The Confusions of Young T rless 2615 All great works of literature either dissolve a genre or invent one Walter Benjamin 316 page 438 Feeling that Heisenberg and I are from the other side of a territory, while the boy is still straddling with one foot in each without knowing it, and that soon he will be only on our side and all communication will be lost Communication with what, for what 917 By any literal definition, this book can be called a page turner 218 page 281 that you would have given me such an urge to be different 1219 In Germany, Austria, and Switzerland the game is called Himmel und H lle Heaven and Hell although there are also some other names used, depending on the region The square below 1 or the 1 itself are called Erde Earth while the second to last square is the H lle Hell and the last one is Himmel Heaven The first player throws a small stone into the first square and then jumps to the square and must kick the stone to the next square and so on, however, the stone or the player cannot stop in Hell so they try to skip that square Wikipedia 2820 page 287 This all seemed perfect to Talita and at the same time there was something like a bedcover about it, or a teapot cover, or some kind of cover, just like the recorder or Traveler s satisfied air, things done or decided, to be put on top, but on top of what, that was the problem and the reason that everything underneath it all was still the way it had been before the half linden, half mint tea 821 For me, literature is a form of play But I ve always added that there are two forms of play football, for example, which is basically a game, and then games that are very profound and serious When children play, though they re amusing themselves, they take it very seriously It s important It s just as serious for them now as love will be ten years from now I remember when I was little and my parents used to say, Okay, you ve played enough, come take a bath now I found that completely idiotic, because, for me, the bath was a silly matter It had no importance whatsoever, while playing with my friends was something serious Literature is like that it s a game, but it s a game one can put one s life into One can do everything for that game Julio Cort zar 1222 p160 The actors speak and move about no one knows why or for what reason We project our own ignorance into them and they seem like madmen to us, coming and going in a very decided way 1923 I m about half way through the first part side, and I remember what frustrates me about Cort zar His prose is so delicious, but I find myself enjoying the back and forth of the characters dialogue much less Especially in some sections in here I just want to be reading Cort zar s hypnotic prose where he s inside one of his character s head, describing a feeling or idea rather than the constant chatter between characters Within this chatter, the rhythm drops off, and my enjoyment does too 2224 page 279 one draws back, from his best friend, no less, who is the one we have the most trouble telling such things to Doesn t it happen to you, that sometimes you confide much in just anybody 3125 In this picture, Oliveira and Traveler are two faces in a mirror, and yet Talita is the bridge that joins them Only through her is communication possible The whole scene is ridiculous and ridiculously obvious, but this awkwardness is precisely its charm No, this is not an elegant metaphor with a poetic flourish It s a messy one, with all these extra appendages 1826 With all the deliberate fragmentation going on in here, Cort zar seems unusually obsessed with the rather old fashioned idea of unity, or shall I say whunity That coherent scheme, an order of thought and life, a harmony p 291 527 page 442 What good is a writer if he can t destroy literature 3028 Sometimes these characters and their philosophical prattle annoy me, but I think Cort zar doesn t always like them either, and is kind of making fun of them, which makes it suddenly OK to read 600 pages of it Or does it It does if you love Cort zar s prose to begin with I guess Like all big books this is a flawed one, but one which is so willing to make fun of itself, it seems Even though on the surface it seems much pretentious the talks in the cafe about literature and philosophy might give this impression underneath it all, there is a voice that never takes itself too seriously, a voice of loving laughter that is intensely self aware of its own pretensions but realizes that those pretensions need to be said, that there is some limited though dangerous truth in them also 3429 page 179 Gregorovius had given up the illusion of understanding things, but at any rate, he still wanted misunderstandings to have some sort of order, some reason about them 630 page 286 It couldn t be there s a reason for logic that Horacio was interested and at the same time was not interested The combination of the two things should have produced a third, something that had nothing to do with love something that was close to being a hunt, a search, or rather a terrible expectation, like the cat looking at the canary it cannot reach, a kind of congealing of time and day, a kind of crouching 1531 page 279 The burden is the fact that real understanding is something else We re satisfied with too little When friends understand each other well, when lovers understand each other well, when families understand each other well, then we think that everything is harmonious Pure illusion, a mirror for larks 3232 page 291 What is being compared between Pola and La Maga There seems to be always some kind of measurement between two people, and perhaps not only of lovers That we put them on a scale This side, the other side, and beyond it a race or to a people and a language at least 1333 You re just like Horacio, Talita says to Traveler And while we re at it, what is the comparison being made between La Maga and Talita, whom Horacio mistakes for the former several times Can a person serve as a bridge to be crossed over to another person Or is the true metaphor here a scale, and not a bridge Or is a bridge always a type of scale When the scale tips over, the bridge crumbles 1134 It s ironic that in all their talking about literature, the Club refers to a lazy reader as a feminine reader For all the blatant sexism in this novel, none of the male characters ever do anything They talk a lot, but even an empty threat to take the sardines away from Celestin is never followed through the most active thing done by a male character in this novel, that I can recall, is when Traveler fetches a hat for Talita from another room It seems all they do is talk and travel and drink mate , while the women do all the work 4

  2. says:

    Rayuela, libro terminado muy despaciosamente, rele do muchas veces por partes, le do al rev s y al derecho, de la mitad en adelante o hacia atras Este si es el libro de mi adolescencia, este es el libro de mis as imposibles, este es el libro de mis obsesiones, es el libro que refleja mi estupidez, mi terquedad, mis deseos m s profundos, mis imposibilidades, este libro soy yo El libro que refleja mis trastornos, mis alegr as, mis pasiones, mis penas, mis terquedades, lo que quiero ser y lo que soy, lo que puedo ser en mi totalidad En este libro est n todos y cada uno de mis as pasados y presentes reflejados Aqu esta reflejado mi hast o por el mundo, mi accidentalidad enferma y mi incapacidad de abandonarla del todo Cuando empec a leer este libro no pod a creer lo que le a, en ese entonces apenas ten a 15 a os, yo leyendo a Rayuela a los 15 , este libro fue como una visi n del futuro ahora que lo pienso, y cuando empec a leerlo estaba medio hipnotizada, no quer a acabarlo nunca y por eso tarde tanto en terminarlo, le a cada una de sus p ginas una y otra vez como no crey ndome lo que le a, en esa desgarradora soledad e incomprensi n de la adolescencia Rayuela fue mi mejor compa a, creo que nunca nadie me ha entendido tanto como Julio Cortazar Rayuela y la m sica, Rayuela y los hijos, Rayuela y la racionalidad, Rayuela y la emocionalidad, Rayuela y lo occidental, Rayuela y el azar, Rayuela y el amor, Rayuela y los amigos, Rayuela y la soledad, Rayuela y la supervivencia, Rayuela y lo insoportable que somos, Rayuela y el alcohol, Rayuela y las calles, Rayuela y el dolor de la patria, Rayuela y el querer largarse, Rayuela y el querer volver, Rayuela y el orgullo, Rayuela y la pobreza, Rayuela y los libros, Rayuela y el sexo, Rayuela y el amor pasional e imposible, Rayuela y el amor posible y duradero, Rayuela y la adolescencia, Rayuela y la adultez, Rayuela todo 2016 Update Que quede claro que esto corresponde a una adolescencia oscura y tormentosa, de la cual no puedo decir ni que me sienta orgullosa, ni que no, pero esto fue hace un siglo, por otro lado este libro ya no me gusta tanto, y las palabras de la rese a me parecen exageradas y excesivamente rom nticas, no quiero decepcionados, o tal vez si, pero es la verdad

  3. says:

    Opera, , , , , , 1963, 1 , , .2 , , , 3 , , jazz tango dj , Gauloises4 , 5 , , , , , , , , , , , , , , , Adios muchachos

  4. says:

    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, Percent73, 3, 3, 0.531, 10, 13, 2.302, 5, 18, 3.19116, 2, 20, 3.553, 5, 25, 4.4384, 4, 29, 5.144, 6, 35, 6.2171, 5, 40, 7.095, 4, 44, 7.8081, 1, 45, 7.9874, 2, 47, 8.336, 2, 49, 8.697, 1, 50, 8.878, 2, 52, 9.2293, 4, 56, 9.9368, 1, 57, 10.119, 4, 61, 10.82104, 1, 62, 10.9910, 2, 64, 11.3565, 2, 66, 11.7011, 3, 69, 12.23136, 1, 70, 12.4112, 6, 76, 13.48106, 1, 77, 13.6513, 3, 80, 14.18115, 1, 81, 14.3614, 3, 84, 14.89114, 1, 85, 15.07117, 1, 86, 15.2515, 6, 92, 16.31120, 2, 94, 16.6716, 3, 97, 17.20137, 1, 98, 17.3817, 6, 104, 18.4497, 1, 105, 18.6218, 4, 109, 19.33153, 1, 110, 19.5019, 5, 115, 20.3990, 5, 120, 21.2820, 11, 131, 23.23126, 1, 132, 23.4021, 5, 137, 24.2979, 3, 140, 24.8222, 3, 143, 25.3562, 3, 146, 25.8923, 25, 171, 30.32124, 2, 173, 30.67128, 1, 174, 30.8524, 5, 179, 31.74134, 1, 180, 31.9125, 2, 182, 32.27141, 3, 185, 32.8060, 1, 186, 32.9826, 3, 189, 33.51109, 2, 191, 33.8727, 4, 195, 34.5728, 33, 228, 40.43130, 1, 229, 40.60151, 1, 230, 40.78152, 1, 231, 40.96143, 3, 234, 41.49100, 4, 238, 42.2076, 2, 240, 42.55101, 2, 242, 42.91144, 2, 244, 43.2692, 3, 247, 43.79103, 1, 248, 43.97108, 6, 254, 45.0464, 3, 257, 45.57155, 6, 263, 46.63123, 3, 266, 47.16145, 1, 267, 47.34122, 3, 270, 47.87112, 2, 272, 48.23154, 6, 278, 49.2985, 1, 279, 49.47150, 1, 280, 49.6595, 3, 283, 50.18146, 1, 284, 50.3529, 5, 289, 51.24107, 1, 290, 51.42113, 1, 291, 51.6030, 2, 293, 51.9557, 5, 298, 52.8470, 1, 299, 53.01147, 1, 300, 53.1931, 6, 306, 54.2632, 4, 310, 54.96132, 2, 312, 55.3261, 2, 314, 55.6733, 2, 316, 56.0367, 2, 318, 56.3883, 2, 320, 56.74142, 3, 323, 57.2734, 7, 330, 58.5187, 1, 331, 58.69105, 1, 332, 58.8796, 4, 336, 59.5794, 1, 337, 59.7591, 1, 338, 59.9382, 1, 339, 60.1199, 11, 350, 62.0635, 4, 354, 62.77121, 1, 355, 62.9436, 15, 370, 65.6037, 7, 377, 66.8498, 1, 378, 67.0238, 2, 380, 67.3839, 2, 382, 67.7386, 1, 383, 67.9178, 4, 387, 68.6240, 4, 391, 69.3359, 1, 392, 69.5041, 30, 422, 74.82148, 1, 423, 75.0042, 2, 425, 75.3575, 1, 426, 75.5343, 4, 430, 76.24125, 3, 433, 76.7744, 5, 438, 77.66102, 1, 439, 77.8445, 4, 443, 78.5580, 2, 445, 78.9046, 6, 451, 79.9647, 5, 456, 80.85110, 1, 457, 81.0348, 5, 462, 81.91111, 3, 465, 82.4549, 4, 469, 83.16118, 1, 470, 83.3350, 3, 473, 83.87119, 1, 474, 84.0451, 7, 481, 85.2869, 2, 483, 85.6452, 2, 485, 85.9989, 3, 488, 86.5253, 4, 492, 87.2366, 1, 493, 87.41149, 1, 494, 87.5954, 10, 504, 89.36129, 6, 510, 90.43139, 1, 511, 90.60133, 11, 522, 92.55140, 2, 524, 92.91138, 3, 527, 93.44127, 2, 529, 93.7956, 23, 552, 97.87135, 1, 553, 98.0563, 1, 554, 98.2388, 1, 555, 98.4072, 1, 556, 98.5877, 1, 557, 98.76131, 1, 558, 98.9458, 2, 560, 99.29 131 again 55, 4, 564, 100.00

  5. says:

    8 years after i read this book, i finally understand why i didn t like it apparently, this is an either or book , but i read it as an and then book.dr wikipedia claims An author s note suggests that the book would best be read in one of two possible ways, either progressively from chapters 1 to 56 or by hopscotching through the entire set of 155 chapters according to a Table of Instructions designated by the author Cort zar also leaves the reader the option of choosing a unique path through the narrative. WHERE WAS THAT AUTHOR S NOTE WHEN I READ THIS BOOK because i read the whole 600 page book front to back the way one does, AND THEN i went back and hopscotched through it, thinking that there would be some secret doorway that opened or something that would illuminate why i was doing this second pass but there s no doorway spoiler alert and i resented that i seemed to be reading the whole fucking book again for no fucking reason, and i was so baffled about why people seemed to value this book so much when, to me, it just seemed like an elaborate nose thumbing time wasting prank and i assumed that people liked it because they were trying to be all douchey elitist and pretending to like something just because it was difficult or challenging or whatever, and they cherished their shiny gold star for enduring the tedium of repetition but it s not difficult it s a playful and lyrical schtick if you only have to read it through once, whichever way you choose but reading it twice, back to back, just with the scenes all shuffled in a different order is not something i recommend because it will just be infuriating and you will howl dude, i KNOW WE JUST COVERED THIS WHY ARE YOU TELLING ME THE SAME SHIT ALL OVER AGAIN, FORGETFUL GRANDPA and afterward, all you will remember is the howling, and not the reading so there that s my explanation discovery psa

  6. says:

    En una entrevista, Cort zar expon a que su mayor sorpresa despu s de publicar la novela fue que esta encaj m s con la juventud que con los lectores de su generaci n medio siglo llevaba ya a sus espaldas cuando se public en 1963 Lo que a m me sorprende es que esto le sorprendiera Yo me enamor de Rayuela en mi juventud Despu s he cuestionado muchos de sus planteamientos, pero ello no ha impedido que me siga magnetizando su libertad, su pasi n, y la forma tan maravillosa de exponerlas que ten a, que tiene Cort zar Rayuela es una novela inclasificable, que se escapa de cualquier an lisis, un libro que se lee con la piel Algo as como esto parafraseando a Cort zar y su cuento Hay que ser realmente idiota para En realidad no pasa nada grave pero ser idiota lo pone a uno completamente aparte, y aunque tiene sus cosas buenas es evidente que de a ratos hay como una nostalgia, un deseo de cruzar a la vereda de enfrente donde amigos est n reunidos en una misma inteligencia y comprensi n, y frotarse un poco contra ellos para sentir que no hay diferencia apreciable y que todo va benissimo Lo triste es que todo va malissimo cuando uno es idiota, por ejemplo con Rayuela, yo leo Rayuela con amigos y es seguro que apenas empiece a leer voy a encontrar que todo es una maravilla Me divierto o me conmuevo enormemente, los di logos o las digresiones del autor me llegan como visiones sobrenaturales, y a veces me lloran los ojos o me r o hasta el borde del pis, y en todo caso me alegro de vivir y de haber tenido la suerte de encontrarme con este libro que me muestra cosas que jam s se hab an imaginado antes, inventando un lugar de revelaci n y de encuentro, algo que lava de los momentos en que no ocurre nada m s que lo que ocurre todo el tiempo Y as estoy deslumbrado y tan contento cuando llega el momento de comentarlo entusiasmado, y digo a mis amigos que el libro es una maravilla y que la escena en la que la Maga, o cuando Oliveira dice Mis amigos tambi n han disfrutado, pero de pronto me doy cuenta ese instante tiene algo de herida, de agujero ronco y h medo que su diversi n no ha sido como la m a, y tambi n me doy cuenta de que est n diciendo con suma sensatez e inteligencia que el libro es meritorio y que los personajes est n muy bien caracterizados, pero que desde luego no hay gran originalidad en las ideas y cosas y cosas Cuando mis amigos dicen eso lo dicen amablemente, sin ninguna agresividad yo comprendo que soy idiota, y comprendo perfectamente cu nta raz n tienen y c mo el libro no ha de ser tan bueno como a m me parec a pero en realidad a m no me parec a que fuese bueno ni malo ni nada, sencillamente estaba transportado por lo que ocurr a como idiota que soy, y me bastaba para salirme y andar por ah donde me gusta andar cada vez que puedo, y puedo tan poco Y jam s se me ocurrir a discutir con mis amigos porque s que tienen raz n y que en realidad han hecho muy bien en no dejarse ganar por el entusiasmo, puesto que los placeres de la inteligencia y la sensibilidad deben nacer de un juicio ponderado y sobre todo de una actitud comparativa, basarse como dijo Epicteto en lo que ya se conoce para juzgar lo que se acaba de conocer, pues eso y no otra cosa es la cultura y la sofrosine Rayuela es dos personajes, la Maga y Horacio Oliveira.Horacio es un ser egotista, angustiado por encontrar su centro de gravedad permanente, Se puede matar todo menos la nostalgia del reino, la llevamos en el color de los ojos, en cada amor, en todo lo que profundamente atormenta y desata y enga a alguien cuya alma quiere, intuye, y su raz n, su inteligencia, no puede, no alcanza Oliveira es la pura contradicci n, es la intelectualidad que, sin embargo, desde que era un ni o y se me cae algo al suelo tengo que levantarlo, sea lo que sea, porque si no lo hago va a ocurrir una desgracia, no a m sino a alguien a quien amo y cuyo nombre empieza con la inicial del objeto ca do. La Maga, con ese aire como de unicornio, vive en un mundo simple, intuitivo, primario, un mundo en el que uno se puede mover como un caballo de ajedrez que se moviera como una torre que se moviera como un alfil es la libertad, la que encuentra sin buscar mientras que Oliveira busca incansablemente sin encontrar La maga es una posible luz para Horacio pero tambi n el espejo donde Horacio ve su terrible verdad Horacio envidia y desprecia el mundo de la Maga No le vale la loter a que te otorga o te niega el poder creer sin ver, el estar dentro de la pieza, el ser pez r o abajo, hoja en el rbol, nube en el cielo, imagen en el poema Pez, hoja, nube, imagen exactamente eso, a menos que Horacio ama a la Maga y tiene miedo de ese amor que encasilla, como tiene pavor a todo lo sentido por otros, a todo lo que les vale a los otros, nicamente porque es de otros Horacio necesita a la Maga y se aleja de ella porque ser a una traici n vestida de trabajo satisfactorio, de alegr as cotidianas, de conciencia satisfecha, de deber cumplido No le valen ninguna de las verdades ya inventadas Sentir, actuar como los otros le parece sospechoso, le parece que no es sentir ni actuar sino ser empujado por caminos ya abiertos y por tanto artificiales, no sinceros, moldes que otros han construido y utilizado innumerables veces Y siempre, siempre, siempre con la amarga intuici n de que quiz s solo sea necesario quedarse arrobado delante de la cola de un modesto 3.

  7. says:

    Julio Cortazar HopscotchDon t read this book For real now, don t Throw it away or, better still, burn it Either you will burn it or it will burn you Seriously, it will tear you open and feast on your guts while all you ll be able to do is look around in over saturated numbness I envy those who weren t moved by it I envy and pity them at the same time, for the same reason I ve felt something they have not.I ve talked before about books that read you as much as you read them, but this is a whole other thing It strips you bare and puts you under close examination while holding a mirror in which you cannot help but look Have you ever looked into the mirror while listening to Miles Davis Do that and you ll get the idea somewhat If you ve read it but didn t feel it, I envy and pity your ability to look away If you ve never read it at all, I envy and pity your ignorance Five and zero stars Just like everything that s worth our while will ever be.

  8. says:

    , Logicomix , Logicomix , , , , , , , , 30 , 5 , , , , , Logicomix, , .

  9. says:

    I have never been wrong about a novel I was about Hopscotch A baffled first reading took place seven annums past, and a vexed and unfair one star review lingered on my profile for a half that period until three years ago the shame , when I suspected there to be to Cort zar and issued a partial retraction for the slander Recent encounters with Cronopios and Famas and A Manual for Manuel showed me that Cort zar was in fact an essential writer of some magical powers, and a cheap encounter with this Harvill edition in a Chipping Norton bookshop 2.50 urged me to reappraise this masterpiece And on the second reading sheer bliss as I hopped from chapter to chapter This is a full retraction, and if you will accept my grovelling apology, I would be honoured to receive acceptance into warm impish bosom of the Cort zaristas.

  10. says:

    To enter in Hopscotch, one must accept the rule of the game one throws a stone and by hopping one jumps from box to box Then perhaps, if one is skilful, patient and persevering, one will reach heaven So I read by jumping from one chapter to another, according to the non linear order proposed at the beginning of the work by the author himself And I must say that it is a disturbing experience the reader must constantly interrupt himself in his reading of the novel which constitutes the first part, to read a page on literary creation, or an extract of almanac dealing with the difference between French and English gardens, or two stories that intersect on a page, forcing him to read every other line before returning to the start Yes, my annoyance was at first profound the category of female readers of which Cortazar speaks when he evokes the passive, traditional reader, will always remain outside Hopscotch because incapable of playing But I must say that, curiously enough, I let go I began to sail freely, agreeing to renounce the linearity of a story, the logic of the sequences, and I realized that my mind took pleasure this course full of surprises I ended up having fun However, an amusing, interesting, or even intellectually stimulating text would not have sufficed to hold me back What really touched my heart is the poetry of certain pages, breathtaking beauty Because Hopscotch is also a great love story The architecture of the novel fascinates, but some passages undoubtedly upset Oliveira and the Sibylle wandering in Paris each on their own but still meeting, a kiss ending with the image of a moon trembling in the water, a trip in the depths of a mental hospital that looks like a descent into hell, a love scene between a man and his mistress where everything is rediscovered, the evocation of a night that seems to have no end, full of smoke and alcohol, where the writing itself is miraculously hear Jazz pieces listened to by the characters Then, of course, one can be put off by the metaphysical rivers in which Oliveira and his friends are drowned, as is the reader elsewhere sometimes you just want to escape this maze, like Daedalus, taking off towards the sun, closing the book to go to other places where you can breathe better And then one falls on a nugget which leaves speechless and which revives the wandering, in search of the following We realize then that we have become a different reader not a passenger embarked on a cruise ship comfort, but an explorer, an adventurer, a true gold seeker And certainly, that s what Cortazar expects of us.