Julio Cortázar

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Cortázar, Julio


Born Aug. 26, 1914, in Brussels. Argentine writer. A teacher by education.

Cortázar has lived in Paris since 1951. He made his literary debut in 1938. In 1949 he published his play The Kings. It was followed by the collections of short stories Bestiary (1951), End of the Game (1956), and Secret Weapons (1959). Almost all the stories contain elements of the fantastic, which are also present in the novel The Winners (1960). The novel Class Game (1963) was an example of the neo-avant-garde experimentation that occurred in Latin American literature in the 1960’s and that was also developed in his collection of essays Eighty Worlds Around a Day (1967) and in the novels 62 Model To Be Assembled (1967) and The Last Round (1969). Cortazar writes magazine articles with an anti-imperialist point of view. His main theme is the spiritual crisis of bourgeois society.


Cuentos. Havana, 1964.
Ceremonias. Barcelona, 1968.
Relates. [Buenos Aires, 1970.]
In Russian translation:
“Dve novelly.” Introductory article by M. Bylinkina. Inostrannaia literatura, 1970, no. 1.
Drugoe nebo: Rasskazy. Compilation and preface by E. Braginskaia. Moscow, 1971.


García, Canclini N. Cortázar, una antropologia poética. Buenos Aires [1968].
Sola, G. de. J. Cortázar y el hombre nuevo. Buenos Aires [1968].
Escamilla, Molina R. Cortázar: Visión de conjunto. [Mexico City, 1970].


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
La primera senal de la ruptura del limite entre lo ficticio y lo verdadero ocurre en la tercera pagina, cuando el nombre "Noemi" sobresalta a quien lee, pues hasta ese momento la voz narradora podria tomarse por la del propio Cortazar, cuya residencia en Paris era conocida por todos sus lectores.
Cortazar no fue una excepcion en este sentido, pero su ejemplo adquiere especial visibilidad al expresar este proceso con mayor dramatismo que otros escritores que abrazaron la causa revolucionaria y, a la vez, se vieron impelidos a defender la libertad creativa.
When, in October and November of 1980, I was reading Cortazar's short stories "Axolotl" or perhaps "Casa tomada"--I had not yet begun to tackle Rayuela--and listening to anecdotes from my professors who had spent time with Cortazar during his brief stay in Norman, one hundred students at the University of California at Berkeley were attending a minicourse, made up of eight classes, taught by the late novelist and short-story writer.