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My favorite book from the writer I would have had dinner with, given the choice.
- shelved by stevedolph
 
Entertaining. And wise.
- shelved by BLNicholas
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    Cronopios and Famas

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    review by stevedolph
    sucker for the absurd, the ironic
     
     

    After the introduction, or prelude, excerpted somewhere around here, Cronopios and Famas begins with "INSTRUCTIONS ON HOW TO CRY," three paragraphs describing how to cry. This is an appropriate beginning, because I felt like following the instructions while I read much of this book.

    Through the absurd, Cortázar gets very very painfully close to something true and exact about living with ourselves and with others. The more absurd the book becomes, the more exact in its observations. It is difficult to say what this book is about; it has no narrative per se, nor characters in the traditional sense, no structur except...

    The book is divided into four sections. The first: "The Instruction Manual," exactly what it claims to be. Among the contents: how to cry, how to sing, how to dissect a ground owl, how to kill ants in Rome, how to climb a staircase, and so on. The second section is titled "Unusual Occupations," is about a family, local pariahs. No matter who you are, you'll be reminded of your own. The third section's title "Unstable Stuff" concerns getting along in the world, not quite effectively. We're almost to the last section, and the reader can fell Cortázar cracking his knuckles. The last section, "Cronopios and Famas," describes three creatures, cronopios, esperanzas and famas. Distinct types, they are.

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    Excerpts
    Cronopios and Famas, by Julio Cortazar
    The job of having to soften up the brick every day, the job of cleaving a passage through the glutinous mass that declares itself to be the world, to collide every morning with the same narrow rectangular space with the disgusting name, filled with doggy satisfaction that everything is probably in its place, the same woman beside you, the same shoes, the same taste of the same toothpaste, the same sad houses across the street, the filthy slats on the shutters with the inscription THE HOTEL BELGIUM.

    Drive the head like a reluctant bull through the transparent mass at the center of which we take coffee with milk and open the newspaper to find out what has happened in whatever corner of the glass brick. Go ahead, deny up and down that the delicate act of turning the doorknob, that act which may transform everything, is done with the indifferent vigor of a daily reflex. See you later, sweetheart. Have a good day.

    Tighten your fingers around a teaspoon, feel its metal pulse, its mistrustful warning. How it hurts to refuse a spoon, to say no to a door, to deny everything that habit has licked to a suitable smoothness. How much simpler to accept the easy request of the spoon, to use it, to stir the coffee.