Julio Cortázar in the context of "Rayuela"

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⭐ Core Definition: Julio Cortázar

Julio Florencio Cortázar (26 August 1914 – 12 February 1984; Latin American Spanish: [ˈxuljo koɾˈtasaɾ] ) was an Argentine and naturalised French novelist, short story writer, poet, essayist, and translator. Known as one of the founders of the Latin American Boom, Cortázar influenced an entire generation of Spanish-speaking readers and writers in America and Europe.

He is considered to be one of the most innovative and original authors of his time, a master of history, poetic prose, and short stories as well as the author of many groundbreaking novels, a prolific author who inaugurated a new way of making literature in the Hispanic world by breaking classical molds. He is perhaps best known as the author of multiple narratives that attempt to defy the temporal linearity of traditional literature.

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👉 Julio Cortázar in the context of Rayuela

Hopscotch (Spanish: Rayuela) is a novel by Argentine writer Julio Cortázar. Written in Paris, it was published in Spanish in 1963 and in English in 1966. For the first U.S. edition, translator Gregory Rabassa split the inaugural National Book Award in the translation category.

Widely regarded as one of the greatest, most innovative and influential Latin American novels, Hopscotch is a stream-of-consciousness novel which is advised to be read according to two (or three) different sequences of chapters; the third being read with chapters in any order. This novel is often referred to as a counter-novel, as it was by Cortázar himself. It meant an exploration with multiple endings, a neverending search through unanswerable questions.

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Julio Cortázar in the context of Hypertext fiction

Hypertext fiction is a genre of electronic literature characterized by the use of hypertext links that provide a new context for non-linearity in literature and reader interaction. The reader typically chooses links to move from one node of text to the next, and in this fashion arranges a story from a deeper pool of potential stories. Its spirit can also be seen in interactive fiction.

The term can also be used to describe traditionally published books in which a nonlinear narrative and interactive narrative is achieved through internal references. James Joyce's Ulysses (1922), Enrique Jardiel Poncela's La Tournée de Dios (1932), Jorge Luis Borges' The Garden of Forking Paths (1941), Vladimir Nabokov's Pale Fire (1962), Julio Cortázar's Rayuela (1963; translated as Hopscotch), and Italo Calvino's The Castle of Crossed Destinies (1973) are early examples predating the word "hypertext", while a common pop-culture example is the Choose Your Own Adventure series in young adult fiction and other similar gamebooks, or Jason Shiga's Meanwhile, a graphic novel that allows readers to choose from a total of 3,856 possible linear narratives.

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Julio Cortázar in the context of Latin American Boom

The Latin American Boom (Spanish: Boom latinoamericano) was a literary movement of the 1960s and 1970s when the work of a group of relatively young Latin American novelists became widely circulated in Europe and throughout the world. The Boom is most closely associated with Julio Cortázar of Argentina, Carlos Fuentes of Mexico, Mario Vargas Llosa of Peru, and Gabriel García Márquez of Colombia. Influenced by European and North American Modernism, but also by the Latin American Vanguardia movement, these writers challenged the established conventions of Latin American literature. Their work is experimental and, owing to the political climate of the Latin America of the 1960s, also very political. "It is no exaggeration", critic Gerald Martin writes, "to state that if the Southern continent was known for two things above all others in the 1960s, these were, first and foremost, the Cuban Revolution (although Cuba is not in South America) and its impact both on Latin America and the Third World generally, and secondly, the Boom in Latin American fiction, whose rise and fall coincided with the rise and fall of liberal perceptions of Cuba between 1959 and 1971."

The sudden success of the Boom authors was in large part due to the fact that their works were among the first Latin American novels to be published in Europe, by publishing houses such as Barcelona's avant-garde Seix Barral. Indeed, Frederick M. Nunn writes that "Latin American novelists became world famous through their writing and their advocacy of political and social action, and because many of them had the good fortune to reach markets and audiences beyond Latin America through translation and travel—and sometimes through exile."

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