Cortázar en Mendoza: Un encuentro crucial - download pdf or read online

By Jaime Correas

La etapa docente de Julio Cortázar en Mendoza, donde culminó un proceso inside que sería decisivo para su propia obra futura

"Mendoza, puerta de mi casa", escribió Cortázar en 1973, con afecto y gratitud.
El escritor y periodista mendocino Jaime Correas había dedicado ya otro libro, Cortázar, profesor universitario (Aguilar, 2004), a los angeles pormenorizada relación de personajes y circunstancias que rodearon esa experiencia académica, en medio de los convulsionados albores del peronismo.
A l. a. luz de los preciosos hallazgos documentales producidos desde entonces —como las cartas inéditas y los apuntes de clase que se incluyen en este libro—, Cortázar en Mendoza incorpora, amplía y desborda los materiales de aquel volumen y, sobre todo, reorienta su exploración hacia las relecturas que hizo el futuro autor de Rayuela para preparar sus clases, inmersión de los angeles que salió no sólo con un programa lectivo sino también —lo que es más importante— con un "programa" creativo que de allí en más cumpliría en su propia obra.
La oportunidad de enseñar Literatura y el ámbito propiciador que halló en sus amigos mendocinos le permitieron poner en palabras aquellas rules que serían su propia divisa poética y brilliant. Hasta el ultimate de sus días, Cortázar no dejaría de volver, de muchas maneras, a esa Mendoza a los angeles que quiso "desde muy lejanos tiempos".

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Additional info for Cortázar en Mendoza: Un encuentro crucial

Example text

A lot had happened to him, and to the world, since the last time he’d walked across that yard nearly forty years before. The programme proved a bit disappointing. It was an interesting travelogue interspersed with Bert’s reminiscences, but it didn’t provide any folkloric nuggets, and it did little to throw new light on his Australian repertoire, or indeed on his day-to-day work as a pastoral-worker. By 1929 he was fed up and frustrated with Australia. He tried to get out of the country by applying for a job in West Africa (which didn’t materialise), and asking his aunts for the whereabouts of a family acquaintance who was a missionary in the Belgium Congo, on the off chance that she might be able to suggest some work for him.

This doesn’t prove that Bert learnt it from Mackenzie, but it’s considered a bit of circumstantial musical evidence by Sullivan and others in the attempt to prove that most of Bert’s Oz repertoire came later from published sources. In his 1969 interview with Mark Gregory Bert said that, when he bought a copy of Patterson’s Old Bush Songs around 1930, he found therein versions of several songs that he’d known, which he’d acquired and put into his exercise books. Some of these texts were, apparently, very close to the Patterson versions and Bert thought they might well have been learnt from print.

This little magazine was a literary lifeline to Bert, keeping him up to date with what was happening in the outside world and giving him ideas on what to order from the Sydney library including art books. Unfortunately, many of the book illustrations were in monochrome. Undeterred, he familiarised himself not just with classical art but also with modern movements such as Fauvism, Expressionism, Dada, Cubism and Surrealism – the Surrealist Manifesto was published in 1924, the year he arrived in Australia.

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