The conundrum of consciousness 6. Some of the "expendable" chapters at first seem like random musings, but upon closer inspection solve questions that arise during the reading of the first two parts of the book. Several narrative techniques are employed throughout the book, and frequently overlap, including first person, third person, and a kind of stream-of-consciousness. Traditional spelling and grammatical rules are often bent and sometimes broken outright. Plot Chapters The first 36 chapters of the novel in numerical order are grouped under the heading "From the Other Side. He experiences life in Paris in the s.
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Start your review of Hopscotch Write a review Shelves: argentina , novel , male , reviewed-in-the-style-of , years Table of Instructions This 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.
From The Other Side 1 I expected this book to be more 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. 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.
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.
Unlike in a normal book where I could gauge my progress by the heft of pages in my right vs. 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. In this way, the book is not a thing with defined borders, but one that flows and overflows in soft focus. One could keep going until this book included all of literature, or you die of exhaustion, whichever comes first guess!
What ends up being ignored are the things hidden underneath, which sheds light on the whole reason for the circuitous form to begin with. For how can you talk unless you have some kind of shared experience? And what is the point of that? Mental masturbation. Therefore, is not the only worthy venture for language to communicate the impossible?
His best friend Traveler and wife Talita are just across the way, also on the same floor, but in an opposite apartment building. 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 more funny by its inelegant obviousness: Traveler and Talita actually work in a circus! And yet, we all carry within ourselves some morsel of deep understanding about everything, some essence that is impossible to share.
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. And precisely because of that, we should try all the harder.
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. Communication with what, for what? 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.
It had no importance whatsoever, while playing with my friends was something serious. One can do everything for that game. We project our own ignorance into them and they seem like madmen to us, coming and going in a very decided way. Within this chatter, the rhythm drops off, and my enjoyment does too. 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. Or does it? Even though on the surface it seems much more 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.
The combination of the two things should have produced a third, something that had nothing to do with love 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. 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. 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. 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.
Translated from the Spanish by Gregory Rabassa. Julio Cortazar is a lanky, blue-eyed, boyish-looking man of fifty: a sort of engaging Jimmy Stewart of Latin-American letters. When he is not translating for UNESCO in Vienna, Bombay, or Paris, he will be found writing—on a rundown farm near Aix-en-Provence where the plumbing alternately freezes and grumbles—the most exciting fiction now being produced in the Spanish language. Latin America has a schizophrenic culture. Nostalgia for the noble savage and eschatological yearning for the revolutionary man: who killed the Inca Atahualpa?
Hopscotch, by Julio Cortazar
Some of the "expendable" chapters at first seem like random musings, but upon closer inspection solve questions that arise during the reading of the first two parts of the book. Several narrative techniques are employed throughout the book, and frequently overlap, including first person, third person, and a kind of stream-of-consciousness. Traditional spelling and grammatical rules are often bent and sometimes broken outright. Plot chapters 1—36 [ edit ] The first 36 chapters of the novel in numerical order are grouped under the heading "From the Other Side. He experiences life in Paris in the s.
Dovrebbe essere sufficiente scrivere: un capolavoro del romanzo contemporaneo. Anzi, un capolavoro del romanzo di tutti i tempi. Partiamo dalle parentele che ci ho trovato io. Un gioco di ponti precariamente gettati. Un mondo di gioco e di giochi. Il circo e la follia.
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