Cronopios And Famas (1999)

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"C'era una volta un cronopio piccoletto che cercava la chiave della porta di casa sul comodino, il comodino nella camera da letto, la camera da letto nella casa, la casa nella strada. Qui il cronopio si fermava perché per uscire in strada aveva bisogno della chiave della porta di casa".Uno stregone dell'immaginazione, un mago dell'affabulazione, uno scatenato poeta del surreale e del possibile: tra queste estreme libertà e questi infiniti talenti si collocano la figura, la parola e il genio di Cortazar, inventore e creatore dei Cronopios e dei Famas: esseri immaginari eppure reali, perché composti del materiale umano più sostanzioso e resistente, quello dei sogni, dei respiri e dei pensieri. Tra le mille storie che si rispecchiano, queste creature selvatiche e irrazionali svolgono attività inusuali e sorprendenti, discorrono con allegria e progettano un universo abitato da orsi e da cammelli, fianco a fianco. Nei loro viaggi incontrano fenicotteri e tartarughe, enciclopedie e istruzioni, formiche e orologi; inventano insolite sinfonie, interrogano la notte per conoscere il destino del mondo e cantano le proprie esperienze per superare la paura del sole. Dormono, ridono e amano, nelle loro città di vetro, senza quiete ma pieni di speranze. Ingannano eserciti, fuggono dalle foreste, colorano le ombre e insegnano zoologia e botanica. Indecifrabili come antichi codici e molteplici come geografie del possibile, le loro vite incomprese si disegnano pagina per pagina e i loro rituali hanno sviluppi imprevisti come onde nel mare. Tutto per amore del racconto e della leggerezza, per il sapore di scrivere, in definitiva per sentire di avere vissuto fino in fondo, per davvero.
—Cosimo

In his struggle against pragmatism and the horrible tendency of reaching useful ends, my eldest cousin proposed the following procedure: to pull from the head a good thick strand of hair, make a knot in the middle of it, and drop it gently down the sink drain.. Should the hair get trapped in the metal grate which used to propagate in such drains, all you have to do is open the faucet a bit and it will disappear for good. Without a moment of hesitation, you must begin the job of recovering the hair.Published a year before Hopscotch and after presumably having served as an outlet valve for for whatever exuberant nonsense Cortazar needed to get out of his head but deemed unfit for that more serious work, Cronopios and Famas is a dense, wild explosion of ideas, mundane or insane. The first two sections are essentially perfect. First a set of instructions: into the use of stairs, on how to cry, on the use of a comb, and a slight strange gorgeous poem on the dissection of ground owls (and I, who almost never read poetry). This is beating the surrealists at their own game, stripping the rational veil back from everyday to reveal a chaos of parts and urges and hidden unexpected variation. This continues in the second part, matter-of-fact monologues from a member of a outwardly normal family who bend all convention as a matter of course, defying utility and performing actions with great care purely because they've envisioned them. These two parts, together, are only as bizarre as they are ordinary, and packed with identifiable insights, however strangely packaged. This is fantastic five-star stuff.Either the tiger agrees to be lodged, or it must be lodged in such a way that its acceptance or refusal is of no consequence.This takes us about a third of the book's length; the next two parts get a third each. True to its name, "Unstable Stuff" disintegrates into a kind of notebook of outrageous ideas, varying wildly in style and quality. The best (the bear in the pipes, the art of abstraction) are every bit as good as the earlier material, but it's mostly more in line with the near-free-associative absurdity of someone like Daniil Kharms. Finally, in the closing, title section, a series of slight, exceedingly odd fables about the interactions of Famas, Cronopios, and Esperanzas, indeterminate constructions feeling so new that they seem to have been devised only as they were being written down. Somewhat overwhelming, and I really should have taken my time and read these slower, a few a day, spaced out with other books. But it's good to know that Cortazar can be so playful....Previously: This is brilliant. I can't believe Hopscotch steered me away from further Cortazar for an entire year. Jimmy, I'm seeing what you mean about the perfection of Cortazar on a sentence-by-sentence basis, now, too.
—Nate D

Libro legendario. Toda una declaración de principio de su autor. Toma partida por el surrealismo,por una inmensa imaginación y por un humor bastante irónico.Utiliza textos muy breves en donde demuestra que a lieratura esta en cualquier parte,en el lugar mas inesperado. No son necesarios grandes temas,ni grandes héroes,ni grandes historias.Con una vista privilegiada, y el autor la tiene,sales a la calle y la literatura fluye, dando temas para llevar al papel: tus vecinos, tu familia,el sillón de casa,la parada del autobús. Todo esta lleno de historias,pero solo Cortázar lo ve,lo observa y lo lleva al papel de una manera distinta.Él escribe echándose en brazos del surrealismo,fijando la mirada más lejos,Hace un pacto con el lector,e lanza un relato este lo recoge y se lo lanza a otro lector.Se forma una cadena y al final habrá mil interpretaciones del mismo relato.Un lector impaciente,de esos que buscan explicación a todo,que necesita un final cerrado,con todo explicado no será feliz leyendo estos cuentos. Aquí no hay principio, ni nudo, ni desenlace. ¿Qué hay? Lo que cada lector quiera que haya. Para ver lo que hay es necesario un lector paciente,observador,capaz de aceptar que en este mundo hay muchos mundos y el primero que vemos no tiene porque ser el mejor.
—Manuel Sanz