Despite this, in a letter to Graciela M. de Solá on December 4, 1963, he described this period of his life as “full of servitude, excessive touchiness, terrible and frequent sadness.” He was a sickly child and spent much of his childhood in bed reading.
His mother, who spoke several languages and was a great reader herself, introduced her son to the works of Jules Verne, whom Cortázar admired for the rest of his life. In the magazine Plural (issue 44, Mexico City, May 1975) he wrote: “I spent my childhood in a haze full of goblins and elves, with a sense of space and time that was different from everybody else’s.”
Influence and legacy
Michelangelo Antonioni’s film Blowup (1966) was inspired by Cortázar’s story “Las babas del diablo,” which in turn was based on a photograph taken by Chilean photographer Sergio Larraín during a shoot outside of Notre Dame Cathedral in Paris.
Cortázar’s story “La autopista del sur” (“The Southern Thruway”) influenced another film of the 1960s, Jean-Luc Godard’s Week End (1967). The filmmaker Manuel Antín has directed three films based on Cortázar stories, Cartas de mamá, Circe, and Intimidad de los parques.
Chilean novelist Roberto Bolaño cited Cortázar as a key influence on his novel The Savage Detectives: “To say that I’m permanently indebted to the work of Borges and Cortázar is obvious.”
Puerto Rican novelist Giannina Braschi used Cortázar’s story “Las babas del diablo” as a springboard for the chapter called “Blow-up” in her bilingual novel Yo-Yo Boing! (1998), which features scenes with Cortázar’s characters La Maga and Rocamadour. Cortázar is mentioned and spoken highly of in Rabih Alameddine’s 1998 novel, Koolaids: The Art of War.
North American novelist Deena Metzger cites Cortázar as co-author of her novel Doors: A Fiction for Jazz Horn, written twenty years after his death.
In Buenos Aires, a school, a public library, and a square in the Palermo neighborhood carry Cortázar’s name.
From Wikipedia, the free encyclopedia
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