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Around the Day in Eighty Worlds

Book by Julio Cortázar · 8 quotes · Poetry, Poets, Reality

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Around the Day in Eighty Worlds Quotes

“Thirsty for being, the poet ceaselessly reaches out to reality, seeking with the indefatigable harpoon of the poem a reality that is always better hidden, more re(g)al. The poem’s power is as an instrument of possession but at the same time, ineffably, it expresses the desire for possession, like a net that fishes by itself, a hook that is also the desire of the fish. To be a poet is to desire and, at the same time, to obtain, in the exact shape of the desire.”

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“Nietzsche, que era un cronopio como pocos, dijo que sólo los imbéciles no se contradicen tres veces al día. No hablaba de las falsas contradicciones que apenas se rasca un poco son hipocresía deliberada (el señor que da limosna en la calle y explota a cincuenta obreros en su fábrica de paraguas), sino de esa disponibilidad para latir con los cuatro corazones del pulpo cósmico que van cada uno por su lado y cada uno tiene su razón y mueve la sangre y sostiene el universo, ese camaleonismo que todo lector encontrará y amará o aborrecerá en este libro y en cualquier libro donde el poeta rehúsa el coleóptero.”

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“An admirable line of Pablo Neruda’s, “My creatures are born of a long denial,” seems to me the best definition of writing as a kind of exorcism, casting off invading creatures by projecting them into universal existence, keeping them on the other side of the bridge… It may be exaggerating to say that all completely successful short stories, especially fantastic stories, are products of neurosis, nightmares or hallucination neutralized through objectification and translated to a medium outside the neurotic terrain. This polarization can be found in any memorable short story, as if the author, wanting to rid himself of his creature as soon and as absolutely as possible, exorcises it the only way he can: by writing it.”

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“All European writers are ‘slaves of their baptism,’ if I may paraphrase Rimbaud; like it or not, their writing carries baggage from an immense and almost frightening tradition; they accept that tradition or they fight against it, it inhabits them, it is their familiar and their succubus. Why write, if everything has, in a way, already been said? Gide observed sardonically that since nobody listened, everything has to be said again, yet a suspicion of guilt and superfluity leads the European intellectual to the most extreme refinements of his trade and tools, the only way to avoid paths too much traveled. Thus the enthusiasm that greets novelties, the uproar when a writer has succeeded in giving substance to a new slice of the invisible; merely recall symbolism, surrealism, the ‘nouveau roman’: finally something truly new that neither Ronsard, nor Stendahl , nor Proust imagined. For a moment we can put aside our guilt; even the epigones begin too believe they are doing something new. Afterwards, slowly, they begin to feel European again and each writer still has his albatross around his neck.”

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“In the twentieth century nothing can better cure the anthropocentrism that is the author of all our ills than to cast ourselves into the physics of the infinitely large (or the infinitely small). By reading any text of popular science we quickly regain the sense of the absurd, but this time it is a sentiment that can be held in our hands, born of tangible, demonstrable, almost consoling things. We no longer believe because it is absurd: it is absurd because we must believe.”

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