Cortazar: Autonauts of the Cosmoroute

There is a new Cortazar title to be released this month from the excellent Archipelago Books, providers of recent titles from Duras, Musil, Michaux, among myriad others. Archipelago also released Cortazar's slim Diary of Andres Fava in 2005, which is a companion-book to Final Exam, somewhat similar to the way 62: A Model Kit functions in relation to Hopscotch. This new book, Autonauts of the Cosmoroute, is described as "a love story, an irreverent travelogue of elaborate tales and snapshots detailing Julio Cortázar and Carol Dunlop’s thirty-three-day voyage on the Paris-Marseilles freeway in 1982." The most exciting detail here is that the book clocks in at 350 pages, which is quite a gift to Cortazar readers operating only in English. It seems like Autonauts may resemble the hodgepodge style of Around the World in 80 Days, though it will probably be more unified, given the format of that volume. Anne McLean handles the translation here, continuing her earlier work on Diary of Andres Fava; McLean's other major work of translation was partial duty on Ignacio Padilla's novel Shadow Without a Name. Another appealing detail of the description is that this book was written under two years before Cortazar's death, & insight into this later portion of his life & career is welcome, given the rumors, sensationalism & nastiness that has tended to surround the accounts & commentary of that era.

A Death

So I have just now heard that on the same day Ingmar Bergman died, so went Antonioni. Though I am not all that familiar with the entirety of either director's work, Antonioni's BlowUp has always been interesting for me, given my early & formative interest in Julio Cortazar. The film purports itself to be based on a story in Cortazar's volume End of the Game and other stories (which was later renamed to Blow Up and other stories following the success of the film), but in reality the two works have very little in common. There is a basic thematic concurrance, & the two stories do contain the physical act of enlarging a photograph in order to more acutely contemplate its contents, but on the whole they have as much in common as The Bourne Identity & any James Bond picture of your choice. On the one hand, the lack of a more faithful film representation of Cortazar's masterpiece is regretful. But, thinking about it a few day's after Antonioni's death at 94 (the film was released in '66), it is an encouraging example of one work inspiring an entirely, conclusively separate other-genre work; also, Cortazar's story is so beyond perfect that it needs no film counterpart: it transcends genre, language, civilization. It indicates a mountain of speculative horror without offering an ounce of certainty or solid ground. In a handful of pages, the world crumbles. In Antonioni's film, the outcome is far less apocalyptic, yet entirely as metaphysical. The world appears to crumble, yet the protagonist adjusts. Still, the film is no less of a masterpiece, regardless of the fact that it might take several viewings for die-hard fans of Cortazar's story to appreciate, given the fundamental difference between the two works. Though it is perhaps cliche to do so whenever someone dies, it is time to head to the movie store, or netflix, & catch up.