![]() His free-floating narrator tells us in Libro de Manuel ( A Manual for Manuel) (1973) that “the absurdity of heading in the direction of the absurd is exactly what brings down the walls of Jericho” (12). He donated the royalties of some of his last books to the Sandinistas, and his work is the subversive act of a literary terrorist. I use such a tongue-in-cheek metaphor because of Cortázar’s leftist, even anarchistic, leanings. Upon tracing the labyrinth of influence, correspondence and sometimes perhaps mere synchronicity, Cortázar emerges as a “mano negra”, a black hand, a hidden hand. Here I would like to highlight the (hitherto unrecognized) presence of Julio Cortázar in film. ![]() In an earlier essay (“ Last Year at Marienbad: an Intertextual Meditation”), I revealed the relationship between the Alain Resnais film and La Invención de Morel ( The Invention of Morel) (1940) by Adolfo Bioy-Casares. ![]() ![]() in Colchie, x) That may be, but the influence certainly goes the other way. In trying to articulate the cultural unity of Latin American fiction, Uruguayan critic and biographer Emir Rodriguez Monegal wrote, “The generation that emerged in the forties and fifties is one for whom film constitutes a veritable lingua franca, the true koine of this linguistic Babel in which we live.” (qt. ![]() See the bottom of the page for a list of all films cited in this article. ![]()
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