The good news: it was a beautiful weekend to celebrate Non Stop Bhangra‘s ten year anniversary. The bad news: I danced so hard I think I broke my toe. This at least gave me an excuse to sit around all Sunday, finishing up Julio Cortázar’s Blow-Up and other stories.
I couldn’t help comparing him (well, this collection) to my recent bout of Carlos Fuentes. Fuentes (or what I’ve read of him, this time around) has a distinct set of preoccupations that permeate all his work. The primary one is the intrusion of the past into the present, or the revisiting of the past in the present. This often expresses itself in his work as reincarnation, ghosts, doubles, history repeating itself. Memory and history are recurrent themes as well, closely related to the first, and also rife with ghost story possibilities. Oh, and there’s sex and erotic longing. The second usually leads to the first, of course — but not always.
If Cortázar has an obsession, then it’s transmigration. Not just in the sense of reincarnation, but more generally in the sense of the transference of essence, of souls. It might be across species (“Axolotl”), across centuries (“The Night, Face Up”, “The Idol of the Cyclades”), or between people (“The Distances”, “Secret Weapons”, “A Yellow Flower”). One also senses in many of these stories the fear of losing control (“House Taken Over”; the just-released “Headache“, translated into English for the first time by Michael Cisco. There’s a fair bit of longing in his stories, too – the unrequited kind. Perhaps it’s for the best friend’s wife, or even a blood relative (a commenter on The Weird Fiction Review‘s profile of Cortázar mentions the author’s “complicated feelings towards his own sister” — this is the first and only thing I’ve heard about it, but it is true that “House Taken Over” and “Bestiary” both have a weird vibe).