By Julio Cortázar
Publish 12 months note: First released in 1951
Los cuentos que forman Bestiario nos hablan de objetos y hechos cotidianos, pero pasan a l. a. dimensión de l. a. pesadilla o de l. a. revelación de un modo common e imperceptible. Sorpresa, incomodidad, desazón, misterio, intriga# son sensaciones que atrapan al lector a medida que avanza en su lectura. Es el vértigo que se siente ante lo inexplicable, ante el descubrimiento de que existen mundos paralelos y que Cortázar ha tendido el puente unión entre ellos. "Casa tomada", "Carta a una señorita en París", "Lejana", "Ómnibus", "Cefalea", "Circe", "Las puertas del cielo", "Bestiario". Después de leer estos ocho auténticos clásicos del género, nuestra opinión sobre el mundo no puede seguir siendo l. a. misma.
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from the book's cover:
The worry haunting the anonymous author in
Peter Handke’s new novel is the phobia of los-
ing touch with language and of now not being
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From Publishers Weekly
This deceptively basic, but hugely tough and unique novella reaffirms Handke's preeminence at the overseas literary scene. One December afternoon in an unidentified German urban, the anonymous narrator, a author, takes a stroll and displays at the perilous presumption of his vocation and his terror on the tenuousness of his touch with suggestion. each one note is a lifeline, conjuring up the realm and magically reformulating it. yet even as, the author and his textual content pressure on the limits of language and figuring out. Believing that the author is dispossessed in 20th-century tradition, the narrator is thrown again upon himself to confront the nullity of his discourse; his younger religion in his calling has collapsed into disenchantment and worry that by means of taking flight from society to write down, he has de-legitimized his voice. but the narrator concludes with the confirmation to "continue to paintings the main ephemeral of fabrics, my breath," with out relief or concealment of literature's drained props, hence reassuring Handke's admirers that the writer will proceed to tax and thrill them together with his Mallarmean opacities.
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Additional resources for Bestiario
1S So, to 'save the ideal of validity [the theorist] has to save the author as well'i '" Hirsch actually agrees with Wimsatt and Beardsley's 'intentional fallacy' in so far as it applies to evaluation and judgement. That is, to judge the artistic success of, for example, Hardy's Tess oftheD'Urbevilles and Hardy's effectiveness in communicating whatever it was he wanted to communicate, a distinction has to be made between the author's intentions and the work itself, otherwise there would be nothing to evaluate.
The 'intentionality' of the chair's structure can only be defined and described by resorting to what is outside. To put it another way, the chair is not 'aimed' at itself, autonomous, it requires a sitter. The image of intention as represented by the chair is therefore invalidated when it comes to its applicability in relation to de Man's discussion of the 'aesthetic object'. But perhaps this reading is in bad faith. It is possible that 'the chair' is only used by de Man when he wants to present the idea of hypostasis in Wimsatt and Beardsley, and that the 'hunter' image is not a refinement of the previous ('founding') image, but used to represent the 'poetic act'.
This second issue of meaning is ascribed much less emphasis in the essay. As with the 'Murder Case Man's "Threat" to Shoot Teddy Bears' text, it is a question of evidence. Wimsatt and Beardsley see 'a difference between internal and external evidence for the meaning of a poem'i'" Today we would understand it as the difference between meaning as determined by considerations of the text itself, and meaning as determined by information gleaned from sources other than the text, in other words, the very antithetical camps we are attempting to mediate between.
Bestiario by Julio Cortázar