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MONG THE MANY EVENTS that took place in Cuba following the 1959 Revolution was a seemingly insigniï¬cant literary gathering: a lecture by the Argentine writer Julio Cortázar in Havana in 1963. In âAlgunos aspectos del cuentoâ (âSome Aspects of the Short Storyâ), Cortázar presented his theory of the short story in relation to various masters of the genre, such as Edgar Allan Poe, Franz Kafka, and Katherine Mansï¬eld. While Cortázar focused primarily on the structural characteristics of the best short stories, it is clear that in this lecture he was also setting out to deï¬ne the political possibilities of telling a story in postrevolutionary Cuba. As Miguel Herráez notes in his recent biography, although Cortázar was never completely dedicated to the revolution in Cuba, he was nevertheless infected with an enthusiastic desire to rethink the relation between literature and politics (166).1 Cortázarâs lecture, which was eventually published as an 1 Cortázar confessed to Antón Arrufat that his passion for Cuba had reached a pathological level during this period: âMe he enfermado incurablemente de Cubaâ (âIâve become incurably sick with Cubaâ) (Cortázar, qtd. in Herráez 164). This incurable sickness pushed Cortázar to reconsider the relation between writing and politics,
Comparative Literature – Duke University Press
Published: Jan 1, 2008
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