Julio Cortazar Quotes

The mysterious does not spell itself out in capital letters, as many writers believe, but is always between, an interstice.

I'm going to think only about you, it's the only way I'm conscious of myself...

Only by living absurdly is it possible to break out of this infinite absurdity.

You're like a witness. You're the one who goes to the museum and looks at the paintings. I mean the paintings are there and you're in the museum too, near and far away at the same time. I'm a painting. Rocamadour is a painting. Etienne is a painting, this room is a painting. You think that you're in the room but you're not. You're looking at the room, you're not in the room.

And there's blues in my bed, 'cause l'm sleepin' by myself.

Hopscotch is played with a pebble that you move with the tip of your toe. The things you need : a sidewalk, a pebble, a toe, and a pretty chalk drawing, preferably in colors. On top is Heaven, on the bottom is Earth, it's very hard to get the pebble up to Heaven,you almost always miscalculate and the stone goes off the drawing. But little by little you start to get the knack of how to jump over the different squares (spiral hopscotch, rectangular hopscotch, fantasy hopscotch, not played very often ) and then one day you learn how to leave Earth and make the pebble climb up into Heaven (Et tous nos amours, Emmanuele was sobbing face down), the worst part of it is that precisely at that moment,
when practically no one has learned how to make the pebble climb up into Heaven, childhood is over all of a sudden and you're into novels, into the anguish of the senseless divine trajectory, into the speculation about another Heaven that you have to learn to reach too.

I envy Johnny and at the same time I get sore as hell watching him destroy himself, misusing his gifts, and the stupid accumulation of nonsense the pressure of his life requires. I think that if Johnny could straighten out his life, not even sacrificing heroin, if he could pilot that plane better, maybe he'd end up worse, maybe go crazy altogether, or die, but not without having played it to the depth, what he's looking for in those sad a posteriori monlogues, in his retelling of great, fascinating experiences which, however, stop right there, in the middle of the road. And all this I back up with my own cowardice, and maybe basically I want Johnny to wind up all at once like a nova that explodes into a thousand pieces and turns astronomers into idiots for a whole week, and then one can go off to sleep and tomorrow is another day.

During his reading hours, which were between one and five o'clock in the morning, but not every morning, he had come to the disconcerting conclusion that whistling was not an important theme in literature.

Skill alone cannot teach or produce a great short story, which condenses the obsession of the creature; it is a hallucinatory presence manifest from the first sentence to fascinate the reader, to make him lose contact with the dull reality that surrounds him, submerging him in another that is more intense and compelling.

Memory is a mirror that scandalously lies.

Time is born in the eyes, everybody knows that.

I love you because you are not mine, because you are from the other side, from there where you invite me to jump and I cannot make the jump, because in the deepest moment of possession you are not in me, I cannot reach you, I cannot get beyond your body ...

Go ahead, deny up and down that the delicate act of turning the doorknob, that act which may transform everything, is done with the indifferent vigor of a daily reflex. See you later, sweetheart. Have a good day.
Tighten your fingers around a teaspoon, feel its metal pulse, its mistrustful warning. How it hurts to refuse a spoon, to say no to a door, to deny everything that habit has licked to a suitable smoothness. How much simpler to accept the easy request of the spoon, to use it, to stir the coffee.

Everything can be killed except nostalgia for the kingdom, we carry it in the color of our eyes, in every love affair, in everything that deeply torments and unties and tricks.

Why couldn't I accept what was happening without trying to explain it, without bringing up ideas of order and disorder, of freedom, as one sets out geranium pots in a courtyard on the Calle Cochabamba? Maybe on had to fall into the depths of stupidity in order to make the key fit the lock to the latrine or to the Garden of Olives.

For me the thing that signals a great story is what we might call its autonomy, the fact that it detaches itself from its author like a soap bubble blown from a clay pipe.

What we call absurd is our ignorance. The Winners, 1960

Salt and the center of the world have to be there, in that spot on the tablecloth.

Once in a while it happens that I vomit up a bunny ... it's not reason for one to blush and isolate oneself and to walk around keeping one's mouth shut.

Only in dreams, in poetry, in play do we sometimes arrive at what we were before we were this thing that, who knows, we are.

I think it is vanity to want to put into a story anything but the story itself.

A short story relies on those values that make poetry and jazz what they are: tension, rhythms, inner beat, into unforeseen within foreseen parameters

The modern story begun, one might say, with Edgar Allan Poe, which proceeds inexorably, like a machine destined to accomplish its mission with the maximum economy of means.

An admirable line of Pablo Neruda's, "My creatures are born of a long denial," seems to me the best definition of writing as a kind of exorcism, casting off invading creatures by projecting them into universal existence, keeping them on the other side of the bridge ... It may be exaggerating to say that all completely successful short stories, especially fantastic stories, are products of neurosis, nightmares or hallucination neutralized through objectification and translated to a medium outside the neurotic terrain. This polarization can be found in any memorable short story, as if the author, wanting to rid himself of his creature as soon and as absolutely as possible, exorcises it the only way he can: by writing it.

The more a book is like an opium pipe, the more the Chinaman reader is satisfied with it and tends to discuss the quality of the drug rather than its lethargic effects.

To get the idea that you are the center," Oliveira thought, resting more comfortably on the board. "But it's incalculably stupid. A center as illusory as it would be to try to find ubiquity. There is no center, there's a kind of continuous confluence, an undulation of matter. All through the night I'm a motionless body, and on the other side of town a roll of newsprint is being converted into the morning paper, and at eight-forty I will leave the house and at eight-twenty the paper will have arrived at the newsstand on the corner, and at eight forty-five my hand and the newspaper will come together and begin to move together through the air, three feet from the ground, heading towards the streetcar stop.

The short-story writer knows that he can't proceed cumulatively, that time is not his ally. His only solution is to work vertically, heading up or down in literary space.

We know that attention acts as a lightning rod. Merely by concentrating on something one causes endless analogies to collect around it, even penetrate the boundaries of the subject itself: an experience that we call coincidence, serendipity – the terminology is extensive. My experience has been that in these circular travels what is really significant surrounds a central absence, an absence that, paradoxically, is the text being written or to be written.

Why don't we go out instead of talking about people? We seem to be ghosts talking about other ghosts. It's unhealthy." "Yes,

When you hear a Spanish cook describe a paella or a cake, you realize she's using a much richer repertoire of adjectives than what one of us would use to characterize a book or an important experience.

The evolution from happiness to habit is one of death's best weapons.

One begins to go about with the sluggish step of a philosopher or a clochard, as more and more vital gestures become reduced to mere instincts of preservation, to a conscience more alert not to be deceived than to grasp truth.

Being alive always seems to be the price of something.

[Heaven is] that moment in which something attains its maximum depth, its maximum reach, its maximum sense, and becomes completely uninteresting.

We went around without looking for each other, but knowing we went around to find each other.

Habits, Andrea, are concrete forms of rhythm, are that portion of rhythm which helps to keep us alive.

I think we all have a little bit of that beautiful madness that keeps us walking when everything around us is so insanely sane.

The unusual is only found in a very small percentage, except in literary creations, and that is exactly what makes literature.

I sometimes longed for someone who, like me, had not adjusted perfectly with his age, and such a person was hard to find; but I soon discovered cats, in which I could imagine a condition like mine, and books, where I found it quite often.

Sо they had begun to walk about in a fabulous Paris, letting themselves be guided by the nighttime signs, following routes born of a clochard phrase, of an attic lit up in the darkness of a street's end, stopping in little confidential squares to kiss on the benches or look at the hopscotch game, those childish rites of a pebble and a hop on one leg to get into Heaven, Home.

La Maga did not know that my kisses were like eyes which began to open up beyond her, and that I went along outside as if I saw a different concept of the world, the dizzy pilot of a black prow which cut the water of time and negated it.

That's how it is, Rocamadour: in Paris we're like fungus, we grow on the railings of staircases, in dark rooms with greasy smells, where people make love all the time and then fry some eggs and put on Vivaldi records, light cigarettes ... and outside there are all sorts of things, the windows open onto the air and it all begins with a sparrow or a gutter, it rains a lot here, rocamadour, much more than in the country, and things get rusty ... we don't have many clothes, we get along with so few, a good overcoat, some shoes to keep the rain out, we're very dirty, everybody is dirty and good-looking in Paris, Rocamadour, the beds smell of night and deep sleep, dust and books underneath.

The fantastic breaks the crust of appearance ... something grabs us by the shoulders to throw us outside ourselves. I have always known that the big surprises await us where we have learned to be surprised by nothing, that is, where we are not shocked by ruptures in the order.

But what is memory if not the language of feeling, a dictionary of faces and days and smells which repeat themselves like the verbs and adjectives in a speech, sneaking in behind the thing itself,into the pure present, making us sad or teaching us vicariously ...

In quoting others, we cite ourselves.

...one lives convinced his friends are there, that contact does exist, that agreements or disagreements are profound and lasting. How we all hate each other, without being aware that endearment is the current form of that hatred, and how the reason behind profound hatred is this excentration, the unbridgeable space between me and you, between this and that. All endearment is an ontological clawing, yes, an attempt to seize the unseizable...

Memory weaves and traps us at the same time according to a scheme in which we do not participate: we should never speak of our memory, for it is anything but ours; it works on its own terms, it assists us while deceiving us or perhaps deceives up to assist us.

I realized that searching was my symbol, the emblem of those who go out at night with nothing in mind, the motives of a destroyer of compasses.

One of the many ways of contesting level-zero, and one of the best, is to take photographs, an activity in which one should start becoming adept very early in life, teach it to children since it requires discipline, aesthetic education, a good eye and steady fingers.

If I were a moviemaker I'd set about hunting sunsets.

A hand of smoke took his hand, started him downward, if it was downward, showed him a centre, if it was a centre, put it in his stomach, where the vodka was softly making crystal bubbles, some sort of infinitely beautiful and desperate illusion which some time back he had called immortality.

What most people call loving consists of picking out a woman and marrying her. They pick her out, I swear, I've seen them. As if you could pick in love, as if it were not a lightning bolt that splits your bones and leaves you staked out in the middle of the courtyard. They probably say that they pick her out because-they-love-her, I think it's just the siteoppo. Beatrice wasn't picked out, Juliet wasn't picked out. You don't pick out the rain that soaks you to a skin when you come out of a concert.

I am I, I am he. We are, but I am I, first I am I, I will defend being I until I am unable to fight any longer. I am I, Atalia. Ego. Yo. A professional degree, an Argentine, a scarlet fingernail, pretty sometimes, big dark eyes, I. Atalia Donosi, I. Yo. Yo-yo, windlass and hawser. Funny.

Every time it starts to get cool, I mean in the middle of autim, I start gettin nutty ideas like I was thinkin about what was forein and diffrent, like for exsample how I'd like to turn into a swallow and get away and fly to countrys where it gets hot, or be an ant so's I could get deep into a cave and eat the stuff I stored away durin the summer or be a snake like what they got in the zoO, the ones they keep lockt up in glass cages thats heated so's they don't get stiff from the cold, which is what happens to poor human beans who cant buy no close cause the price is to high, and cant keep warm cause theys no keroseen, no coal, no wood, no fule oil and besides theys no loot, cause when you go around with bocoo bread you can go into any bar and get some sneaky pete that can be real warmin, even tho it aint good to overdo it cause if you overdos it it gets to be a bad habbit and bad habbits is bad for your body just like they is for youre selfrespeck, and when you start goin downhill cause your actin bad in everythin, they aint nobody or nothin can stop you from endin up a stinkin piece of human garbidge and they never gone give you a hand to haul you up outen the dirty muck you rollin around in, not even if you was a eaglE when you was young and could fly up and over the highest hills, but when you get old you like a highflyin bomber thats lost its moral engines and fall down outen the sky. I jes hope what I been writin down hear do somebody some good so he take a good look at

Six months ago. Six, sax, sex.

And jazz is like a bird who migrates or emigrates or immigrates or transmigrates, roadblock jumper, smuggler, something that runs and mixes in

I am talking about the responsibility of the poet, who is irresponsible by definition, an anarchist enamored of a solar order and never of the new order or whatever slogan makes five or six hundred million men march in step in a parody of order.

I'm such a jerk; it had never occurred to me that when we look at a photo from the front, the eyes reproduce exactly the position and the vision of the lens; it's these things that are taken for granted and it never occurs to anyone to think about them.

Now that I think about it, it seems to me that's what Idiocy is: the ability to be enthusiastic all the time about anything you like, so that a drawing on the wall does not have to be diminished by the memory of the frescoes of Giotto in Padua.

There was a time when I thought a great deal about the axolotls. I went to see them in the aquarium at the Jardin des Plantes and stayed for hours watching them, observing their immobility, their faint movements. Now I am an axolotl.

Nothing is more comical than seriousness understood as a virtue that has to precede all important literature

All I have to do is to look at you to know that with you, I am going to soak my soul

I have a great liking for polygraphs who cast their fishing poles in all
directions ...

Happy are those who choose, those who accept being chosen, the handsome heroes, the handsome saints, the perfect escapists.

All European writers are 'slaves of their baptism,' if I may paraphrase Rimbaud; like it or not, their writing carries baggage from an immense and almost frightening tradition; they accept that tradition or they fight against it, it inhabits them, it is their familiar and their succubus. Why write, if everything has, in a way, already been said? Gide observed sardonically that since nobody listened, everything has to be said again, yet a suspicion of guilt and superfluity leads the European intellectual to the most extreme refinements of his trade and tools, the only way to avoid paths too much traveled. Thus the enthusiasm that greets novelties, the uproar when a writer has succeeded in giving substance to a new slice of the invisible; merely recall symbolism, surrealism, the 'nouveau roman': finally something truly new that neither Ronsard, nor Stendahl , nor Proust imagined. For a moment we can put aside our guilt; even the epigones begin too believe they are doing something new. Afterwards, slowly, they begin to feel European again and each writer still has his albatross around his neck.

She would smile and show no surprise, convinced as she was, the same as I, that casual meetings are apt to be just the opposite, and that people who make dates are the same kind who need lines on their writing paper, or who always squeeze up from the bottom on a tube of toothpaste.

Thus they went along, Punch and Judy, attracting each other and repelling, as love must do if it is not to end up as calendar art or a pop tune.

As if you could pick in love, as if it were not a lightning bolt that splits your bones and leaves you staked out in the middle of the courtyard. ( ... ) You don't pick out the rain that soaks you to the skin when you come out of a concert.

Explanation is a well-dressed error.

In the twentieth century nothing can better cure the anthropocentrism that is the author of all our ills than to cast ourselves into the physics of the infinitely large (or the infinitely small).