Podcast appearances and mentions of julio cortazar

Roque Dalton is considered one of El Salvador's greatest writers of the 20th century.His poems are pure art, mixing politics with poetry, blending verse and prose. Humor and reality. History and current events. Beautiful lines, alongside anger at the suffering plight of humanity. And above all that of the downtrodden and poor of El Salvador.But Roque Dalton did not just write words. He lived them. He attended the world youth festival in Russia. He traveled, met and spoke out against injustices He was imprisoned. Escaped. He lived in Czechoslovakia. Exiled in Mexico. Exiled in Cuba. And trained to fight, there.Roque Dalton was born on May 14, 1935.He was killed and and his body disappeared on May 10, 1975, just four days before his 40th birthday. His family members have continued to demand justice and the truth about their father's death.His words live on.This is episode 30 of Stories of Resistance — a podcast co-produced by The Real News and Global Exchange. Independent investigative journalism, supported by Global Exchange's Human Rights in Action program. Each week, we'll bring you stories of resistance like this. Inspiration for dark times.If you like what you hear, please subscribe, like, share, comment, or leave a review. You can also follow Michael's reporting and support at www.patreon.com/mfox.Written and produced by Michael Fox.Resources:HABLA ROQUE DALTON SOBRE SU OBRA POÉTICA, UNA JOYA DE VIDEO: https://www.youtube.com/watch?v=6Br5eflqfqERoque Dalton - dolores de cabezas: https://www.youtube.com/watch?v=ER8Mcj9HsDkAlta hora de la noche (Roque Dalton) Recitado por Cortázar: www.youtube.com/watch?v=7TNlMrQc4DwOther Roque Dalton poems, read by Julio Cortazar: https://www.youtube.com/watch?v=VKEEkOwPHB4Under the Shadow Episodes:EL SALVADOR'S CIVIL WAR | UNDER THE SHADOW, EPISODE 4: https://therealnews.com/el-salvadors-civil-war-under-the-shadow-episode-4‘RADIO VENCEREMOS' AND EL SALVADOR'S CIVIL WAR | UNDER THE SHADOW, EPISODE 5: https://therealnews.com/radio-venceremos-and-el-salvadors-civil-war-under-the-shadow-episode-5Subscribe to Stories of Resistance podcast hereBecome a member and join the Stories of Resistance Supporters Club today!Sign up for our newsletterFollow us on BlueskyLike us on FacebookFollow us on TwitterDonate to support this podcast

Los primeros 100 días de Trump. El gris importa es un PODCAST de ECONOMÍA de Miguel Ors Villarejo y Javier Díaz-Giménez producido por Pedro Artiles.---subsAyúdanos a hacer El Gris Importa, SUSCRÍBETE: https://podcasters.spotify.com/pod/show/elgrisimporta/subscribe---pistasNuestro libro: https://www.amazon.es/EL-GRIS-IMPORTA-MIGUEL-ORS-ebook/dp/B0F3GWR6RC/ref=sr_1_1?__mk_es_ES=%C3%85M%C3%85%C5%BD%C3%95%C3%91&crid=VSW23FQQJA0T&dib=eyJ2IjoiMSJ9.H8X7Q692mtqrmwmrJSf-4Lz-6eIKAXUTmGxw04s8KQTGjHj071QN20LucGBJIEps.BIo8Lhl3WyEDgC1BBnrauzXnvxa1U3p_LUqx6ssR7gc&dib_tag=se&keywords=el+gris+importa&qid=1744024997&sprefix=el+gris+importa%2Caps%2C154&sr=8-1Rayuela, Julio Cortazar:https://www.amazon.es/Rayuela-Edici%C3%B3n-conmemorativa-RAE-ASALE/dp/8420437484/ref=sr_1_1?crid=1IVJNTJ90P6X1&dib=eyJ2IjoiMSJ9.bUmncqc2Ants8lrhOxpVAewkFVWz3edhbGnEPGDujFlQFReX2TZ8k5cdtKtB9O_y-eqnd7vRiudJ1kiZ_Vi5mRNnYyIXmfWxHgyd_aAgUqXMQEprt7RLZV61vva2WDqqCCrUu6vpjnLGactupiC7WbcSxvF9wG48DhlFAfngmtjnE4W0Bgv3-6AeyOW2u5aOWhhP5Gd993_x8qewQr8aSy_AYBpLtftEFf57oIEvpIHyaHwYMIzK99p6xu0qedSjXPJsLYXM5EQMl_LHNViVI4DsiTLMJ9ETAJic2eb9rgA.arf2NsQQP4RAzKW7-vr7DLJZ5athgOstgcmaD07zVo4&dib_tag=se&keywords=rayuela+julio+cortazar&qid=1745812884&sprefix=rayuela%2Caps%2C106&sr=8-1

Adam's Paternity Leave persists, so we'll drop a fun ep with a slew of recognizable actors, including a title character of a show that lasted [checks notes] 12 seasons? Patreon payments are frozen for the time being. A few resourceful new Munchies have figured out a work-around where you can join as a free member and upgrade from there to a paid account which charges you for one month and unlocks the back catalog behind the respective tier of the paywall. After that first payment, you won't be charged again until we're dropping new content (which we'll warn everyone is coming), so if you want more of this it can be had, along with access to the fully uncut episodes from 100 to present and Movie Club episodes.Emily Deschanel stars in Season 3, Episode 17 of SVU, Surveillance, which features a web of people who are all dangerously obsessed with the titular Bones star. This leads Josh and Adam down a litany of bizarre and digressive topics including, but not nearly limited to, Julio Cortazar, the best sexual positions for self-filming, David Boreanaz's bank account, and, of course, which instrument in the orchestra is the sexiest. Come along for a wild ride.Music:Divorcio Suave - “Munchy Business”Thanks to our gracious Munchies on Patreon: Jeremy S, Jaclyn O, Amy Z, Diana R, Tony B, Zak B, Barry W, Drew D, Nicky R, Stuart, Jacqi B, Natalie T, Robyn S, Christine L, Amy A, Sean M, Jay S, Briley O, Asteria K, Suzanne B, Tim Y, John P, John W, Elia S, Rebecca B, Lily, Sarah L, Melsa A, Alyssa C, Johnathon M, Tiffany C, Brian B, Kate K, Whitney C, Alex, Jannicke HS, Roni C, and Nourhane B - y'all are the best!Be a Munchie, too! Support us on Patreon: patreon.com/munchmybensonBe sure to check out our other podcast diving into long unseen films of our guests' youth: Unkind Rewind at our website or on YouTube, Apple Podcasts, or wherever you listen to podcastsFollow us on: BlueSky, Facebook, Instagram, Threads, and Reddit (Adam's Twitter/BlueSky and Josh's BlueSky/Letterboxd/Substack)Join our Discord: Munch Casts ServerCheck out Munch Merch: Munch Merch at ZazzleCheck out our guest appearances:Both of us on: FMWL Pod (1st Time & 2nd Time), Storytellers from Ratchet Book Club, Chick-Lit at the Movies talking about The Thin Man, and last but not least on the seminal L&O podcast …These Are Their Stories (Adam and Josh).Josh debating the Greatest Detectives in TV History on The Great Pop Culture Debate Podcast and talking SVU/OC and Psych (five eps in all) on Jacked Up Review Show.Visit Our Website: Munch My BensonEmail the podcast: munchmybenson@gmail.comThe Next New Episode Once We're Back from Adam's Paternity Leave Will Be: Season 16, Episode 14 "Intimidation Game"Become a supporter of this podcast: https://www.spreaker.com/podcast/munch-my-benson-a-law-order-svu-podcast--5685940/support.

Hace 50 años nacía un grupo llamado The Alan Parsons Project, formado por dos amigos que se habían conocido el año anterior en el bar de los estudios de Abbey Road en Londres. En el programa de hoy escucharemos en su totalidad la ópera prima del Alan Parsons Project, dedicada a la inquietante colección de relatos de Edgar Allan Poe titulada “Historias de Misterio e Imaginación”. Y en esta pequeña aventura nos acompañaran varios y talentosos amigos de este programa, empezando por el insigne poeta y escritor Mariano Moreno, el gran violinista Javier Carrau, y la impresionante voz de Josep María García, encargado de poner sus aterciopeladas cuerdas vocales al servicio de las poesías y textos de Poe que escucharéis como introducción a las piezas del disco, traducidos brillantemente al español en el año 1953 por el escritor argentino Julio Cortazar. La producción de este programa ha contado con la inestimable ayuda de nuestro inseparable compañero Lorenzo Orriols, director de nuestro podcast hermano Radio Jaznoend, que ha cedido de manera desinteresada sus sofisticados medios técnicos para la grabación de los textos de este podcast.

Here are the 4 KEEN ON AMERICA take-aways in our conversation about the dysfunctional American immigration system with Felipe Torres Medina1) Background & Immigration Journey* Felipe Torres Medina is a comic writer for "The Stephen Colbert Show" and author of the new book America Let Me In about the US immigration system* Born in Bogotá, Colombia, Medina moved to the US at 21 on a student visa to pursue a master's in screenwriting at Boston University* Medina received an "alien of extraordinary ability" visa (talent visa for artists) after graduation, and eventually got a green card after marrying2) On the US Immigration System* Medina describes the immigration process as expensive (costing "tens of thousands of dollars" in legal fees) and filled with bureaucratic challenges* He emphasizes that legal immigration requires "tremendous privilege and money" that most people don't have* The book takes an interactive "choose your own path" format to highlight the maze-like nature of the immigration system* He points out that there hasn't been comprehensive immigration reform since the Clinton administration (nearly 30 years ago)3) Comedy as Commentary* Medina uses humor to process his experiences and create community around shared frustrations* He was inspired by writers like Julio Cortazar, George Saunders, Tina Fey, and Carrie Fisher* The book aims to educate Americans who "have so many opinions about immigration" but "don't know what it entails"* He mentions that making the book interactive and game-like adds "levity" to a tense topic4) How to Fix the System* While critical of Trump's immigration policies, Medina says the book isn't specifically about Trump but about a "flawed and messy" system created by multiple administrations* He suggests moving US Citizenship and Immigration Services out of the Department of Homeland Security to change the narrative that immigration is a security threat* His proposed reforms include creating better pathways for educated immigrants and hiring more USCIS staff to reduce backlogs FULL TRANSCRIPT* Andrew Keen: Hello everybody. It is Sunday, March the 9th, 2025. Interesting piece in the times. A couple of days ago, The New York Times, that is about the so-called British flame thrower who is a comic best suited to taking on Trump. They're talking about a man called Kumar. Nish Kumar looks very funny, and apparently he's very angry too. I have to admit, I haven't seen him. It's an interesting subject. It suggests that at the moment, even in spite of Trump and outraging many Americans, the state of American humor could be amped up a bit. My guest today is a writer on The Stephen Colbert Show and a comic, or certainly a comic writer in his own right, Philippe Torres Medina. He has a new book out on Tuesday. It's called America Let Me In, and I'm thrilled that he's joining us from Harlem in Manhattan today. Congratulations, Phillip, on the new job. What do you the new book? I was going to say job. That's a Freudian error here. What do you make of the Times's observation that American humor isn't in its best state when it comes to Trump?Felipe Torres Medina: Oh, wow. That's that's an interesting question. First of all, I love Nish Kumar. I think he's a wonderful, wonderful comedian. He's very funny. He has a level of wit and his observations are just wonderful. I hadn't seen this article, but I really appreciate that the times recognized him because he's been working very hard for a lot of years. I think more than American humor not being fit for the moment. I think at least personally for me, a little bit of addressing Trump again began. And addressing Trump in general is, you know, jokes have to be new. And after basically ten years of Donald Trump every day, all the time, it's certainly hard to continue to find new angles. Now, the dysfunction of the administration and perhaps sometimes the cruelty and whatever they're doing does provide you with material. But I think it can cause you as a writer to be like, oh God, here we go again. More Trump stuff. You know, because that's what we're talking about.Andrew Keen: Do you see your book, Philippe, as a Trump book? America? Let me in. It's about immigration. I mean, obviously touches on in many ways on Trump and certainly his hostility to immigration and immigrants. But is it a Trump book, or is it a broader kind of critique or observation about contemporary America?Felipe Torres Medina: Yeah, I never set out to write a book about Trump or a Trump book. My goal is to write a book about the immigration system, because I went through it, and as a comedian, I encountered in it many contradictions and absurdities that just kind of became fodder to me for comedy. So I try to write this book about the system, but the system was caused by many administrations in many parties, you know, now, the current hostility or the current everythingness of immigration, you know, immigration being kind of in the forefront of the national discourse certainly has been aided by Republican policy in the past ten years and by Donald Trump's rhetoric. But that doesn't mean that this is a book about Trump or as a response to Trump. It's actually a book responding to a system that is flawed and messy, but it's the one we have.Andrew Keen: Yeah. You described the book as a love letter to immigrants, but it's not a love letter to the system. Tell me your story. As you say. You went through it so you have firsthand experience. Where were you born?Felipe Torres Medina: So I was born in Colombia. I was born in Bogota, Colombia, which is the capital of Colombia. I lived there most of my life. I moved to United States when I was 21 on a student visa, because I came here to do my masters. I did my master's in screenwriting at Boston University. And after that, you know, I started working here as a comedian, but also as a writer. And I was able to get an alien of extraordinary ability visa, which is a very pretentiously named visa, kind of makes you sound like you're in the X-Men, but it it's just what they call talent visas for artists, athletes, entrepreneurs, educators, whatever. And so I got one of those and then several renewals of those. And then, you know, thanks to my work as a writer, as a comedian, initially as a copywriter in advertising, I was able to I bought I met the love of my life, got married, and then I have a green card and that's why I'm here.Andrew Keen: Yeah. As and quoting here, it sounds rather funny. An alien of extraordinary ability. Do you think your experience is typical? I mean, the even the fact that you came for grad school to to Boston puts you in a, in a kind of intellectual or professional elite. So is your experience in any way typical, do you think?Felipe Torres Medina: I wouldn't say typical. I would say my experience is the experience of many people who come here. And I think it's the experience of the people who are, quote unquote, the immigrants we want. Right. And, you know, if we're going to dive into the rhetoric of the of immigration these days, I came the right way and did everything, quote unquote, the right way. You know, but what this book and also this journey that I took to immigrate here proves is that it's it's only possible with tremendous amount of privilege and tremendous, tremendous amount of money. You know, it's a very expensive process for the majority of people.Andrew Keen: How much did it cost you?Felipe Torres Medina: Oh, I think in total since I started. I mean, when you count the fact that for most, like master's programs, you don't get any sort of financial aid unless you get, like a scholarship from your own country or a sort of like Fulbright or something like that. There's already the cost of a full master's program.Andrew Keen: But then you weren't coming. I mean, you didn't pay for your master's program in order to get immigration papers, you know.Felipe Torres Medina: Of course, that, but I, I had to pay for my master's program to be able to study here. You know, I didn't have I didn't have my any sort of aid. But, you know, discounting that in terms of immigration paperwork, I've spent tens of thousands of dollars because you have to hire immigration lawyers to make sure that everything's fine. And those are quite expensive.Andrew Keen: Was it worth it?Felipe Torres Medina: Well, yeah. You know, I met the love of my life. I live a.Andrew Keen: Very. I mean, there are lots of loves of. You could have met someone else, and that's true. Or you might have even you might have even met her or him at an airport somewhere else while they were on vacation.Felipe Torres Medina: That's that's possible. But yeah, I mean, I live a I live a good life. I do what I wanted to do, you know, I, I took got my master's because I wanted to write comedy professionally and I get to do that. And I do think when I set out to do this, I was like, well, the place with the best film and television industry in the world is and was then and still is the United States. So I was like, well, I have to go there, you know, and I was able to become a part of this industry and to work in this art form.Andrew Keen: You didn't get any job. You You got the combat job? Yes. I believe you drew the the short straw, right? I bet nobody else was right. Just Stephen Colbert.Felipe Torres Medina: Yeah, I'm very lucky. And but again, it's a mix of luck and hard work and all those things. So yeah, I don't I don't regret moving.Andrew Keen: So some people might be watching this maybe some some MAGA people. I'm not sure if MAGA people really watch this, but if they were they might be thinking, well, Philippe Torres Medina, he's a good example. He's the type of person we want. He jumped through many hoops. He's really smart. He's really successful. He brings value to this country. Is now a full time writer on the Colbert's show he came from it came from Latin America. And he's exactly the kind of person we want. And we want a system that's hard, because only guys like him have the intellectual and financial resources to actually get through it. Well, how would you respond to them?Felipe Torres Medina: I would say that I appreciate the compliment, but I wouldn't necessarily say that that's the best way to move forward on immigration now. I will say this book is a humorous take on the whole immigration journey. And so what? Like I tell different stories of different people coming here made up or inspired by real life. And one of the paths that you can take in this book, because this is kind of an interactive choose your own path book, is mine. But I think what this book tries to prove is that even if you do everything right, even if you, you know, have the money, sometimes it's very, very hard. And that, I think, does put us at a disadvantage when it comes to having a workforce that could be productive for the country, especially as birthrates are declining. You know, we are headed toward a but, you know, people have described as a barrel economy. If we don't simply up the population and the people who are upping the population and actually having children are immigrants.Andrew Keen: One other piece of news today, there's obviously a huge amount of news on the immigration front is apparently there's a freeze on funding to help green card holders. You've been through the process. You write about it in the new book. But how much more difficult is it now?Felipe Torres Medina: You mean under the current administration? Yeah. I wouldn't know. I you know, I think that.Andrew Keen: This idea of even freezing green card. Yeah. That holidays, even if you have a green card, you get frozen.Felipe Torres Medina: Yeah, exactly. And I think that that, you know, I think that that's what Trump did in his first term, more or less with legal immigration, was to create roadblocks and freezes and these kinds of things to kind of just like stymie the process and make it slower, make it harder, even for people who, again, are doing everything right to be able to remain in the country.Andrew Keen: And I'm guessing also some of the DOJ's stuff about laying off immigration judges and court stuff, they're taking office to leave. Apparently 100 immigration court staff are retiring. This adds to it as well.Felipe Torres Medina: Yeah. Yeah, exactly. I mean, Citizenship and Immigration Services, USCIS is a very particular part of the government because it is one of the few parts of the federal government that funds itself. Again, going back to cost the fees that they make are so big, they make so much money that if there's a government shut down, actually, USCIS does not shut down. It's one of the few parts of the government that didn't need to shut down, because they make so much money out of the immigrants trying to come here. So it's a really, really strange part of the government. It kind of doesn't know where it belongs. So seeing like the the DOJ's cuts that arrive into the and that may be implemented into USCIS. Kind I'm not familiar with any Dodge cuts recently on USCIS, but I suspect that they would be strange because it's a it's a very strange division of the federal government. It's not like the Department of Education or the like the Forestry Service. It's it's it's own kind of like little fiefdom.Andrew Keen: Are you wrote an interesting thing or you were featured recently on Lit Hub, where this show actually used to get distributed about how to write a funny book about American immigration. Of course, it's it's a good question. I mean, it's such a frustrating bureaucratic mess at the best of times. I do write anything funny, Philippe, about it.Felipe Torres Medina: Well, I think the, the to me, the, the finding a format to be able to explore this, this chaotic system. It's so, so complicated. It's like a maze. So to me, having this kind of interactive format allowed me to have some freedom to be like, okay, well, you know, one of the things that they taught me in my comedy education, when I was training at a theater here in New York, the Upright Citizens Brigade is the premise of if this is true, then what else is true? You know, so if this absurd thing is reality, then what? How can you heighten that reality? And for me, you know, the immigration system is so absurd. It's it's so Byzantine and chaotic that I was like, okay, well, I can heighten this to an extra level. And so when I keyed in on, on this format of like allowing the person who's reading it to be the many characters to inhabit the, the immigrants and also to be playing with the book, you know, going out and going to one page, making their own choices. It allowed me to change the tone immediately of the conversation because you say immigration and everyone's like, oh, you know, it gets tense. But if you're saying like, no, no, this is a game, you know, we're playing this game. It's about immigration, but it's a game. All of a sudden there's a levity to it, and then you take the real absurdities and the real chaos of the system and just heighten it, which is basically what you do with comedy at all times.Andrew Keen: Who are the the fathers or perhaps the mothers of this kind of comedy? The person who comes to my mind is is Kafka, who found his own writing very funny. Not, and I'm not sure everyone necessarily agrees. He, of course, wrote extensively about central mid European bureaucracy and its darkness and absurdity. Who's inspired you both as a comic writer and particularly in terms of this book?Felipe Torres Medina: Well, actually, Kafka also has a great book called America.Andrew Keen: Yeah. Which is a wonderful first paragraph about seeing this. Seeing the Statue of Liberty.Felipe Torres Medina: Yes. Which is also kind of about this. But I would say my inspirations comedically are, you know, I don't think I would have written this book without, like, the work of Tina Fey. I think Bossy Pants was a book where I was like, oh, you can be funny in writing. And Carrie Fisher is a big Star Wars nerd, you know, to like great, funny writer writers who are just, like, writing funny things about their lives. But I think the playfulness of it all, actually, I was inspired by this Argentine writer, Julio Cortazar, who wrote a novel that in English just translated as hopscotch. And this novel is a huge, like, structural disrupter, you know, in the like, what we call the Latin American boom of writing in the 60s, 70s and 80s. And he wrote this novel that is like a game of hopscotch. You're jumping from chapter two chapter. He's directing you back and forth. So I read a lot of that. And I, you know, I read that in my youth, and then I read it. I reread it as I was older. And then there are writers like George Saunders, who can be very funny while talking about very sad or very poignant things. And so that was also a big inspiration to me. But, you know, I am a late night writer, so I was interested in actually making it like, ha ha, funny. Not just, you know, sensible chuckle funny, you know, kind of like a very, like, intellectual kind of funny. So I was also inspired by, you know, my job and like Colbert's original character in Colbert's book, America, I am American. So can you the writing of The Onion and, you know, the book, The Daily Show Book America, which is just kind of like an explanation of what the federal government is and what the country is written in the tone of the correspondents or the the writers for The Daily Show back in the original Jon Stewart iteration. So those books kind of like informed me and made me like, realize, oh, I can you can make like a humorous guy that's jokey and funny, but also is actually saying something isn't just like or teaching you something. Because the biggest reason I started writing this book is that Americans don't know their own immigration system, and they have so many opinions about immigration, particularly now, but no one knows what what it entails. You know? And I don't just mean like conservatives, you know, I don't just mean like, oh, MAGA people. Like, I was living in New York in the Obama years or like the late Obama years, and none of my liberal Brooklyn, you know, IPA and iced matcha drinking friends had any idea what I was going through, you know, when I was trying to get my visas.Andrew Keen: The liberals drink IPA. I didn't know that I drink IPA, I mean, I have to change my. Yeah. It's interesting you bring up in the first part of that response, the, the the Argentine novelist. There's something so surreal now about America. An interesting piece in the times about not being able to pin Trump down because he says one thing one day, the next thing the next day, and everyone accepts that these are contradictions. Now, the times describes these contradictions as this ultimate cover. I'm not quite sure why they're a cover. If you say one thing one day, in the next something the opposite the next day. But is there a Latin American quality to this? I mean, there's a whole tradition of Latin American writing observing the, the cruel absurdities of of dictators and wannabe dictators.Felipe Torres Medina: Yeah. I mean, it's it's part of our literary tradition. You know, the dictator novel you have. But again, just as the feast of the goat, and you have Garcia marquez, my my compatriot, you know, like that.Andrew Keen: Was one of my favorite magnificent writing.Felipe Torres Medina: It's it's possibly, I hesitate to say, my favorite writer because it creates ranking, but.Andrew Keen: Well amongst your.Felipe Torres Medina: Favorite, among my favorite writers, 100 Years of Solitude. Obviously that is possibly my favorite novel, but he has also, I believe it's the Autumn of the Patriarch, which is his novel about. Exactly. Yeah. I mean, there is a there is. I wouldn't say it's a South American or Latin American quality to it. I think it's just once you encounter it, it is so absurd that art does have to come out and talk about it, you know, and, you know, you see the in a book like the Autumn of the Patriarch. That is a character full of contradictions. That is a character who, in chapter one, hates a particular figure because they he they think that they're against him and then is becomes friends with them and then hires him to be his personal bodyguard. You know, that is what dictators are, and that is what authoritarians do. It is the cult of the person. It is the whims of the person, and the opinion of the person are the be all and the end all to the point where the nation is. It is at the whims of, of of a a person, of those of those persons contradictions. So I wouldn't say it's necessarily a Latin American nature to this, but I think Latin America, because we experience dictatorship in many times supported or boosted by the United States. Latin Americans were able to find a way to turn this into art. And quite good art is what I would say.Andrew Keen: Yeah, and of course, it's the artists who are best able to respond to this. As you know, it's not just a Latin American thing. The Central Europeans, the Czechs in particular. Yes.Felipe Torres Medina: Milan Kundera.Andrew Keen: Yeah. Written a series of wonderful books about this. But the only way to respond to someone like Trump, for example, who says one thing one day, the next thing the next day when he talks about tariffs, he says, well, I'm going to have 25%. And the next day, oh, I've decided I'm not going to have 25%. Then the following day he's going to change his mind again. The policy people, I'm not very helpful here. We need artists, satirists of one kind or another humorist like yourself to actually respond to this, don't we?Felipe Torres Medina: I think so. I think that that that is what. Helps you? I mean, it's the emperor has no clothes, right? That's how you talk. And it's about all kinds of government, obviously. Autocracy or dictatorship is one thing, but at all in all systems of government, these are powerful people who think they have they know better and who think that they are invincible. And you know what? What satire or humor and art does is just point out and say like, wait, that's weird. That thing they just did is weird. And being able to point that out is, is a talent. But also that's why people respond to it so well. People say like, yeah, that is weird. I also notice that. And so you create community, you create partnership in there. And so all of a sudden you're punching up, which is something you want to do in comedy. You want to make fun of the people who have more power, and you're all punching up and laughing at the same thing, and you're all kind of reminding each other. You're not crazy. This is weird.Andrew Keen: Yeah. I mean, the thing that worries me. I was on Kolber on the Colbert Show a few years ago in the original show. I mean, it's brilliant comic, very funny. But him and Jon Stewart and the others, they've been going so long, and they. I'm not saying they haven't changed their shtick. I mean, writers like you produce very high quality work for them, but it's one of the problems that these guys have been going for a while and America has changed, but perhaps they haven't.Felipe Torres Medina: I mean, it's an interesting thing to bring up, particularly with with Stephen, because his show was completely different. Ten years ago, it was a completely different show. He was doing a character. Yeah, right. And now he's doing a more traditional late night show. I think I think the format of late night is a very interesting beast that somehow has become A political genre. You know, it didn't used to be with Letterman. Didn't you see with Conan O'Brien, Jay Leno? You know, they would dabble in politics. They would talk about politics because it's what people are talking about. But now it's become kind of like this world. It all has to be satire. And there's some there's some great work. And I do think people keep innovating and making, like, new things, even though the shows are about ten years old. You know, you have Last Week Tonight, which my wife writes for, but it's a show that does more like deep dive investigations and stuff like that. So it's more like end of the week, 60 minutes, but with jokes kind of format. But I do think, yeah, maybe like the shows, can the shows in the genre in general, like there's genre I could do with some change and some mixing it up and.Andrew Keen: Well, maybe your friend Kumar could.Felipe Torres Medina: Yeah. Well, what? Let us get.Andrew Keen: A slot to his own late night show. And I wonder also, when it comes to I don't want to obsess over Trump or that course it's hard not to these days, but because he himself is a media star who most people know through his reality television appearance and he still behaves like a reality television star. Does that add another dimension of challenges to the satirical writers like yourself, and comics like or satirical comics like Colbert and Jon Stewart?Felipe Torres Medina: I think it's just a layer of how to interpret him as a person. At least for me, it's like, okay, well, you have to remember that he is a show man, and that's what he's doing.Andrew Keen: Yeah. So they're coming back to your your metaphor of the air and power and not having any clothes on. He kind of, in his own nodding wink way, acknowledges that he's not pretending to wear any clothes.Felipe Torres Medina: Yeah, and, well, sometimes he is and sometimes he isn't. And that is. That's the challenge. And that's why writing jokes about him every day is hard. But, you know, we we.Andrew Keen: And the more I know I watched Saturday Night Live last week that Zelensky thing and it was brilliant. Zelensky and Musk and Trump. But I'm very doubtful it actually impacts in any way on anything. Well, and I.Felipe Torres Medina: Think that that's also a misconception people have about comedy. You know, comedy is there to be funny. You know, comedy isn't there to change your mind if it does that, great. But the number one impetus for For Comedy should be to make you laugh. And so the idea that, like, a sketch show is going to change the nation. I don't know. Those are things that I think are applied on to comedy. They're kind of glob down to comedy. I don't necessarily think that that's what it the, the people making the comedy set out to do so. I think if if it made you laugh and if it works. The comedy has done its job. Comedy, unfortunately, can't change the world, you know. Otherwise, you know, I'm sure there would have been a very. There are many good Romanian comedians who could have done something about it has.Andrew Keen: You know, time to time. I mean, Hava became Czech president for a while. You, you, you know, that you sometimes see laugh, laughter and comedy as a kind of therapy when it comes to some of the stuff you do with Kovat. Are you in in America? Let me in. Are you presenting the experience, the heartbreaking experience? So certainly an enormously frustrating experience of the American immigration system as a kind of therapy, both for people who are experiencing it And outsiders, Americans in general.Felipe Torres Medina: And for myself, I think.Andrew Keen: And of course, yes. So self therapy, so to speak.Felipe Torres Medina: I think so, I mean, it is for me a way to like comedy is a way to process things for me. It comes naturally to me, and it is inopportune at times when dealing with things like grief and things like that. But I mean event, anyone who's gone through grief, I think, can tell you there's one moment when things are going really bad and one of the people grieving with you makes one joke and you all laugh and you're like, this. This somehow fixed for one second. It was great. And then we're back to sadness. So I think comedy, you know, as much as again, I go back to what I said a second ago, it's about making you laugh and that making you laugh can create that partnership, can create that empathy and that that that community therapy, I guess, of people saying like, oh wait, yeah, this is weird, this is strange. And I feel better that someone else recognized it, that someone else saw this.Andrew Keen: It certainly makes you saying, hey, you wrote an interesting piece for The New Yorker this week. In times like these, where you, you write perhaps satirically about what you call good Americans. Is the book written for good or bad Americans or all Americans or no Americans? Who do you want to read this book?Felipe Torres Medina: Oh my God. I want everyone to read it and everyone to buy a copy so that I've got a lot of money. All right. No, I think it's written for most Americans and and immigrants as well. People living here. But I do think, yeah, it's written for everyone. I don't think I wrote it with particular like, kind of group in mind. I think to me, Obviously with my background and my political affiliations, I think liberals will enjoy the book. But I also think, you know, people who are conservative, people who are MAGA, people who don't necessarily agree on my vision of immigration, can learn a lot from the book. And I purposely wrote it so that these people wouldn't necessarily be alienated or dismissed in any way. You know, it's a huge topic, and I think it was more of a like, I know you have an opinion. I'm just showing you some evidence. Make with it what you will, but I'm just showing you some evidence that it might not be as you believe it is, both for liberals and conservatives. You know, wherever you are on the spectrum, liberals think it's super easy. Conservatives that think it's super easy but in a bad way to move here. And I'm here kind of saying like, hey, it's actually this super complicated thing that maybe we should talk about and we should try to reform in some way.Andrew Keen: Yeah. And I think even when it comes to immigration, often people are talking about different things. Conservatives tend to be talking about quote unquote, illegal immigration and progressives talking about something else, too. You deal with people who try to get into America illegally, or is that for you, just a subject that you're not touching in this book?Felipe Torres Medina: I address it very lightly toward the final pages of the book. I first of all, I can, like, claim ownership on all immigrant narratives. And I wrote this about the legal immigration system because it's what I've navigated. Again, I am not an immigration lawyer. I am not an activist. I'm a comedy writer who happened to go through the immigration like system, so I but I did feel like, you know, okay, well, let's talk for a second. You've seen how hard it is because I've shown you all this evidence in the first couple stories in the book. And again, I say in the last pages because because of the interactive nature of the book, this could there is potentially a way for you for this to be the first, one of the first things you read in the book, but to where the last pages of the book, I say, okay, let's talk about you. We've seen how hard it is. Let's talk about the people who do so much to try and come here and who go even harder because they do it in the like, in the unauthorized way, you know, or the people who come here seeking asylum, which is a legal way to come to the United States, but is very difficult. So I do present that, but I do think it is not necessarily the subject of a comedy book, As I said earlier, when you're dealing with comedy, you want to be punching up. You want to be making fun of people in authority figures or in a sort of status position that is above the general population or the the voice of the comic. And with with undocumented immigrants and people trying to come here in irregular ways. It's it's very hard to find the humor there because these people are already suffering very much. And so to me, the line is threading the line of comedy there. It can very quickly turn into bullying or making fun of those people. And I don't want to do that because a lot of people are already doing that, and a lot of people who are already doing that work on this in this administration. So I don't I don't really want to mess with that.Andrew Keen: Philip, I'm not sure if you've got a a Spanish translation of the book. I'm sure there will be one eventually.Felipe Torres Medina: Hopefully.Andrew Keen: If people start reading this in Colombia, where you're from, Bolivia or Argentina, Mexico, El Salvador, Guatemala, they think themselves, this is so hard to get in, even legally. Even if you have money to pay for lawyers, they might think, well, f**k it, I'll just try and get over the border illegally. And do you think in a way, I mean, it's obviously designed as a humor book, but in a way this would encourage any sane person to actually give up. I mean, go try and try and go somewhere else or just stay where you are.Felipe Torres Medina: I think, I think the book has a tone of I'm I'm a pretty optimistic person. So I think the book does have a tone of optimism and love for America. I do love the United States, where I, while presenting it as a difficult thing, I am also saying, like it? It's pretty good. You're going to have a good time if you make it here. So I don't think it will be a deterrent. Whether it's some sort of Trojan horse to create more people, to try and go through the border. I don't know, it'd be pretty funny if a funny book tended ended up doing that, but.Andrew Keen: It'd be great if we just got hold of the book and blamed you for for for all the illegal immigrants. But in all seriousness, it was been a lot of pieces recently about, according to the New York Times, people going silent for fear of retribution. As a comic writer and someone clearly on the left, the progressive in American politics. Do you think that there is a new culture of fear by some of your friends and colleagues in the comedy business? Are they fearing retribution? Trump, of all people, doesn't like to be laughed that some people say that he he only wanted to be president after Obama so brilliantly and comically destroyed him a few years ago.Felipe Torres Medina: I think in comedy, you know, I think people are tired of talking of Trump because, again, as I said, ten years of writing about him. I don't think anyone is necessarily afraid of talking about him or making fun of him. I think that is or his administration. I think that is proven like this past week with explosion of memes, making fun of J.D. Vance, his face, you know, to the point where J.D. Vance has tried to hop on the meme and be like, ha ha! Yes, I enjoy this very much too. Good job members. So like, obviously, first of all, he doesn't like it, but I think everyone is. And I think this is something that America does so well. Americans like to make fun of politicians, period. And even though I think in certain spaces of, you know, politics and activism, there might be fear of retribution that is much more marked. I think the let's make fun of of the Emperor for having no clothes that make fun of them is an instinct that that it's not going away and it won't go away any, anytime soon.Andrew Keen: Philip, finally, you've written a funny book about immigration. But of course, behind all the humor is a seriousness. Lots of jokes. It's a very entertaining, amusing, creative book. But it also, I think, suggests reform. You've given a great deal of thought. You've experienced it yourself. How can America improve its immigration story so that we don't have in the future more satirical books like America Like Me and what are the the reforms, realistically, that can be made that even conservatives might buy into?Felipe Torres Medina: Well, I think one of the biggest things is, if you look at it historically, there hasn't been comprehensive immigration reform since Clinton. Which is ridiculous. You know, we're nearing on 30 years there, and we're. We're basically 30 years since. And, you know, I'm 33, so it's a whole lifetime for a lot of people with no changes to a system, no comprehensive changes to a system. And that just means that, like it is going to become outdated. So obviously it's very hard right now with the tenor, but what we really need is for people to sit down and talk about it as a normal issue. And this is not an invasion. This is not a national emergency. It is simply an issue, an economic issue. And I think one of the biggest things, and one of my personal suggestions is that. The US Citizenship and Immigration Service has always been, as I said, this kind of strange ancillary part of the government. It started as part of the Department of Labor, eventually joining the Department of Justice. Then it goes back to labor. It kind of always bounces around. They don't know where it fits. And in after 911, it became part of the Department of Homeland Security. And I think that creates a an aura around immigration as something that is threatening to homeland security. You know, which is not true.Andrew Keen: Yeah. I see what you're saying. It's become the the sex when it comes to, in the context of Victorian something that we don't talk about, and we use metaphors and similes to, to, to describe. And I take your point on that. But what about some and I take your point on the fact that the system hasn't been reformed since Clinton. But let's end with a couple of final, just Doable reforms, Philippe, that can actually make the experience better. That will improve that. That might be cheaper that the the Doge people might buy into that both left and right will accept and say, oh, that's fair enough. This is one way we can make immigrating to America a better experience.Felipe Torres Medina: I think, rewarding if we're talking about this idea of like, we want the best immigrants, educated people. I think actually rewarding that because the current system does not do that for most people trying to get a work visa. They're subjected to a lottery where the chances are something like 1 in 16 of getting a work visa to be here, and that is really bad for companies in general. It's something that the big tech firms have been lobbying against for years, and because there's no consensus in Congress to actually do something. We have been able to address that. So I think actually rewarding the kind of like higher education, high achievement immigrants. In a way that isn't just like if you have $5 million, you can buy a gold car. Yeah, and.Andrew Keen: That's what Trump promised.Felipe Torres Medina: Right? Actually rewarding it in a way that's like, okay, well, if you have a college degree, maybe you don't just get a one year permit to work here, you know, maybe you can. There is a path for you to if you made your education here, if you start your professional life here, if you are contributing because all these immigrants are paying taxes or contributing, maybe there's a path that isn't as full of trapdoors and pitfalls. I would say that that that's one of the biggest things. And honestly, higher up, like I, I do think maybe this is my progressive side of me, but it's like get more people working in USCIS so that these waits aren't taking forever and getting more immigration judges, you know, hire people who are going to make this system efficient, because that is, I think, unfortunately, what Dodge thinks that the, you know, we're going to slim it down so it doesn't cost that much. Yeah. But if you slam it down, you don't have enough people. And there's a lot of people are still trying to come here and they're still trying to do things. And if you don't have enough people like working those cases, all you're creating is backlogs.Andrew Keen: Yeah. I'm guessing when those transforms the American immigration system through AI, you'll have another opportunity for you to write a book. Yeah. I mean, I let me in an important book, a very funny book, but also a very serious book by one of America's leading young comic writers full time, writing for Stephen Colbert, Philippe Torres Medina. Philippe, congratulations on the book. It's out next week. I think it will become a bestseller. Important book. Very funny too, and we can say the same about you. Thank you so much.Felipe Torres Medina: Thank you so much for having me.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Send us a textThis episode we talk about Julio Cortazar's short story, The Southern Thruway, about a traffic jam that turns into a community. We chat about the concept of the "fantastic" in literature, our experiences driving in Italy and Vietnam, and gave our expert opinion on the complexities of Russian politics and the portrayal of Putin.Support the show

Julio Cortazar, Il persecutore • parte 10 • voce: Francesco Ventimiglia

Julio Cortazar, Il persecutore • parte 9 • voce: Francesco Ventimiglia

Julio Cortazar, Il persecutore • parte 8 • voce: Francesco Ventimiglia

Julio Cortazar, Il persecutore • parte 7 • voce: Francesco Ventimiglia

Joseph Dolce; born October 13, 1947) is an American-Australian singer, songwriter, poet and essayist. Dolce achieved international recognition with his multi-million-selling novelty song, "Shaddap You Face", released worldwide under the name of his one-man show, Joe Dolce Music Theatre, in 1980–1981. The single reached number one in 15 countries. It has sold more than 450,000 copies in Australia and continues to be the most successful Australian-produced single worldwide, selling an estimated six million copies. It reached No. 1 on the Australian Kent Music Report Singles Chart for eight weeks from November 1980. 1947–1977: Early year Dolce was born in 1947 in Painesville, Ohio, the eldest of three children to Italian American parents. He graduated from Thomas W. Harvey High School in 1965. During his senior year, he played the lead role of Mascarille in Moliere's Les Précieuses Ridicules for a production staged by the French Club of Lake Erie Frie College, which was his first time on stage, acting and singing an impromptu song he created from the script. The play was well-received and his performance was noted by director Jake Rufli, who later invited him to be part of his production of Jean Anouilh's Eurydice. His co-star in Les Précieuses Ridicules was a sophomore on a creative writing scholarship at Lake Erie College, Carol Dunlop, who introduced him to folk music, poetry and the writings of William Faulkner and Ernest Hemingway. Dunlop later married the Argentine novelist Julio Cortazar. Dolce attended Ohio University, majoring in architecture, from 1965 to 1967 before deciding to become a professional musician. While attending college at Ohio University, in Athens, Ohio, he formed various bands including Headstone Circus, with Jonathan Edwards who subsequently went on as a solo artist to have a charting hit song in the US ("Sunshine"). Edwards subsequently recorded five Dolce songs including, "Athens County", "Rollin' Along", "King of Hearts", "The Ballad of Upsy Daisy" and "My Home Ain't in the Hall of Fame", the latter song becoming an alt country classic, also recorded by Robert Earl Keen, Rosalie Sorrels, JD Crowe & the New South and many others. 1978–1984: Move to Australia, "Boat People" and "Shaddap You Face" Dolce relocated to Melbourne, Victoria, Australia, in 1978 and his first single there was "Boat People"—a protest song on the poor treatment of Vietnamese refugees—which was translated into Vietnamese and donated to the fledgling Vietnamese community starting to form in Melbourne. His one-man show, Joe Dolce Music Theatre, was performed in cabarets and pubs with various line-ups, including his longtime partner, Lin Van Hek.  In July 1980, he recorded the self-penned 'Shaddap You Face", for the Full Moon Records label, at Mike Brady's new studios in West Melbourne. When in Ohio, Dolce would sometimes visit his Italian grandparents and extended family—they used the phrases "What's the matter, you?" and "Eh, shaddap", which Dolce adapted and used in the song. He wrote the song about Italians living in Australia and first performed it at Marijuana House, Brunswick Street, Fitzroy in 1979. It became a multi-million-selling hit, peaking at No. 1 on the Australian Kent Music Report Singles Chart for eight weeks from November 1980,in the UK from February 1981 for three weeks, and also No. 1 in Germany, France, Fiji, Puerto Rico, the Canadian province of Quebec, Austria, New Zealand and Switzerland. Dolce received the Advance Australia Award in 1981. The song has had hundreds of cover versions over the decades including releases by artists as diverse as Lou Monte, Sheila (France), Andrew Sachs (Manuel, of Fawlty Towers), actor Samuel L. Jackson and hip-hop legend KRS-One. In 2018, the first Russian language version was released by two of Moscow's most popular singers, Kristina Orbakaite and Philipp Kirkoroy. The song has been translated into fifteen languages, including an aboriginal dialect. By February 1981, it had become Australia's best-selling single ever selling 290,000 copies, entering the Guinness Book of World Records and surpassing the previous record of 260,000 copies by Brady's own "Up There Cazaly". "Shaddap You Face" has continued to be licensed and recorded by other artists and companies since its release in 1980 with its most recent appearance, in 2021, as part of the US series The Morning Show (aka, Morning Wars in Australia.) Follow up single, "If You Wanna Be Happy" was released in 1981 and charted in Australia and New Zealand. In December 1981, Dolce released the album Christmas in Australia, which peaked at number 92 on the Australian chart. 1984–present With Lin Van Hek , he formed various performance groups including Skin the Wig, La Somnambule (1984) and the ongoing Difficult Women (1993). Van Hek and Dolce co-wrote "Intimacy", for the soundtrack of the 1984 film The Terminator, now part of the US Library of Congress collection. He was a featured lead actor in the Australian film Blowing Hot and Cold (1988). He has continued to perform solo and with Van Hek as part of their music-literary cabaret Difficult Women. In 2010, two of his photos were selected for publication in the US journal, Tupelo Quarterly. Since 2009, he has been a prolifically published poet in Australia. In 2010, he won the 25th Launceston Poetry Cup at the Tasmanian Poetry Festival. His poems were selected for Best Australian Poems 2014 & 2015. He was the winner of the 2017 University of Canberra Vice-Chancellor's Health Poetry Prize, for a choral libretto, longlisted in the same year for the University of Canberra Vice-Chancellor's Poetry Prize and included in the Irises anthology. He longlisted for the 2018 University of Canberra Vice-Chancellor's Poetry Prize and was included in the Silence anthology. He was Highly Commended for the 2020 ACU Poetry Prize] and included in the Generosity anthology. He was selected as the August 2020 City of Melbourne Poet Laureate. Since 2018, he has been the television and film reviews editor for Quadrant magazine.

Julio Cortazar, Il persecutore • parte 6 • voce: Francesco Ventimiglia

Julio Cortazar, Il persecutore • parte 5 • voce: Francesco Ventimiglia

Julio Cortazar, Il persecutore • parte 4 • voce: Francesco Ventimiglia

Julio Cortazar, Il persecutore • parte 3 • voce: Francesco Ventimiglia

Julio Cortazar, Il persecutore • parte 2 • voce: Francesco Ventimiglia

“En este asunto de los gallos un hombre solo no puede hacer nada. Se necesita participar con los demás. De otro modo acaban pisándote. Véme a mí, bien rico que estoy y a esos animalitos les debo todo. Sí. Y otra más, a la buena amistad con otros galleros; combinaciones, matuterías si tú quieres….. El trabajo no se hizo para nosotros, por eso buscamos una profesión livianita. ¿Y qué mejor que ésta de la jugada, en que esperamos sentados a que nos mantenga la suerte?” Fragmento de El gallo de oro -Juan Rulfo- Juan Rulfo nació en Acapulco (Jalisco) en 1917. Un solo libro de cuentos, “El llano en llamas” de 1953, y una única novela, “Pedro Páramo” de 1955, bastaron para que Rulfo fuese reconocido como uno de los grandes maestros de la narrativa hispanoamericana del siglo pasado. Su obra, tan breve como intensa, ocupa por su calidad un puesto señero dentro del llamado de la literatura de los años sesenta. Juan Rulfo creció entre su localidad natal y el cercano pueblo de San Gabriel, en zonas rurales dominadas por la superstición y el culto a los muertos, y allí sufrió las duras consecuencias de las luchas cristeras en su familia más cercana...su propio padre fue asesinado. Esos primeros años de su vida habrían de conformar en parte el desolado universo que el escritor recreó en su breve pero brillante obra. En 1934 se trasladó a Ciudad de México, donde trabajó como agente de inmigración y, a partir de 1938, empezó a viajar por algunas regiones del país en comisiones de servicio y publicó sus cuentos más relevantes en revistas literarias. En los quince cuentos que integran “El llano en llamas”, Rulfo nos ofreció una primera sublimación literaria, a través de una prosa sucinta y expresiva, de la realidad de los campesinos de su tierra, en relatos que trascienden la pura anécdota social. En su obra más conocida, “Pedro Páramo”, el autor dio una forma más perfeccionada a dicho mecanismo de interiorización de la realidad de su país, en un universo donde cohabitan lo misterioso y lo real; el resultado en un texto profundamente inquietante que ha sido considerado como una de las mejores novelas de la literatura contemporánea. El protagonista de la novela, Juan Preciado, llega a la fantasmagórica aldea de Comala en busca de su padre, Pedro Páramo, al que no conoce. Las voces de los habitantes le hablan y reconstruyen el pasado del pueblo y de su cacique, el terrible Pedro Páramo; Juan tarda en advertir que en realidad todos los aldeanos han muerto, y él también muere, pero la historia sigue su curso, con nuevos monólogos y conversaciones entre difuntos, trazando el sobrecogedor retrato de un mundo arruinado por la miseria y la degradación moral. Como el Macondo de “Cien años de soledad” de García Márquez, o la Santa María de Juan Carlos Onetti, la ardiente y estéril Comala se convierte en el espacio mítico que refleja el trágico desarrollo histórico del país, desde el Porfiriato hasta la Revolución Mexicana. Desde el punto de vista técnico, la novela se sirve magistralmente de las innovaciones introducidas en la literatura europea y norteamericana de entreguerras (Proust, Joyce, Faulkner), línea que en los años sesenta seguirían Vargas Llosa, Julio Cortazar, Ernesto Sábato, Carlos Fuentes y otros autores del . Así, aunque la obra se plantea inicialmente como un relato en primera persona en boca de su protagonista, pronto se asiste a la fragmentación del universo narrativo por la alternancia de los puntos de vista (con uso frecuente del monólogo interior) y los saltos cronológicos. Juan Rulfo también escribió guiones cinematográficos como “Paloma herida” de 1963 y la excelente novela corta “El gallo de oro” del mismo año. En 1970 el autor recibió el Premio Nacional de Literatura de México, y en 1983, el Principe de Asturias de las Letras. Juan Rulfo falleció en Ciudad de México en 1986. En su origen, entre 1956 y 1958, “El gallo de oro” fue concebido como un texto para el cine, y de él derivaron después películas y cortometrajes e, incluso, una serie televisiva. Y sobre todo, este relato, que no se publicó hasta 1980 reelaborado, propició la amistad entre Gabriel García Márquez y Carlos Fuentes, ambos reclutados por el productor Manuel Barbachano para escribir el guion del film “El gallo de Oro”. La historia de Dionisio Pinzón , según el relato, nos permite reflexionar sobre varios de los grandes temas de la narrativa latinoamericana que, en lo sucesivo, marcarán algunas obras de importantes escritores, entre ellos el mismo García Márquez: la soledad, la repetición, el destino, las mutaciones repentinas de la fortuna, la miseria, la esperanza, el amor, la arrogancia del dinero y el poder, la muerte, el sedentarismo y el nomadismo. El violento mundo del juego y de los criadores de gallos de pelea (galleros), hecho de estafas e ilusiones, se convierte en una metáfora de la vida. El pobre Pinzón, que vivía , dice el texto, cambia radicalmente su existencia gracias a un gallo de pelea que, recibido moribundo como regalo, lanza al protagonista al mágico mundo de las galleras, de las apuestas y del juego de azar. Así, quién no era más que un humilde pregonero, abandona el minúsculo pueblo y en poco tiempo empieza a ganar dinero, le movía . Después, el encuentro decisivo con Lorenzo Benavides, un rico gallero, y con Bernarda Cutiño, La Caponera, , que lo invitan a hacerse socio del negocio de los gallos de pelea. Pero, con la abundancia de dinero, Dionisio, cito textualmente, . La buena suerte, gracias también a la inesperada conquista de la impetuosa Caponera, lo transforma en un hombre riquísimo. Y ahora, sedentario en la propiedad de Santa Gertrudis, Pinzón conoce la ebriedad de la opulencia y, nuevamente, la profundidad de la miseria. La muerte de la mujer gracias, cito: , había sofocado la existencia errabunda de Bernarda y la conducta de la hija que tuvieron, llevan a nuestro protagonista, en una sola noche, a perder el inmenso patrimonio acumulado y, también, la vida. En “La literatura sin dolor”, una nota de prensa que Gabriel García Márquez publicó en El espectador de Colombia y El País de España el 8 de diciembre de 1982, el escritor confesó que una de sus obsesiones literarias consistía en comprar muchísimos ejemplares de la novela “Pedro Páramo” para regalarlos luego a los amigos que iban a visitarlo en su casa de Ciudad de México. , escribió. La única condición para merecer ese obsequio, insistía, era que quién lo recibiera se comprometiera a volver lo más pronto posible para entablar una conversación en torno a . La anécdota da cuenta de la admiración que el gran escritor colombiano sentía por Juan Rulfo. El autor de “Cien años de soledad” consideraba que el escritor nacido en Jalisco era uno de sus grandes maestros y que las páginas de su obra, aunque pocas, eran tan perdurables como las de Sófocles. Tanto era así que Gabo presumía de haberse aprendido de memoria todo “Pedro Páramo”, de modo que podía repetir, al derecho y al revés, cada uno de los episodios acontecidos en el pueblo ficticio de Comala, que tantos vínculos secretos estrecharía con Macondo. García Márquez también escribió:

Julio Cortazar, Il persecutore • parte 1 • voce: Francesco Ventimiglia

In questa puntata, Alessandro Barbaglia apre con il bacio insieme a Julio Cortazar, William Shakespeare, Truman Capote, Franz Kafka e J. M. Barrie. La novità della settimana è La seconda prova di Pietro Minto (Einaudi). Chiara Sgarbi invece consiglia La signora trasformata in volpedi David Garnett, edito Adelphi.L'ospite della puntata è Serena Casini della Libreria Volante di Lecco, che consiglia Due di noi di Camilla Rocca (Garzanti) e La reputazione di Ilaria Gaspari (Guanda).SHELF. IL POSTO DEI LIBRIdi Alessandro Barbaglia e Chiara Sgarbi Realizzato da MONDADORI STUDIOSA cura di Miriam Spinnato e Danilo Di TerminiCoordinamento editoriale di Elena MarinelliProgetto grafico di Francesco PoroliMusiche di Gianluigi CarloneMontaggio e post produzione Indiehub studio

durée : 00:34:59 - Les Nuits de France Culture - par : Philippe Garbit - Dans la nouvelle de Julio Cortazar que vous allez entendre, ce n'est pas une mais deux histoires qui nous sont comptées par André Dussolier. Combat de gladiateurs et femme trompée. Ces deux histoires ne semblent rien avoir en commun. Mais au fur et à mesure, plusieurs thématiques se font écho.

El periodo de mejor exportación de talento literario se dio en Latinoamérica en los 1960s. Una mezcla de política, arte, controversia y letra crearon este movimiento donde sus máximos exponentes: Gabriel García Márquez, Mario Vargas Llosa, Carlos Fuentes y Julio Cortazar, llevaron la marca latinoamericana por el mundo. El autor del libro "De Gabo a Mario" que documento este periodo, se sienta a discutir y contarnos la historia.

Hoy vamos a hablar sobre el autor argentino Julio Cortázar, y escuchar algunas de sus obras narradas en su propia voz para radio, mientras el vivía. Cortázar nació en Bruselas, hijo de un diplomático argentino representando a su país en el año 1914, durante el estallido de la Primera Guerra Mundial. Él creció en Argentina cuando sus padres lograron volver a la patria en el año 18, después de la guerra, donde estudió Filosofía y Letras, fue profesor y traductor. Cortázar viajó ampliamente por Europa y por el continente americano, residiendo por muchos años en París como traductor para la UNESCO, donde escribió mucho de su obra. Él fue una de las grandes figuras del boom de la literatura hispanoamericana del siglo 20 y se tiende a hablar de él cuando se habla de otro gran escritor argentino de la época, Jorge Luis Borges, como un inteligentísimo cultivador del cuento fantástico. Sus relatos breves se apartaron de la alegoría metafísica para indagar más en las facetas inquietantes y enigmáticas de lo cotidiano, de lo que siempre está pasando, en una búsqueda de la autenticidad y de un sentido profundo de lo real que el hallo siempre lejos de lo poco [...]

durée : 00:05:32 - Les Nuits de France Culture - par : Albane Penaranda - Portrait de la patrie du tango et de Juan Peron par ses grandes plumes, de Jorge Luis Borges à Adolfo Bioy Casares, de Julio Cortazar à Mariana Enriquez. Un programme d'archives proposé par Antoine Dhulster.

Welcome to the CodeX Cantina where our mission is to get more people talking about books! Was there a theme or meaning you wanted us to talk about further? Let us know in the comments below! An amazing Argentine writer, Julio Cortazar and his "Blow Up" short story are up for discussion today. Julio Cortazar Playlist: https://www.youtube.com/watch?v=aroXTqHktnc&list=PLHg_kbfrA7YAq4ArrFdcsSNzt3sXEaLKE ✨Do you have a Short Story or Novel you'd think we'd like or would want to see us cover? Join our Patreon to pick our reads.

Today's guest is Toril Moi, whose book Revolution of the Ordinary: Literary Studies After Wittgenstein, Austin and Cavell (University of Chicago Press, 2017) returns to three twentieth-century figures in ordinary language philosophy to renew how we think about style and argumentation. Revolution of the Ordinary brings together a diverse archive of primary sources, from the Argentine writer Julio Cortazar to the 1970s TV show All in the Family. I am excited to welcome Toril to the podcast today. Toril is James B. Duke Professor of Literature and Romance Studies and Professor of English, Philosophy, and Theatre Studies at Duke University. Toril's previous books include Sexual/Textual Politics: Feminist Literary Theory and Simone de Beauvoir: The Making of an Intellectual Woman. She has served as Research Professor at Norway's National Library for the last five years. John Yargo is Visiting Assistant Professor of English at Boston College. He earned a PhD in English literature from the University of Massachusetts Amherst, specializing in the environmental humanities and early modern culture. In 2023, his dissertation won the J. Leeds Barroll Prize, given by the Shakespeare Association of America. His peer-reviewed articles have been published or are forthcoming in the Journal for Early Modern Culture Studies, Early Theatre, Studies in Philology, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Today's guest is Toril Moi, whose book Revolution of the Ordinary: Literary Studies After Wittgenstein, Austin and Cavell (University of Chicago Press, 2017) returns to three twentieth-century figures in ordinary language philosophy to renew how we think about style and argumentation. Revolution of the Ordinary brings together a diverse archive of primary sources, from the Argentine writer Julio Cortazar to the 1970s TV show All in the Family. I am excited to welcome Toril to the podcast today. Toril is James B. Duke Professor of Literature and Romance Studies and Professor of English, Philosophy, and Theatre Studies at Duke University. Toril's previous books include Sexual/Textual Politics: Feminist Literary Theory and Simone de Beauvoir: The Making of an Intellectual Woman. She has served as Research Professor at Norway's National Library for the last five years. John Yargo is Visiting Assistant Professor of English at Boston College. He earned a PhD in English literature from the University of Massachusetts Amherst, specializing in the environmental humanities and early modern culture. In 2023, his dissertation won the J. Leeds Barroll Prize, given by the Shakespeare Association of America. His peer-reviewed articles have been published or are forthcoming in the Journal for Early Modern Culture Studies, Early Theatre, Studies in Philology, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Today's guest is Toril Moi, whose book Revolution of the Ordinary: Literary Studies After Wittgenstein, Austin and Cavell (University of Chicago Press, 2017) returns to three twentieth-century figures in ordinary language philosophy to renew how we think about style and argumentation. Revolution of the Ordinary brings together a diverse archive of primary sources, from the Argentine writer Julio Cortazar to the 1970s TV show All in the Family. I am excited to welcome Toril to the podcast today. Toril is James B. Duke Professor of Literature and Romance Studies and Professor of English, Philosophy, and Theatre Studies at Duke University. Toril's previous books include Sexual/Textual Politics: Feminist Literary Theory and Simone de Beauvoir: The Making of an Intellectual Woman. She has served as Research Professor at Norway's National Library for the last five years. John Yargo is Visiting Assistant Professor of English at Boston College. He earned a PhD in English literature from the University of Massachusetts Amherst, specializing in the environmental humanities and early modern culture. In 2023, his dissertation won the J. Leeds Barroll Prize, given by the Shakespeare Association of America. His peer-reviewed articles have been published or are forthcoming in the Journal for Early Modern Culture Studies, Early Theatre, Studies in Philology, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Today's guest is Toril Moi, whose book Revolution of the Ordinary: Literary Studies After Wittgenstein, Austin and Cavell (University of Chicago Press, 2017) returns to three twentieth-century figures in ordinary language philosophy to renew how we think about style and argumentation. Revolution of the Ordinary brings together a diverse archive of primary sources, from the Argentine writer Julio Cortazar to the 1970s TV show All in the Family. I am excited to welcome Toril to the podcast today. Toril is James B. Duke Professor of Literature and Romance Studies and Professor of English, Philosophy, and Theatre Studies at Duke University. Toril's previous books include Sexual/Textual Politics: Feminist Literary Theory and Simone de Beauvoir: The Making of an Intellectual Woman. She has served as Research Professor at Norway's National Library for the last five years. John Yargo is Visiting Assistant Professor of English at Boston College. He earned a PhD in English literature from the University of Massachusetts Amherst, specializing in the environmental humanities and early modern culture. In 2023, his dissertation won the J. Leeds Barroll Prize, given by the Shakespeare Association of America. His peer-reviewed articles have been published or are forthcoming in the Journal for Early Modern Culture Studies, Early Theatre, Studies in Philology, and Shakespeare Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/language

Book Vs. Movie: Blow-UpThe Julio Cortazar Short Story Vs. the Michelangelo Antonio Movie The Margos are feeling very mod today with this particular episode. We talk about Michelangelo Antonini, one of the most revered directors of the 1960s & 1970s, with a Palm d'Or, the Golden Lion, the Golden Bread, and the Golden Leopard among his film accomplishments. 1966's Blow-Up is his biggest English language hit, and it captured the New Wave movement in modern filmmaking. The original story is from Julio Cortazar in a short story titled “Las Babas del Diablo,” written in 1959. The symbolism-heavy story is told with several unreliable narrators and the artist's relationship to their medium. Our protagonist is Roberto, a French-Chilean translator who loves photography and may or may not be connected to reality. He remembers watching a middle-aged woman in a park with a teenage boy. Is she procuring him for an older man? Roberto takes photographs and obsesses over the crime about to happen. The 1966 film (Antonioni's first English-speaking production) follows Thomas (David Hemmings,) a fashion photographer in demand who obsesses over antiques and modernism. The movie also stars Vanessa Redgrave as a woman being photographed by Thomas in a clinch with an older man. She tries to seduce the roll of film from him after following him home. But he keeps the original and discovers, after blowing up the negatives) that he might have uncovered a murder. Thomas travels through underground London (via The Yardbirds) and the pastoral field, seeking the truth. So between the short story and movie--which did the Margos like better? In this ep, the Margos discuss:The bios of Antonioni & CortazarThe mod movement of the 1960s London.The cast of the 1966 film: David Hemmings (Thomas,) Vanessa Redgrave (Jane,) Sarah Miles (Patricia,) John Castle (Bill,) Jane Birkin (the Blonde,) Gillian Hillis (the Brunette,) Peter Bowles (Ron,) Veruschka von Lehndorff (herself,) Jimmy Page (The Yardbirds,) Jeff Beck (The Yardbirds) and Keith Relf vocalist for The YardbirdsClips used:Vanessa Redgrave and David HemmingsBlow-Up (1966 trailer) Thomas directs modelsThomas instructs Jane to move against the beatThe Yardbirds in Blow-UpJane Birkin modelsMusic: Blow-Up soundtrack, Herbert HancockBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5406542/advertisement

Book Vs. Movie: Blow-UpThe Julio Cortazar Short Story Vs. the Michelangelo Antonio Movie The Margos are feeling very mod today with this particular episode. We talk about Michelangelo Antonini, one of the most revered directors of the 1960s & 1970s, with a Palm d'Or, the Golden Lion, the Golden Bread, and the Golden Leopard among his film accomplishments. 1966's Blow-Up is his biggest English language hit, and it captured the New Wave movement in modern filmmaking. The original story is from Julio Cortazar in a short story titled “Las Babas del Diablo,” written in 1959. The symbolism-heavy story is told with several unreliable narrators and the artist's relationship to their medium. Our protagonist is Roberto, a French-Chilean translator who loves photography and may or may not be connected to reality. He remembers watching a middle-aged woman in a park with a teenage boy. Is she procuring him for an older man? Roberto takes photographs and obsesses over the crime about to happen. The 1966 film (Antonioni's first English-speaking production) follows Thomas (David Hemmings,) a fashion photographer in demand who obsesses over antiques and modernism. The movie also stars Vanessa Redgrave as a woman being photographed by Thomas in a clinch with an older man. She tries to seduce the roll of film from him after following him home. But he keeps the original and discovers, after blowing up the negatives) that he might have uncovered a murder. Thomas travels through underground London (via The Yardbirds) and the pastoral field, seeking the truth. So between the short story and movie--which did the Margos like better? In this ep, the Margos discuss:The bios of Antonioni & CortazarThe mod movement of the 1960s London.The cast of the 1966 film: David Hemmings (Thomas,) Vanessa Redgrave (Jane,) Sarah Miles (Patricia,) John Castle (Bill,) Jane Birkin (the Blonde,) Gillian Hillis (the Brunette,) Peter Bowles (Ron,) Veruschka von Lehndorff (herself,) Jimmy Page (The Yardbirds,) Jeff Beck (The Yardbirds) and Keith Relf vocalist for The YardbirdsClips used:Vanessa Redgrave and David HemmingsBlow-Up (1966 trailer) Thomas directs modelsThomas instructs Jane to move against the beatThe Yardbirds in Blow-UpJane Birkin modelsMusic: Blow-Up soundtrack, Herbert HancockBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

Canta con ARETHA FRANKLIN y GEORGE MICHAEL, STEVIE WONDER,…  Baila con PRINCE, BANGLES, THE SUPREMES,SONORA PONCEÑA, ABBA,…  Recuerda los éxitos de CARLOS FUENTES, VARGAS LLORA o JULIO CORTAZAR, como novelistas y de NELSON PIQUET o de MARIO ANDRETTI, como campeónes de la FORMULA 1,… “SOMBRAS TENEBROSAS”,”UN HOMBRE Y UNA MUJER”, “GUERRA DE LAS GALAXIAS”,… --- Support this podcast: https://podcasters.spotify.com/pod/show/genteenambiente/support

A través del diario de una mujer nos adentramos en sus pensamientos, en sus fantasías y en sus viajes. Esta mujer viaja a tierras lejanas, o quizá ya se encuentre ahí... "Lejana" escrito por Julio Cortazar, del libro "Bestiario". Contacto: castellanoaudiolibros@gmail.com Mecenas (Argentina): https://cafecito.app/audiolibrocastellano --- Send in a voice message: https://podcasters.spotify.com/pod/show/audiolibros-castellano/message

Perteneciente al "Bestiario", este cuento sigue a unos hermanos y a una vieja casa. "Casa tomada" escrito por Julio Cortazar. Contacto: castellanoaudiolibros@gmail.com Mecenas (Argentina): https://cafecito.app/audiolibrocastellano --- Send in a voice message: https://podcasters.spotify.com/pod/show/audiolibros-castellano/message

De USHER a BILLO'S, CELIA CRUZ y RUDY PEREZ. De BEE GEES y BOBBY SOLO a BOB MARLEY y WHITNEY HOUSTON.De THE BEATLES a WINGS. Del TRIO VENEZUELA a AZUCAR, CACAO Y LECHE. De MIGUEL BOSE, CAMILO SESTO, ROLLING STONES, THE 4 SEASONS y JUANES a K-CI AND JO-JO,... De ALAIN PROST a EDDY MERCKX. De "PEREGRINA" (DELIA FIALLO) a "MUÑECA ROTA". De "LOS PIES DE BARRO" (SALVADOR GARMENDIA) a "RAYUELA" (JULIO CORTAZAR). De "LOS PICAPIEDRAS" al "GRAN GATSBY",.... --- Support this podcast: https://podcasters.spotify.com/pod/show/genteenambiente/support

De "HAPPY" (PHANELL WILLIAMS) a "PLEASE, PLEASE ME" (THE BEATLES). Le LED ZEPPELINE a ROLLING STONES. De "RAYUELA" (JULIO CORTAZAR) a "LOS ARCHIVOS DE ODESSA" (FREDERICK FORSYTH). Del CLAN SINATRA a MARTIN LUTHER KING. De JACQUES ANQUETIL a RAMON RAMIREZ. De TITO RODRIGUEZ y LOS MELODICOS al DUO DINAMICO, el TWIST y el HOOLY GOLLY. De HECTOR CABRERA y NANCY RAMOS a ROBERTO CARLOS y JULIO IGLESIAS. De "LA NOVICIA REBELDE" y "MI BELLA DAMA" al 007,... Y MUCHO MAS! DE COLECCION! --- Support this podcast: https://podcasters.spotify.com/pod/show/genteenambiente/support

¡Un saludo a todos! Hoy empezamos con una nueva serie: cuentos de Cortazar. Espero que les guste. "Carta a una señorita en París", escrito por Julio Cortazar. Contacto: castellanoaudiolibros@gmail.com Mecenas (Argentina): https://cafecito.app/audiolibrocastellano --- Send in a voice message: https://podcasters.spotify.com/pod/show/audiolibros-castellano/message

Esta nueva entrega es para invitarte a escuchar un podcast hermano que surge de la colección Voz Viva de la UNAM, ¿la conoces? Si es así, sabrás la relevancia de decirte que desde ahora esta colección es de acceso totalmente abierto y gratuito a través de vozviva.unam.mx. Y si no sabías de ella solo te diremos que ahí podrás escuchar las voces de grandes escritores de habla hispana de buena parte del siglo XX y hasta la actualidad: Carlos Monsiváis, Alfonso Reyes, Julio Cortazar, Inés Arredondo, Salvador Novo y Rosario Castellanos solo son algunos de los autores. Nos alegra muchísimo acercarte a este nuevo podcast de la colección Voz Viva.

Welcome to the CodeX Cantina where our mission is to get more people talking about books! Was there a theme or meaning you wanted us to talk about further? Let us know in the comments below! What do you think of Julio Cortazar and "The Night Face Up"? What should we look at next? Julio Cortazar playlist: https://www.youtube.com/watch?v=gT4Vux3map0&list=PLHg_kbfrA7YAq4ArrFdcsSNzt3sXEaLKE ✨Do you have a Short Story or Novel you'd think we'd like or would want to see us cover? Join our Patreon to pick our reads.

JULIO CORTAZAR by Rosa Argentina Rivas Lacayo

Julio Cortazar, Il persecutore • parte 10 • voce: Francesco Ventimiglia

Moon Safari, esplorazioni musicali e poetiche al chiaro di lunaDi e con Claudio PetronellaIn onda su RBE Radio TV e su Radio CapodistriaStagione 9 - Puntata 7La musica di Moon Safari incontra le poesie di Pablo Neruda, Gabriela Mistral e Julio Cortazar.www.rbe.it/trasmissioni/moon-safari- PLAYLIST MUSICALELink Spotify > https://open.spotify.com/playlist/70hLduNp8XtjareTVThb52?si=9cpNyMFaTvOKQKTNrREang&utm_source=copy-linkNicola Cruz - Cumbia del OlvidoNicola Cruz - MareaNicola Cruz, Uji - InversionsUji - JengaUji - KiokNicola Cruz - Folha de JuremaUji - AlboradaGo Dugong - Vidita (El Buho remix)Rodrigo Gallardo, Nicola Cruz - Agua de la TierraPopulous, Ela Minus - Azul Oro- PLAYLIST POETICAPablo Neruda - Piccola AmericaQuando osservo la formadell'America sulla mappa,amore, vedo te:le alture del rame sulla tua testa,i tuoi seni, grano e neve,il tuo fianco sottile,veloci fiumi che palpitano, dolcicolline e prateriee nel freddo del sud i tuoi piedi terminanola loro geografia d'oro duplicato.Amore, quando ti tocconon solo hanno percorsole mie mani la tua delizia,ma rami e terre, frutti e acque,la primavera che amo,la luna del deserto, il pettodella colomba selvaggia,la soavità delle pietre consumatedalle acque del mare o dei fiumie il rosso intricodella fratta dovefame e sete stanno in agguato.Così la mia lunga patria mi riceve,piccola America, nel tuo corpo.E più ancora: quando ti vedo distesavedo nella tua pelle, nel tuo color d'avena,la nazionalità del mio affetto.Perché dalle tue spalle il tagliatore di cannadi Cuba ardentemi guarda, coperto d'oscuro sudore,e dalla tua golapescatori che tremanonelle umide case della rivami cantano il loro segreto.Così, lungo il tuo corpo,piccola America adorata,le terre e i popoliinterrompono i miei bacie allora la tua bellezzanon solo accende il fuocoche tra noi arde senza consumersi,ma col tuo amore mi sta chiamandoe attraverso la tua vitami sta dando la vita che mi mancae al sapore del tuo amore s'aggiunge il fango,il bacio della terra che mi attende.Gabriela Mistral - Ci sono baciCi sono baci che emettono da solila sentenza di una condanna d'amore,ci sono baci che si danno con uno sguardoci sono baci che si danno con la memoria.Ci sono baci nobilibaci enigmatici, sinceri,ci sono baci che si danno solo con l'animaci sono i baci proibiti e ci sono i baci veri.Ci sono baci che bruciano e che feriscono,ci sono baci che turbano i sensi,ci sono baci misteriosi che hanno lasciatoi miei sogni confusi ed errabondi.Ci sono baci problematici che nascondonouna chiave che nessuno ha mai decifrato,ci sono baci che generano la tragedia,quante rose in boccio ha sfogliato.Ci sono baci profumati, baci tiepidiche palpitano in un intimo anelito,ci sono baci che lasciano sulle labbra improntecome un raggio di sole in un campo gelato.Ci sono baci che sembrano giglisublimi, ingenui, purici sono baci traditori e codardi,ci sono baci maledetti e spergiuri.Giuda baciò Gesù e lasciò impressosul viso di Dio, il segno della sua viltà,mentre la Maddalena con i suoi bacifortificò pietosa la sua agonia.Da allora nei baci palpitanol'amore, il tradimento e il dolore,le coppie umane assomiglianoalla brezza che gioca con i fiori.Ci sono baci che provocano deliridi amorosa, folle, ardente passione,tu li conosci bene, sono i miei baciinventati da me, per la tua bocca.Baci di fiamma che portano impressi nel visoi solchi di un amore proibito,baci tempestosi, baci selvaggiche solo le nostre labbra hanno provato.Ti ricordi del primo?… indefinibile,ti lasciò il viso coperto di rosee improntee nello spasimo di quell'emozione terribile,gli occhi si riempirono di lacrime.Ti ricordi di quella sera, quando in un momento di folliati vidi geloso immaginando chissà quale oltraggio,ti presi tra le mie braccia…vibrò un bacio, e che cosa vedesti dopo?…Sangue tra le mie labbra.Io ti insegnai a baciare: i baci freddisono di un impassibile cuore di pietra.Io ti insegnai a baciare con i miei baciinventati da me per la tua bocca.Julio Cortazar - Se devo vivereSe devo vivere senza di te, che sia duro e cruento,la minestra fredda, le scarpe rotte, o che a metà dell'opulenzasi alzi il secco ramo della tosse, che latrail tuo nome deformato, le vocali di spuma, e nelle ditami si incollino le lenzuola, e niente mi dia pace.Non imparerò per questo a meglio amarti,però sloggiato dalla felicitàsaprò quanta me ne davia volte soltanto standomi nei pressi.Questo voglio capirlo, ma mi inganno:sarà necessaria la brina dell'architraveperché colui che si ripari sotto il portale comprendala luce della sala da pranzo, le tovaglie di latte, e l'aromadel pane che passa la sua mano bruna per la fessura.Tanto lontano ormai da tecome un occhio dall'altro,da questa avversità che assumo nascerà adessolo sguardo che alla fine ti meriti

Julio Cortazar, Il persecutore • parte 9 • voce: Francesco Ventimiglia

Julio Cortazar, Il persecutore • parte 8 • voce: Francesco Ventimiglia

Julio Cortazar, Il persecutore • parte 7 • voce: Francesco Ventimiglia

Julio Cortazar, Il persecutore • parte 6 • voce: Francesco Ventimiglia

Julio Cortazar, Il persecutore • parte 5 • voce: Francesco Ventimiglia

Julio Cortazar, Il persecutore • parte 4 • voce: Francesco Ventimiglia

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Julio Cortázar, pseudonym Julio Denis, (born August 26, 1914, Brussels, Belgium—died February 12, 1984, Paris, France), was an Argentine novelist and short-story writer who combined existential questioning with experimental writing techniques in his works.Cortázar was the son of Argentine parents and was educated in Argentina, where he taught secondary school and worked as a translator. Bestiario (1951; “Bestiary”), his first short-story collection, was published the year he moved to Paris, an act motivated by dissatisfaction with the government of Juan Perón and what he saw as the general stagnation of the Argentine middle class. He remained in Paris, where he received French citizenship in 1981, though he also kept his Argentine citizenship and remained engaged with political causes in Argentina and Nicaragua. He also traveled widely.Cortázar's masterpiece, Rayuela (1963; Hopscotch), is an open-ended novel, or antinovel; the reader is invited to rearrange the different parts of the novel according to a plan prescribed by the author. It was the first of the “boom” of Latin American novels of the 1960s to gain international attention. Cortázar's other novels were Los premios (1960; Eng. trans. The Winners), 62: modelo para armar (1968; 62: A Model Kit), and Libro de Manuel (1973; A Manual for Manuel). A series of playful and humorous stories that Cortázar wrote between 1952 and 1959 were published in Historias de cronopios y de famas (1962; Cronopios and Famas). His later collections of short stories included Todos los fuegos el fuego (1966; All Fires the Fire, and Other Stories), Un tal Lucas(1979; A Certain Lucas), and Queremos tanto a Glenda, y otros relatos (1981; We Love Glenda So Much, and Other Tales). Cortázar also wrote poetry and plays and published numerous volumes of essays.From https://www.britannica.com/biography/Julio-Cortazar. For more information about Julio Cortázar:“Julio Cortázar, The Art of Fiction No. 83”: https://www.theparisreview.org/interviews/2955/the-art-of-fiction-no-83-julio-cortazar“What Julio Cortázar Might Teach Us About Teaching Writing”: https://www.newyorker.com/books/page-turner/what-julio-cortazar-might-teach-us-about-teaching-writing“The Subtle Radicalism of Julio Cortázar's Berkeley Lectures”: https://www.theatlantic.com/entertainment/archive/2017/03/the-subtle-radicalism-of-julio-cortazars-berkeley-lectures/520812/

Julio Cortazar. Extracto del Capitulo 7, de «Rayuela»