AUTONAUTS OF THE COSMOROUTE

Name: AUTONAUTS OF THE COSMOROUTE
Author: Julio Cortázar
ISBN: 978-0-9793330-0-2

A TIMELESS VOYAGE FROM PARIS TO MARSEILLES

by Julio Cortázar & Anne McLean & translated by Anne McLean & illustrated by Stéphane Hébert ‧ RELEASE DATE: Dec. 1, 2007

An astute and sensitive translation brings this charming work to light for American audiences.

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New translation of a whimsical 20th-century travelogue.

In 1982, eminent Argentinean writer Cortázar (Hopscotch, 1963, etc.) embarked on a 33-day journey with wife Dunlop. Their plan? To travel the autoroute from Paris to Marseille, a distance usually covered in a single day, in a beloved red VW camper van nicknamed Fafner, or “Dragon.” They vowed not to leave the autoroute until they reached their destination; to take advantage of motels, restaurants or gas station shops en route; and to stop twice a day, camping at every second rest stop. Supplies included books, typewriters and a camera—careful, tongue-in-cheek scientific notes were taken with the aim of completing a book by the end of their journey. The couple were anti-explorers in a mundane landscape, slowing down a journey that had been modernized and sped up. What emerges from their trip is a playful, surprisingly intimate account of a marriage in all its ranging vicissitudes. Using their private pet names for each other throughout, el Lobo (Cortázar, the wolf) and la Osita (Dunlop, little bear) invite you into their singular world of exaggerated descriptions and inside jokes with double meanings. Additionally, the authors receive imaginary visits from Polanco and Calac, characters who first appeared in Cortázar’s long out-of-print 62: A Model Kit. Photographs and sketches document the voyage, a collaboration between two artists very much in love. The tenderness at the core of their relationship shines through, making it all the more heartbreaking to read the postscript written by Cortázar the following winter, which informs the reader that Dunlop succumbed to an unnamed illness mere months after they finished their journey. He died 15 months later, and what began as a romping amusement is transformed into a tribute to their passionate marriage.

An astute and sensitive translation brings this charming work to light for American audiences.

Pub Date: Dec. 1, 2007

ISBN: 978-0-9793330-0-2

Page Count: 360

Publisher: Archipelago

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Oct. 1, 2007

Categories:

GENERAL NONFICTION

- BOOK REVIEW
LITERATURE CLASS, BERKELEY 1980
by Julio Cortázar ; edited by Carles Álvarez Garriga ; translated by Katherine Silver

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.