Julio Cortázar Push The Boundaries Of Reality And Reality

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The concept of unreality can be defined as ‘something that is unreal, invalid, imaginary, or illusory:’ ( At one time or another we have all fantasized about different things. However, have any of us ever attempted to incorporate those fantasies into the real world? The following paper will attempt to analyse how narratives of Julio Cortázar push the boundaries of reality and unreality. This essay will focus on the works of Cortázar and will particularly focus on two of his stories Las babas del diablo and Queremos tanto a Glenda. It will discuss how these narratives tests the boundaries of unreality and reality and will analyse Cortázars ability to make his readers question what is real and what is not. This essay will focus…show more content…
By the end, we will hopefully have a better understanding of how Julio Cortázar uses different techniques to help his readers to distinguish between unreality and reality and how the lines can often be blurred between the two in the stories that he…show more content…
It’s fair to say that both narratives show how Cortázar tests the boundaries of unreality and reality. However, Cortázar took alternative approaches in order to present this in the respective stories. In the case of Las babas del diablo, Cortázar introduced a first and third person narration into the story. The introduction of a third person narrator highlighted the inner turmoil that Michel was experiencing, thus forcing the reader to question his reliability as a narrator. As readers we were unable to trust Michel’s version of events yet, we were still unable to completely disregard it as it was clear he had a traumatic experience in relation to the photograph. This is how Cortázar was able to test the boundaries of unreality and reality, by leaving his readers in a state of utter confusion. In a completely different, but equally effective way, Cortázar also expertly tested the boundaries of unreality and reality in Queremos tanto a Glenda. Unlike Las babas del diablo there was no clever use of two different narrations in order to confuse the reader. Instead Cortázar presented us with a very real idea (an appreciation for a celebrity) and exaggerated it to massive proportions. Although the events from Queremos tanto a Glenda seem unlikely to happen in the real world, there is a
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