By Harold Bloom
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D. dissertation (Yale University), 1974; and also my article “Homo sapiens vs. homo ludens en tres cuentos de Cortázar,” Revista Iberoamericana (Pittsburgh University), nos. 84–85 (July–December 1973), pp. 611–24. On vampirism in 62: A Model Kit, see chapter 8 of Baxt’s dissertation; and also Ana Maria Hernández, “Vampires and Vampiresses: A Reading of 62,” Books Abroad 50:3 (Summer 1976), pp. 570–76, included in this volume. 39. , New York, Pantheon, 1972, p. 148. Subsequent quotations are from this edition.
15. Buenos Aires, Sudamericana, 1972, p. 229. 16. , New York, Signet, 1967, p. 436. , Madrid, Biblioteca Clásica, 1893, vol. 1, p. 202. The relevance of Gellius’s book in relation to Cortázar’s novel is greater than might be suspected. In his preface Gellius says the following about the composition of his book: “In the arrangement of the material I have adopted the same haphazard order that I had previously followed in collecting it. ” The Attic Nights of Aulus Gellius, John C. , Harvard University Press, 1970, p.
253. 25. , New York, Pantheon, 1966, p. 441. Subsequent quotations are taken from this edition. 26. Margarita García Flores, “Siete respuestas de Julio Cortázar,” Revista de la Universidad de México (Mexico City), vol. 21, no. 7 (March 1967), p. 11 (my translation). 27. Harss, p. 219. 28. , pp. 244–45. 29. Caillois, p. 14. 30. , New York, Collier, 1968, p. 3. 31. “Algunos aspectos del cuento,” p. 7. 32. Bjurström, p. 17. In this regard Cortázar also noted in one of his lectures at the University of Oklahoma in November 1975: “And since I have mentioned dreams, it seems appropriate to say that many of my fantastic stories were born in an oneiric territory and that I had the good fortune that in some cases the censorship was not merciless and Toward the Last Square of the Hopscotch 25 permitted me to carry the content of the dreams into words....