an indexical essay
A typical index helps a reader rapidly locate information that an author or publisher has felt will be of particular interest. This is all a conventional index really has to do because most books are structured to support and elaborate a central, explicitly stated, thesis. For reasons I hope will have been made clear in other sections of the book, this book is not structured that way. Accordingly I have felt that a somewhat different index is called for: one that would not only point a reader to information of interest, but that would suggest to a reader alternative ways of assembling the sections that comprise this book. You might see this last section of the book as an indexical essay (etymologically: an attempt to point, in this case, as certain patterns embedded in the one hundred sections of the book). I include it within the frame of the book because I consider the question of how a reader might put together the sections of the book in a way most useful to him or her integral to the subject matter of the text as a whole.
Part 1: A Glossary of Values
In each of the glossary entries below you will find certain words – names of topics – printed in bold type. These words appear again in Part 3 of this indexical essay as the entries in the Index of Topics. At the end of each glossary entry, I have listed the section numbers that I feel especially pertain to that value.
- CARE. Care fundamentally means mindfulness. This relation to “mind” comes out when you see that the Spanish words for care – cuidar (v.) and cuidado (n.) – both derive from the Latin word cogitare, meaning “to think”. However, I have in mind the Zen Buddhist sense of mindfulness, which I take to involve more than thought. To be mindful means first of all to be deeply aware of what is in front of us in the present moment. Care in this sense entails letting go of attachments (whether to fixed ideas or to routines) and habits as a way of clearing away whatever might block a deep and clear perception of what is front of us. We detain our selves, we hold our selves back, we slow down, we pause and then we begin perceiving and knowing differently. This is what the Japanese Zen Buddhists call beginner’s mind. We may begin to perceive the connections between our selves and other beings past, distant and present. Indeed, we perceive the relations of which all beings are themselves composed. We see also the constant change that marks all being. Perceiving in this way, we may feel less fearful, less risk averse and more capable of experimenting with alternative ways of being in the world, of relating to the things around us, and of relating them to each other. When we begin deliberately to interact with the world – when we listen to someone with care, or wash dishes with care – we are conscious of purpose or product, but we are aware that skillful doing and making requires full attention to process. At times in this book, this attention to process will be compared to taking a backroads route to a destination rather than the Interstate. While at other moments it will be figured as the difference between wandering and seeking. Throughout the book walking serves as a metaphor for the possibilities released by mindfulness. With care, we make time; that same time that so many of the technologies designed to save actually seem to erase. Mindfulness might be called “being carefully.” Being carefully makes available to us meaningful use of some of the other senses of “care”. Certainly awareness of our interconnections with other beings facilitates compassion since we literally share suffering. But it also draws us into more affirmative relationships. We may care for other beings, to look after them, to lend – as in friendship – our strength to theirs. Finally, being carefully in the world may be what is meant by the word love. Care takes practice. (1, 6, 9-17, 19-22, 25, 30-32, 38-40, 45, 49-56, 60-62, 64-66, 68, 76, 79, 82-84, 89, 91, 95, 97, 98, 100)
- COMMUNICATION. Communication literally means making common, or sharing. It presumes a way of connecting or relating two or more terms. The instance of communication dealt with most frequently in this book involves reading and writing, two activities which I present as inseparable sides of the same coin. In the sense of these terms used in this book, there cannot be one without the other. We tend to think of communication as the sharing of information about ourselves or the world with another person. And this is certainly not excluded by the sense of communication used in this book. However, we also tend to treat the information as separable from the means, such as language, by which we convey or represent it. Moreover, we tend to treat the sender of the information as separate from the receiver, communication being the means of making a connection where none is presumed. However, in this book communication presumes no such separations: neither between “medium” and “message” nor between “sender” and “receiver”. Mindfully communicating precludes such separations. When we approach communication mindfully, then the term may refer to the realization that our language and what we mean to express with it are naturally bound together. Likewise, communication names our awareness that subject and object, self and other always already are connected. To communicate something in that case is to share it in the sense of infection – directly, immediately, without mediation.1 Communication thus pierces or dissolves the boundaries we customarily believe separate self from other, subject from object. Frequently, it is this effect of communication that we have in mind when we speak of style or art. Consequently, communication implies efficacy: an ability to provoke effects and experiences. This ability derives from the fact that in communication we directly touch another. Communication takes practice. (1, 6, 8, 9, 10, 13, 14, 16, 22, 23, 26-29, 31, 34, 35, 37-41, 44-46, 49, 50, 52, 55, 56, 60, 61, 63, 64, 67-72, 75, 76, 79, 80, 81, 83-88, 90, 92, 95-100)
- ETHICS. In this book ethics relates primarily to the creative process and to political situations of the late twentieth century. To be ethically here means accepting responsibility for our efficacy. This does not mean obedience to an abstract moral imperative or law. Rather it means a practical understanding of the implications of being essentially connected to other beings, past, present and future, distant or near. To be ethically requires first a deep understanding of our potency: both its sources in the world around us and its effects in our selves, in others and in the world around us. Being ethically requires also knowing that our own potency can be most fully and deeply realized only when we tolerate and indeed support and embrace the potency of others and the world around us. Understanding this, in turn, implies a sensitivity to changing conditions as well as to the fluctuations of potency in the beings around us. This sensitivity then enables us to determine when being ethically dictates action and when it dictates detention or restraint. Ethics take practice. (3, 4, 7, 9-11, 18, 27, 28, 35, 40, 42-44, 46, 50, 65, 51-53, 55, 56, 60-62, 64, 70, 71, 76, 78, 85, 87-89, 92-94, 100)
- FREEDOM. Freedom first means efficacy: the ability autonomously to direct our potency so as to produce desired effects in ourselves, in others, and in the world around us. Freedom here refers to something like a flow which we may join under certain conditions. First, freedom requires an awareness of the interconnections among all beings in the world and a sensitivity to the relations of cause and effect in the world. Freedom requires this awareness so that we may clear perceive the ways in which the flow of freedom may be blocked by irresponsibility, attachments, habit or established power. Only with this kind of awareness, sensitivity, and perception may we act freely in sustainable ways. They facilitate a freedom for ourselves that does not curtail the freedom of others. We may well feel a rush of exhilaration or power when we purchase freedom at the expense of others. But this rush quickly ebbs and leaves in its wake impotency, sadness, and resentment. True freedom, by contrast, is infectious. Partaking of freedom as a flow shared with others brings not only durable peace but lasting joy. Freedom takes practice. (5, 7-11, 13, 14, 19-21, 24, 25, 27-29, 34, 46-49, 52-54, 56-61, 64, 65, 72, 76, 77, 78, 85, 87, 92-94, 97, 100)
- HUMILITY. The sense of humility I have in mind can best be invoked by borrowing a metaphor from the Zen Buddhist monk Thich Nhat Hanh. He encourages us to see ourselves as waves in an ocean.2 Humility, if I understand my self to be a wave in an ocean, means believing that my true nature lies in the movement of the ocean. This implies that the end of my conscious sense of self is in no sense the end of my true nature. Rather letting go of my conscious sense of self simply unveils that nature. I am the ocean. Thus understood, we relieve humility of its connotation of self-abasement and indeed of association with any kind of judgment that focuses on the self as an isolated entity. Humility has a number of important implications in the context of this book. Humility implies the capacity to feel wonder before mystery. Humility implies beginner’s mind: a mind that does not think it has all the answers, a mind ready for experimentation and discovery. With humility, we see learning as an endless process. For humility, knowing means nothing more than gaining a practical, participatory awareness of ourselves as an event in a larger world that truly constitutes our nature. Humility takes practice. (1, 9, 11, 13, 15-18, 20, 22, 23, 28, 31, 33-35, 37, 39, 44, 47-49, 51, 52, 55, 58-61, 63-65, 69-71, 73, 74, 76-79, 85, 94-96, 98, 100)
- INVENTION. Invention here refers to the process of discovering hidden connections among the elements given in a situation so as to allow for their rearrangement into something new. Invention becomes possible when certain conditions are met. First, we must become attuned to change and to process so that we can perceive the fluidity inherent in even the most apparent fixed and immutable of situations. This enables us to begin to experiment imaginatively or materially with alternative configurations. Second, we must let go of our attachments to the status quo, including our sense of self as outside of the situation within which we would invent. Invention always happens from within a situation. For this letting go, humor or irony plays an important role. Third, we must understand the limits or rules pertaining to our capacities and the tendencies in the situation for these will determine what sort of invention is possible. You will find in this book that for various reasons invention seems to happen with greater ease in childhood or in the childlike. Invention certainly closely resembles play. But we should not be led to believe that if we are far from childhood invention lies beyond our abilities. On the contrary, this book tries to show how close at hand opportunities for invention really always are, whether these lie in the arrangement of our furniture or our society. As we open ourselves to change and to mindful participation in a situation, we begin to discover the secret ways in which components might be connected into new constellations. Invention is less concerned with fidelity in representation than with practical efficacy. In this invention resembles knowing, as currently understood by some cognitive scientists for whom “every act of knowing brings forth a world” and “all knowing is doing.”3 Invention thus works, like any living system, to reorganize itself continually, drawing in matter and energy from its surroundings, so as to thrive and grow. Invention takes practice. (1-5, 8, 10-13, 20, 23, 26, 27, 28, 33-36, 38, 47, 48, 50, 52-65, 67-69, 71-78, 81, 83-100)
- LIFE. Some scientists today see life as a system characterized by the interrelationship between three properties. First, a living system has what scientists call an “autopoietic pattern of organization.” This means that the parts of a living system continuously and autonomously (that is, with no outside direction) work together to reproduce that system. Second, a living system has a “dissipative structure,” meaning that it is open to the flow of matter and energy from outside it. Finally, all living systems share cognition, or knowing in a broad sense that goes far beyond thinking, as the process by which their pattern of organization is continuously embodied in a concrete dissipative structure.4 I have this sense of life in mind throughout this book. It has a few important implications for some of the topics dealt with more explicitly in the book. First, insofar as cognition or mind (again in a broad sense) is the process of life, we can grasp the literally vital importance of mindfulness. Second, as individual organisms we share in this process of life, but life goes on despite – or rather because of – the death of any individual organism. This begins to suggest to the value of letting go of our customary identification of “life” with “our life” or “a life.” To make such an identification is to attempt to “hog” or imprison life within confines that, in fact, may not doom life as such, but will surely doom “our life.” Third, this sense of life helps highlight the very literal sense in which reading, in the inventive sense of the term advocated in this book serves as equipment for living. For reading, and writing for that matter, are among the many cognitive activities by which we, as living organisms, open out to the world to take in the stuff that we need so as to be able to remake, or invent, our selves in ever richer forms. Indeed, insofar as language remains the principal activity by which we become aware of and materialize our interconnectedness with other beings, then reading and writing become fundamental cognitive activities because nothing can give us better practice in inventing with language. And life certainly takes practice.(1-3, 6, 7, 9, 11, 13, 15, 16, 18-20, 22, 23, 25, 26, 29, 31, 33-35, 39, 41, 46, 48, 49, 52, 53, 56, 58, 61, 68, 72, 73, 76, 79, 81, 88, 95, 97-100)
Part 2: An Exercise Name ____________________
LIFE
ETHICS FREEDOM
COMMUNICATION
CARE HUMILITY
INVENTION
Please connect the words above and explain below the path you made.
____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
Part 3: An Index of Topics
You may use this key to trace each entry below back to the glossary entry in Part 1 of this indexical essay.
Ca = Care; Co = Communication; E = Ethics; F = Freedom; H = Humility; I = Invention; L = Life
After each entry, I have listed the sections in which these topics appear. Thus you might want to read, for example, the seven sections listed after “friendship” as a loosely organized essay dealing with that topic.
Art [Co]: 3, 9, 13, 16, 19, 28, 30, 31, 34, 35, 44, 67, 73, 81, 95, 98, 100
Attachment [Ca; F; I]: 33, 44, 46, 47, 49, 55, 66, 68, 98, 99, 100
Autonomy [F; L]: 8, 13, 56, 59, 60, 87, 100
Backroads [Ca]: 13, 17, 19, 20, 21, 23, 26, 28, 36, 66, 74, 84, 100
Beginner’s Mind [Ca; H]: 54, 61, 73, 76, 79, 82, 83, 98, 100
Change [Ca; E; I]: 9, 20, 38, 44, 46, 49, 53, 56, 57, 58, 67, 73, 75, 76, 91, 94, 100
Childhood [I]: 8, 9, 10, 14, 39, 69, 73, 92, 97, 99, 100
Compassion [Ca]: 16, 27, 35, 40, 44, 51-53, 71, 100
Connection [Ca; Co; E; F; I; L]: 2, 3, 9, 16, 20, 23, 28, 33, 36, 37, 40, 49, 51, 56, 59, 71-73, 97, 100
Constellation [I]: 2, 3, 23, 32, 33, 77, 100
Death [L]: 3, 4, 9, 11, 13, 16, 25-28, 31, 35, 59, 71, 74, 93, 94, 100
Detention [Ca; E]: 6, 13, 23, 38, 40, 62, 63, 66, 72, 100
Discovery [H]: 2, 4, 13, 19, 24, 31, 63, 73, 84, 97-100
Effects [Co; E]: 4, 6, 8-10, 12, 18, 22, 27, 31, 34, 36, 37, 44, 65, 67, 76, 78, 84, 86-89, 98, 100
Efficacy [Co; E; F]: 1, 2, 4, 8, 13, 16, 22, 31, 34, 44, 50, 55-57, 60-62, 67, 76, 78, 80, 81, 84-89, 92, 95, 98, 99, 100
Experience [Co]: 2, 6, 9, 13, 47, 100
Experimentation [Ca; H]: 2-4, 6, 8, 13, 25-28, 42, 44, 47, 48, 50, 56, 61, 71, 73-75, 99, 100
Fear [Ca]: 9, 16, 20, 22, 25, 28, 34, 40, 44, 46, 47, 49, 52, 53, 58, 70, 71, 73, 75, 77, 85, 86, 93, 100
Friendship [Ca]: 16, 22, 29, 30, 39,98, 99, 100
Habit [Ca; F]: 6, 13, 23, 27, 28, 45, 46, 48, 49, 50, 72, 92, 95, 100
Humor [I]: 7, 10, 11, 13, 15, 18, 26, 49, 55, 58, 59, 64, 73, 77, 86, 87, 93, 95, 98, 100
Infection [Co; F; I]: 8, 22, 23, 27, 28, 36-41, 50, 61, 63, 64, 67-69, 71, 76, 80, 85-88, 90, 96, 98, 100
Interstate [Ca]: 13, 19, 23, 28, 36, 66, 84, 100
Joy [F]: 1, 9, 13, 14, 16, 19, 20, 22, 23, 28, 45, 49, 53, 57, 59, 61, 66, 68, 73, 97-100
Knowing [Ca; E; I; H; L]: 4, 13, 16, 20, 31, 33, 34, 37, 38, 46, 50, 65, 73, 88-90, 100
Language [Co; I; L]: 2, 4, 7, 9, 28, 35-38, 40, 45, 49, 50, 54, 55, 59, 60, 67-69, 71, 74-76, 77, 79, 86, 90, 96, 100
Learning [H]: 13, 20, 23, 26, 30, 31, 33, 37, 47, 49, 61, 75, 76, 100
Letting go [Ca; H; I; L]: 2, 9, 13, 16, 20, 23, 26-28, 33, 35, 44, 47-49, 57, 59, 68, 71, 95, 99, 100
Living system [I; L]: 2, 6, 9, 13, 16, 18, 23, 35, 46, 72, 100
Love [Ca]:2, 22, 29, 30, 49, 68, 72, 96, 98, 100
Mindfulness [Ca; L]: 6, 10-15, 19, 22, 25, 27, 31, 38-40, 45, 49-51, 56, 61, 89, 95, 98, 100
Mystery [H]: 1, 4, 18, 20, 35, 41-46, 51, 69, 72, 75, 86, 88, 90, 100
Object [Co]: 9, 20, 22, 31, 37, 71, 84, 90, 100
Ocean [H]: 5, 13, 19, 23, 29, 43, 44, 47, 64, 75, 94,99, 100
Openness [I]: 6, 13, 16, 20, 22, 23, 31, 38, 44, 46, 49, 65, 100
Others [Ca; Co; E; F; L]: 9, 16, 27, 28, 42, 49, 100
Peace [F]: 9, 14, 24, 33, 50, 61, 64, 100
Play [I]: 7-11, 13, 25, 26, 53, 58, 63, 72-74, 64, 96-100
Politics [F]: 3, 7, 11, 42, 43, 51-53, 55, 56, 59, 60, 85, 94, 100
Potency [E; F]: 8, 9, 13, 22, 52, 54, 56, 59, 61, 78, 100
Power [F]: 9, 11, 23, 54, 56, 61
Practice [Ca; Co; E; F; H; I; L]: 13, 14, 23, 28, 37, 45, 49, 71, 73, 100
Process [Ca; E; H; L]: 2, 4, 5, 11, 13, 14, 20, 30, 34, 49, 56, 58, 62, 63, 76, 94, 95, 98,100
Product [Ca]: 4, 11, 62, 100
Reading [Co; L]: 5, 6, 9, 14, 27, 29, 33, 37, 39, 40, 49, 55, 61, 75, 78, 83, 97, 100
Relations [Ca; Co; F]: 2, 3, 4, 8, 16, 20, 23, 30, 33, 35, 50, 54, 61, 72, 73, 100
Representation [Co; I]: 4, 16, 34, 35, 42, 50, 56, 60, 68, 67, 77, 78, 80, 85, 100
Responsibility [E]: 4, 5, 9, 18, 44, 50, 55, 62, 64, 85, 88, 89, 93, 94, 100
Risk [Ca]: 4, 6, 16, 25, 27, 28, 57, 63, 68, 71, 72, 74, 75, 78, 100
Rules [I]: 13, 26, 72, 87, 100
Science [I; L]: 2, 4, 6, 13, 18, 24, 27, 35, 55, 73, 88, 90, 100
Seeking [Ca]: 17, 27, 63, 84, 100
Self [Ca; Co; E; H]: 2, 9, 13, 16, 20, 22, 23, 27-30, 33, 35, 37-39, 44, 47-49, 59, 61, 70, 75, 77-79, 85, 94-96, 100
Style [Co]: 7, 10, 37, 38, 40, 45, 49, 50, 54, 55, 75, 91, 97,100
Subject [Co]: 9, 22, 31, 37, 38, 90, 100
Technology [Ca]: 3, 4, 10-12, 26, 55, 72, 76, 78, 90, 91, 95, 100
Time [Ca]: 6, 10, 12, 13, 65, 90, 91, 95, 100
Tolerance [E]: 28, 43, 47, 61, 73, 100
Twentieth Century [E]: 3, 4, 10-12, 25, 26, 31, 44, 50, 51, 59, 72, 78, 100
Walking [Ca]: 5, 6, 10, 13, 14, 16, 17, 19, 21, 23, 39, 49, 65, 72, 100
Wandering [Ca]: 13, 17-21, 30, 72, 74, 76, 83, 100
Wonder [H]: 4, 5, 10, 12, 31, 35, 37, 41, 42, 44, 45, 78, 99, 100
World [E; F; H; L]: 2, 3, 9, 16, 19, 20, 22, 23, 27, 29, 46, 49, 50, 52, 53, 76, 78, 81, 85, 88, 89, 97, 100
Writing [Co; L]: 8, 14, 16, 23, 27, 29, 32, 34, 39, 49, 55, 56, 59, 61, 75, 78, 79, 81, 86, 100
Zen [Ca; H]: 2, 14, 22, 28, 31, 44, 45, 47, 64, 65, 71, 75, 84,100
Part 4: An Index of Names
In keeping with the approach to reading embodied in this book, in the list below I have not distinguished “real” from “invented” persons. So if you want you can follow Trappist monk Thomas Merton, the character Morelli, or my daughter Eva on their respective paths through the book.
Alejandro: 87, 100
Artaud, Antonin: 3, 23, 82, 90, 100
Basho: 17, 20, 21, 30, 31, 38, 44, 100
Berry, Wendell: 13, 29, 72, 76, 100
Binetti, Vincenzo: 29, 30, 100
Brown, Catherine: 33, 61, 100
Bruno: 68, 100
Bunny Vomiter: 93, 100
Capra, Fritjof: 4, 6, 9, 13, 16, 18, 46, 100
Calvino, Italo: 2, 28, 34, 38, 45, 54, 100
Carlos: 33, 100
Carter, Johnny: 38, 45, 68, 100
Chuang Tzu: 13, 72, 91, 92, 100
Colás, Adam: 9, 13, 37, 41, 63, 69, 73, 98, 100
Colás, Owen: 9, 13, 41, 63, 66, 73, 98, 100
Colás, Toño: 69, 100
Debord, Guy: 57, 72, 100
Deleuze, Gilles: 2, 16, 22-24, 31, 32, 35, 43, 44, 46, 50, 54, 57, 61, 82, 83, 93, 95, 98, 100
Dewey, John: 9, 13, 16, 19, 28, 30, 31, 34, 39, 44, 57, 58, 63, 73, 81, 98, 100
Dorothy: 59, 100
E.T.: 39, 100
Elliott: 39, 100
Ford, Henry: 3, 4, 76, 100
Griffiths, Clyde: 39, 100
Guattari, Felix: 2, 23, 24, 93, 100
Haju Sunim: 14, 22, 39, 47, 49, 75, 100
Huyzinga, Johan: 8, 13, 69, 100
Isabel: 92, 100
James, C. L. R.: 56, 57, 60, 95, 100
James, William: 44, 50, 57, 60 61, 80, 82, 100
Joplin, Janis: 54, 100
Juan: 35, 36, 75, 100
Jullien, Francois: 44, 72, 76, 100
Kaplan, Jeremy: 4, 11, 100
Keats, John: 4, 16, 20, 31, 35, 38, 39, 71, 78, 90, 100
Kerouac, Jack: 13, 35, 100
Kid, the: 92, 100
Laura: 86, 100
La Maga: 44, 68, 100
Lao Tzu: 23, 25, 63, 76, 100
Lawrence, D. H.: 35, 75, 100
Lucas: 18, 48, 55, 67, 68, 77, 83, 100
Lucretius: 2, 38, 100
Luis: 86, 100
Mamá: 86, 87, 100
Marini: 94, 100
Mario: 88, 100
Marrast: 70, 71, 100
Marx, Karl: 54, 76, 85, 97, 100
Merton, Thomas: 10, 13, 31, 49, 67, 71, 72, 100
Michel, Roberto: 85, 100
Miller, Henry: 8, 23, 35, 44, 61, 77, 100
Morand: 90, 100
Morelli: 27, 35, 39, 58, 67, 78, 82, 90, 100
Motorcylist : 91, 100
Nico: 86, 100
Nietzsche, Friedrich: 23, 29, 43, 50, 100
Nicole: 70, 71, 100
Oliveira, Horacio: 2, 16, 17, 20, 26-28, 35, 36, 45, 58, 68, 72, 84, 100
Ory: 33, 100
Paschall, Annie: 97, 100
Paschall, Capt. J.E.: 19, 100
Paulson, Bill: 73, 100
Petrone: 44, 46, 86, 100
Piríz, Ceferino: 50, 100
Rabasa, Chema (José): 27, 100
Reyes, Alina: 2, 40, 100
Rimbaud, Arthur: 37, 79, 100
Rosa: 87, 100
Rosendo: 70, 100
Samu Sunim: 23, 47, 49, 100
Serres, Michel: 2, 16, 61, 75, 76, 95, 100
Somoza: 90, 100
Snyder, Gary: 65, 100
Spinoza, Baruch: 35, 61, 76, 92, 100
Stanton, Adam: 27, 100
Stark, Willie: 27, 100
Suzuki, Shunryu: 22, 54, 61, 73, 76, 98, 100
Thich Nhat Hanh: 9, 14, 31, 45, 47, 61, 71, 84, 100
Weinheimer, Gene: 97, 100
Weinheimer, James: 97, 100
Weinheimer, Monica: 15, 19, 22, 51, 63, 66, 82, 97, 100
Wicked Witch of the West: 60, 100
Wonka, Willy: 58, 100
Young, Jason: 62, 100
Part 5: An Index of Writings (excluding letters) by Julio Cortázar
62: A Model Kit [English translation of 62: Modelo para armar]: 35, 36, 56, 70-73, 75, 100
A Certain Lucas [Un tal Lucas]: 18, 36, 48, 55, 68, 67, 77, 83, 95, 98, 100
A Manual for Manuel [Libro de Manuel]: 53, 72, 100
“A Small Paradise” [“Un pequeño paraíso”]: 36, 100
Alguien que anda por ahí: 85, 100
All Fires the Fire [Todos los fuegos el fuego]: 13, 49, 71, 72, 87, 94, 100
“América Latina: exilio y literatura”: 59, 100
Around the Day in Eighty Worlds [English translations of French translations of sixty-two selections, made by Julio Cortázar, from La vuelta al dia en ochenta mundos and Ultimo round]: 3, 8, 12, 16, 23, 38, 39, 47, 56, 65, 100
Las armas secretas: 38, 45, 68, 85, 86, 100
“At Your Service” [“Los buenos servicios”]: 85, 100
“Axolotl” [“Axolotl”]: 37, 100
Los autonautas de la cosmopista: 2, 13, 63, 100
“Bestiary” [“Bestiario”]: 92, 100
Bestiario: 2, 40, 46, 89, 92, 93, 100
“Blow-Up” [“Las babas del diablo”]: 85, 100
Blow-Up and Other Stories [stories selected from Bestiario, Final del Juego, and Las Armas Secretas]: 2, 9, 10, 37, 38, 40, 45, 46, 68, 85, 90-93, 100
“The Broken Doll” [“La muñeca rota”]: 56, 100
“Cadaver viviente”: 80, 100
“Cartas de Mamá”: 86, 100
“The Chameleon’s Station” [“Casilla de camaleón”]: 38, 100
“Circe”: 88, 100
“The Continuity of Parks” [“La continuidad de los parques”]: 9, 10, 46, 100
“A Change of Light” [“Cambio de luces”]: 85, 100
Cronopios and Famas [Historias de Cronopios y Famas]: 11, 13, 23, 45, 47, 100
Deshoras: 2, 100
“The Distances” [“Lejana (Diario de Alina Reyes)”]: 2, 40, 100
“Don’t Blame Anyone” [“No se culpe a nadie”]: 38, 85, 100
“El estado actual de la narrativa hispanoamericana”: 42, 100
Final del juego: 9, 8, 10, 37, 38, 44, 46, 85, 90, 91, 100
“Glass with rose” [“Cristal con una rosa dentro”]: 36, 56, 100
“The Health of the Sick” [“La salud de los enfermos”]: 87, 100
Hopscotch [Rayuela]: 2, 13, 17, 20, 26-28, 35, 36, 39, 44-46, 50, 58, 67, 68, 72, 73, 75, 78, 82, 84, 96, 100
“House Taken Over” [“Casa tomada”]: 46, 100
“‘I could dance this chair,’ said Isadora” [“– Yo podría bailar ese sillón – dijo Isadora”]: 3, 23, 100
“The Idol of the Cyclades” [“El ídolo de las Cíclades”]: 90, 100
Imagen de John Keats: 2, 16, 31, 74, 78, 100
“Instructions on How to Sing” [“Instrucciones para cantar”]: 23
“The Island at Noon” [“La isla al mediodia”]: 94, 100
“Letter to a Young Lady in Paris” [“Carta a una señorita en Paris”]: 93, 100
“Letter to Roberto Fernández Retamar” [“Acerca de la situación del intelectual latinoamericano”]: 53, 100
“Literatura en la revolución, revolución en la literatura”: 54, 56, 100
“La literatura latinoamericana a la luz de la historia contemporanea”: 42, 100
“Lucas, His Battles With the Hydra” [“Lucas, sus luchas con la hidra”]: 48, 77, 100
“Lucas, His Communications” [“Lucas, sus comunicaciones”]: 68, 100
“Lucas, His Hospitals (II)” [“Lucas, sus hospitales (II)”]: 77, 100
“Lucas, His Partisan Arguments” [“Lucas, sus discusiones partidarias”]: 55, 67, 100
“Lucas, His Shopping” [“Lucas, sus compras”]: 18, 100
“Lucas, His Wandering Songs” [“Lucas, sus canciones errantes”]: 83, 100
“Manuscript found in a pocket” [“Manuscrito hallado en un bolsillo”]: 72, 100
“Mensaje (al Primer Encuentro de Intelectuales por la Soberanía de los Pueblos de Nuestra América),”: 59, 100
“Muerte de Antonin Artaud”: 81, 100
“The Night Face Up” (“La noche boca arriba”): 91, 100
“Nurse Cora” [“La señorita Cora”]: 71, 100
“On the Feeling of Not Being All There” [“Del sentimiento de no estar del todo”]: 39, 65, 100
Octaedro: 72, 85, 100
Para una poética”: 31, 100
Paris: The Essence of an Image: 72, 100
“The Pursuer” [“El perseguidor”]: 38, 45, 68, 100
Queremos tanto a Glenda: 45, 89, 94, 100
“Rimbaud”: 79, 100
“Roberto Arlt: Apuntes para una relectura”: 73, 100
Save Twilight [Bilingual edition of poems selected from Salvo el crepúsculo]: 20, 100
“Sílaba viva”: 7, 100
“Silvia” [“Silvia”]: 8, 44, 59, 10
“Simulacra” [“Simulacros”]: 11, 100
“The Southern Thruway” [“La autopista del sur”]: 13, 49, 72, 100
“Stairs again” [“Más sobre escaleras”]: 47, 100
“Stories I tell Myself” [“Historias que me cuento”]: 45, 100
“Story With Spiders” [“Historia con migalas”]: 94, 100
“Summer” [“Verano”]: 85, 100
“Sunset Hunter” [“Cazador de crepúsculos”]: 95, 100
“Tara” [“Satarsa”]: 2, 100
“El tesoro de la juventud”: 10, 100
“Text in a Notebook” [“Texto en una libreta”]: 89, 100
“Texturologies” [“Texurologías”]: 98, 100
“That’s the Way it Begins” [“Asi se empieza”]: 16, 100
“To be read in the interrogative” [“Para leer en el interrogativo”]: 20, 100
“Trade Winds” [“Vientos alisios”]: 85, 100
Ultimo round: 6, 7, 8, 10, 26, 35, 36, 47, 53, 56, 73, 100
“Uno de tantos de dias en Saignon”: 26, 35, 100
Unreasonable hours [English translation of stories from Deshoras and Final del juego]: 2, 38, 85, 100
“Los venenos”: 8, 37, 38, 87, 100
La vuelta al día en ochenta mundos: 3, 12, 16, 23, 38, 39, 65, 73, 100
We Love Glenda So Much and A Change of Light [English translations of stories selected from Octaedro, Alquien que anda por ahí, and Queremos tanto a Glenda]: 45, 72, 79, 85, 89, 94, 100
“What is Polygraphy?” [“Qué es un polígrafo”?]: 95, 100
1 Humberto R. Maturana and Francisco J. Varela, The Tree of Knowledge (Boston: Shambhala, 1987), p. 193.
2 Thich Nhat Hanh, The Heart of the Buddha’s Teaching (New York: Broadway Books, 1998), pp. 124-125.
3 Humberto R. Maturana and Francisco J. Varela, The Tree of Knowledge (Boston: Shambahala, 1987), p. 26.
4 Fritjof Capra, The Web of Life (New York: Anchor, 1996).