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By Eduardo Montes-Bradley

Los angeles leyenda de Cortazar no deja de crecer en el corazon del publico que bebio de su talento y de sus relatos; este libro les encantara. Y en aquellos lectores que no han leido a Cortazar, seguro que despertara pasiones encontradas. En muy raras ocasiones accedemos al mito desde su reconstruccion: esta es una de ellas. Ficcion y realidad, mascaras y analisis criticos, en un vortice alimentado por una sociedad como l. a. argentina, tan proclive a los mitos. l. a. mirada de un cineasta y documentalista, Eduardo Montes-Bradley, concentrado en observar a Cortazar aun imberbe. Una biografia atenta a los hechos y documentos relacionados con un intelectual primary del siglo pasado: Julio Cortazar. Un texto ajustado que no renuncia a l. a. ternura y al sentido del humor, prodigo en detalles y anecdotas desconocidas, que aclaran o realimentan -segun en cada quien- los angeles personalidad compleja del autor de Rayuela. Eduardo Montes-Bradley, desde un profundo respeto por los angeles obra del genial artista argentino... o period belga?, va recorriendo su vida desde l. a. infancia, ofreciendonos un fresco detallado que nos ayuda a comprender mejor l. a. etapa de formacion del creador genial. "Esta documentada biografia requiere una segunda parte. los angeles primera resulta imprescindible para cualquier cronopio, para quien guste de un genero renovado, para los buenos lectores de Cortazar o simplemente para buenos lectores." Joaquin Marco"

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He telephoned Richard Buhlig in Los Angeles. Now in his mid-forties, praised for his performances of Bach and Beethoven, Buhlig had been one of the first notable pianists to introduce Schoenberg’s music to concert audiences. Cage asked Buhlig if he would be willing to play Schoenberg piano pieces for his lecture audience. Buhlig declined, but they became friendly. ” Cage had no piano of his own but used the grand piano at the printing shop of his Majorca friend Ward Ritchie—an old ranch house once owned by the cowboy movie star William S.

According to the dancer/teacher Bonnie Bird, the concept came to Cage around March 1939 by accident. She was choreographing Jean Cocteau’s The Marriage at the Eiffel Tower, a saucy romp to which Cage contributed such musical bits as a “quadrille that is a barn dance,” for two pianos and toy instruments. Bird wanted her dancers to come down a brass pole. Its cost proved prohibitive, but she obtained a small piece of such a pole and brought it to the studio where she was about to teach, accompanied on the piano by Cage.

Still, Xenia seems to have found Cornish sedately dull, and felt out of place. She kept in touch with the marine biologist Ed Ricketts, her former lover. “Nobody up here likes to drink the way we do,” she wrote to him. ” She did see Ricketts again.

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