You won't find another work as organically meta and of contemporary prescience as Cortázar's weird tract searching the political soul amidst the fallout from the Second Russell Tribunal of 1974. Within, you know, a comic book featuring the great Latin American (via France) villain/hero Fantomas and his collection of twelve Zodiac-named female assistants.— Doug
The first translation of Julio Cortazar's genre-jumping meta-comic/novella, featuring Cortazar himself, Susan Sontag, and Octavio Paz in a race to prevent international bibliocide.
Octavio Paz: "If you love art, do something, Fantomas "
Fantomas: "I will, you can depend on it."
First published in Spanish in 1975 and previously untranslated, Fantomas versus the Multinational Vampires is Julio Cortazar's genre-jumping mash-up of his participation in the Second Russell Tribunal on human rights abuses in Latin America and his cameo appearance in issue number 201 of the Mexican comic book series Fantomas: The Elegant Menace. With his characteristic narrative inventiveness, Cortazar offers a quixotic meta-comic/novella that challenges not only the form of the novel but its political weight in contemporary cultural life.
Needing something to read on the train from Brussels (where he had attended the ineffectual tribunal meeting), our hero (Julio Cortazar) picks up the latest issue of the Fantomas comic. He grows increasingly absorbed by the comic book's tale of bibliocide (a sinister bibliophobic plot to obliterate every book from the archives of humanity), especially when he sees the character Fantomas embark upon a series of telephone conversations with literary figures, starting with "The Great Argentine Writer" himself, Julio Cortazar (and also including Octavio Paz and a tough-talking Susan Sontag). Soon, Cortazar begins to erase the thin line between real-life atrocities and fictional mayhem in an attempt to bring attention to the human rights violations taking place with impunity in the country from which he was exiled.
About the Author
One of the most influential literary figures to emerge from Argentina in the twentieth century, Julio Cortazar is best remembered for his experimental 1963 counter-novel Hopscotch (Rayuela) and for his short story "Blow-up," on which the 1966 film by Michelangelo Antonioni was based. Cortazar was officially exiled by the Argentine junta in the 1970s and spent the rest of his life in France, where he died in 1984.