Has no one yet tried to write an experimental novel in which it is grammatically and situationally ambiguous what happens to whom? Two men walk into a room and there is a struggle an "he" dies. But neither his name nor the other's is ever used in novel again. Situations arise afterwards that would "work" with either character, but he's just referred to with "he" and "him" and "his". The reader interprets the pronouns at the crucial moment in one way one reading and in another way on another reading.
It sounds like something that has already been done.
I just taught it. I had not known that there was a real photographer, Sergio Larrain, who had had this experience with a photograph and Cortazar knew him at the time, and Antonioni had made earlier films on this, so Cortazar knew those films when he wrote the story. WILD.
See 2016 article on this and the earlier Atonioni films https://www.researchgate.net/publication/312242177_Antonioni_reinterpreta_lo_insolito_de_Cortazar_investigacion_fotoquimica_mecanografica_y_cinematografica_Antonioni_reinterprets_the_incredible_by_Cortazar_photochemical_mechanical_and_cinematographic_
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Has no one yet tried to write an experimental novel in which it is grammatically and situationally ambiguous what happens to whom? Two men walk into a room and there is a struggle an "he" dies. But neither his name nor the other's is ever used in novel again. Situations arise afterwards that would "work" with either character, but he's just referred to with "he" and "him" and "his". The reader interprets the pronouns at the crucial moment in one way one reading and in another way on another reading.
It sounds like something that has already been done.
There is a little of this in "Las babas del diablo."
Yes. That's a good one. I recently watched "Blow Up" derived indirectly from that.
I just taught it. I had not known that there was a real photographer, Sergio Larrain, who had had this experience with a photograph and Cortazar knew him at the time, and Antonioni had made earlier films on this, so Cortazar knew those films when he wrote the story. WILD.
I don't know about Larrain. I will look into that.
See 2016 article on this and the earlier Atonioni films
https://www.researchgate.net/publication/312242177_Antonioni_reinterpreta_lo_insolito_de_Cortazar_investigacion_fotoquimica_mecanografica_y_cinematografica_Antonioni_reinterprets_the_incredible_by_Cortazar_photochemical_mechanical_and_cinematographic_
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