The following is an English translation of Casa tomada. I put my arm around Irene’s belt (I think she was crying) and we left like this into the street. The ending of the story therefore represents the progressive acceptance of the emergence of the repressed, firstly in a preconscious state (symbolized by the corridor), then through the exiting of the characters to the exterior of the house, that is, to the conscience represented by the street. Aging in their quiet domestic existence, the pair has never got married: since they subsist from financial income from their farms, they don’t need to work for a living and their only household activities -dusting and cleaning the house- are concluded at eleven. And it was one more than anything that we had lost the other side of the house. Our bedrooms had the living room in the between them, but at night one could hear any thing in the house. I was a little lost without my books, but so as not to inflict myself on my sister, I set about reordering papa’s stamp collection; that killed some time. We
 heard
 each
 other
 breathing,
 coughing,
 could
 even
 feel
 each
 other
reaching
for
the
light
switch
when,
as
happened
frequently,
neither
of
us
could
fall
asleep. I do not know why she knit so much, I believe that women knit when they have found in that work the great pretext of doing nothing. Même en se levant tard, ils finissent tôt leurs taches, ce qui laisse plus de temps à Irene pour tricoter pendant que lui s'occupe en feuilletant les carnets de timbres de leur père. “House
Taken
Over”
(“Casa
Tomada”)
by
Julio
Cortázar
Translated
by
Paul
Blackburn
 

We
 liked
 the
 house
 because,
 apart
 from
 its
 being
 old
 and
 spacious
 (in
 a
 day
 when
 old
 houses
 go
 down
 for
 a
profitable
 auction
 of
 their
 construction
 materials),
 it
 kept
 the
 memories
 of
 great‐grandparents,
 our
 paternal
grandfather,
our
parents
and
the
whole
of
childhood. “Did you have time to bring anything?” I asked hopelessly. Havana, Teatro Fausto, 11th Havana Biennial, 2012 (another example exhibited). mothballs, was filled with shawls, white, green, lilac. Et une nuit, en se levant pour aller chercher un verre d'eau, le narrateur entend un bruit venant de la cuisine, c'est-à-dire du côté encore non-occupé de la maison. They were racial issues. I could never get used to this voice of a statue or parrot, a voice that came from dreams and not the throat. 157-161. Le lendemain, alors qu'il va préparer le maté, le narrateur entend le bruit d'une conversation dans la pièce voisine, il se précipite dans la partie de la maison attribuée à Rosa et condamne la porte qui mène à la partie du fond de la maison. It’s a lot of work to get it off with a feather duster; the motes rise and hang in the air, and settle again a minute later on the pianos and the furniture. But Irene was not like that, she always knitted necessities, sweaters for winter, socks for me, handy morning robes and bedjackets for herself. Avec Casa tomada, Cortázar amorce une ligne d'inspiration, qualifiée de fantaisiste par quelques-uns, de fantastique par la plupart, que l'on retrouvera dans la production ultérieure de l'auteur jusque dans certains contes de Todos los fuegos el fuego (2). http://en.wikipedia.org/wiki/House_Taken_Over, “House Taken Over” (“Casa Tomada”) by Julio Cortázar I hurled myself against the door before it was too late and shut it, leaned on it with the weight of my body; luckily, the key was on our side; moreover, I ran the great bolt into place, just to be safe. Inheriting their parent's house and wealth, they live a quiet, usually mundane, domestic existence. It is almost to repeat the same thing except for the consequences. \"You're
sure?\"

I
nodded. The
 sound
 came
 through
 muted
 and
 indistinct,
 a
 chair
 being
 knocked
 over
 onto
 the
carpet
or
the
muffled
buzzing
of
a
conversation. Irene
got
into
the
habit
of
coming
to
the
kitchen
with
me
to
help
get
lunch. \"In
that
case,\"
she
said,
picking
up
her
knitting
again,
\"we'll
have
to
live
on
this
side.\"

I
sipped
at
the
mate
very
carefully,
but
she
took
her
time
starting
her
work
again. (When Irene talked in her sleep I was immediately unable to sleep. https://fr.wikipedia.org/w/index.php?title=Casa_tomada&oldid=112883925, licence Creative Commons attribution, partage dans les mêmes conditions, comment citer les auteurs et mentionner la licence. I
went
down
the
corridor
as
far
as
the
oak
door,
which
was
ajar,
then
turned
into
the
hall
toward
the
kitchen,
when
I
heard
something
in
the
library
 or
 the
 dining
 room. We thought about it and decided on this: while I prepared the lunch, Irene would cook up dishes that could be eaten cold in the evening. Since 1939 nothing worthy had arrived in Argentina. Good teaching. Irene
noticed
how
brusquely
I
had
paused,
and
came
up
beside
me
without
a
word. Now
we
made
do
with
the
table
in
Irene's
room
and
platters
of
cold
supper. We
had
the
living
room
between
us,
but
at
night
you
could
 hear
 everything
 in
 the
 house. At
the
same
time,
or
a
second
later,
I
heard
it
at
the
end
of
the
passage
which
led
from
those
two
rooms
toward
the
door. Ibid. Apart from her morning routine she passed the rest of the day knitting in the sofa of her room. html. "Casa Tomada" (English: "House Taken Over") is a 1946 short story by Argentine writer Julio Cortázar. One thing more among the many lost on the other side of the house. (Whenever
 Irene
 talked
 in
 her
 sleep,
 I
 woke
 up
 immediately
 and
 stayed
 awake.

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