Argentine novelist and short-story writer, who combined existential questioning with experimental writing techniques in his works.

Cortázar was the son of Argentine parents and was educated in Argentina, where he taught secondary school and worked as a translator. Bestiario (1951; “Bestiary”), his first short-story collection, was published the year he moved to Paris, an act motivated by dissatisfaction with the Perón government and what he saw as the general stagnation of the Argentine middle class. He remained in Paris, where he received French citizenship in 1981, though he kept his Argentine citizenship as well. He also traveled widely.

Another collection of short stories, Final del juego (1956; “End of the Game”), was followed by Las armas secretas (1958; “Secret Weapons”). Some of those stories were translated into English as End of the Game, and Other Stories (1967). The main character of "El perseguidor" (“The Pursuer”), one of the stories in Las armas secretas, embodies many of the traits of Cortázar's later characters. The metaphysical anguish that he feels in his search for artistic perfection and in his failure to come to grips with the passage of time, coupled with his rejection of 20th-century values, was among Cortázar's central preoccupations. Another story, "Las babas del diablo" (1958; “The Devil's Drivel”), served as the basis for Michelangelo Antonioni's motion picture Blow-up (1966). Cortázar's masterpiece, Rayuela (1963; Hopscotch), is an open-ended novel, or antinovel; the reader is invited to rearrange the different parts of the novel according to a plan prescribed by the author. A series of playful and humorous stories written between 1952 and 1959 were published in Historias de cronopios y de famas (1962; Cronopios and Famas). His other works include Todos los fuegos el fuego (1966; All Fires the Fire) and Libro de Manuel (1973; A Manual for Manuel).