“A child had thirteen fingers on each hand and his aunts immediately put him to playing the harp, something that made good use of the extras and he completed the course in half the time needed by poor pentadigitates.
“After that the child came to play in such a way that there was no score worthy of him. When he began to give concerts, the amount of music that he concentrated in that time and space with his twenty-six fingers was so extraordinary that the audience couldn’t keep up and was always behind, so that when the young artisto was coming to the end of The Fountain of Arethusa (a transcription) the poor people were still in the Tambourin Chinois (an arrangement). This naturally created horrible confusions, but everyone recognized that the child played like an angel.”
—Julio Cortázar, from “Feuilletons”
Art: Cover of Cortázar’s End of the Game.

“A child had thirteen fingers on each hand and his aunts immediately put him to playing the harp, something that made good use of the extras and he completed the course in half the time needed by poor pentadigitates.

“After that the child came to play in such a way that there was no score worthy of him. When he began to give concerts, the amount of music that he concentrated in that time and space with his twenty-six fingers was so extraordinary that the audience couldn’t keep up and was always behind, so that when the young artisto was coming to the end of The Fountain of Arethusa (a transcription) the poor people were still in the Tambourin Chinois (an arrangement). This naturally created horrible confusions, but everyone recognized that the child played like an angel.”

Julio Cortázar, from “Feuilletons”

Art: Cover of Cortázar’s End of the Game.