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Although the postmodern tradition of theorizing Paris that began with Henri Lefebvre has borne a fraught relationship with the surrealist urbanism from which it drew early inspiration, Julio Cortázar manages to reconcile these traditions through music. This essay reads Cortázar and Lefevre through one another to show how their use of music in text revises a surrealist tradition of collaboration between the arts. Focusing on Cortázar's text in París: ritmos de una ciudad, I demonstrate how a consideration of music within this work on the city adds to a rich body of criticism on Cortázar's incorporation of image into text.
