In Blow-Up and Other Stories by Julio Cortazar, the stories Letter to a Young Woman in Paris, Continuity of the Parks, and Blow-Up demonstrate the theme of concealment of reality. Cortazar uses tightly woven imagery and symbolism in his stories to hide the overall message. In Letter to a Young Woman in Paris there is an allusion to the main character's repression as he writes about his ongoing rabbit vomiting problem and his eventual suicide. In the story Continuity of Parks, a man reads a story and discovers that he is part of a dramatic love story and is killed by the novel's main character, demonstrating repressed sexual desire. In Blow-Up, Cortazar uses careful imagining of the scene to hide a larger story between a young boy and an older woman photographed by a photographer. These three individual stories both demonstrate the theme of concealment through the use of symbolism and imagery. In Cortazar's Letter to a Young Woman in Paris, Cortazar uses the symbolism of rabbits to represent the main character's repression and concealment of the repression of sucking. In the story the main character moves into the apartment of a young woman who is away in Paris. Instead of providing a description of the woman and her connection to the main character, Cortazar provides the description of the apartment. Such descriptions serve as a representation of the woman herself. For example, as the main character states, “It pains me to enter an environment where someone who lives beautifully has laid out everything as a visible statement of his soul…” (Cortazar, 39). With the apartment as a representation of this woman's soul, the main character feels as if he and the bunnies are invading this... medium of paper... in the clouds. Cortazar focuses on the image of clouds and pigeons, which hides the larger story between the boy and the woman. The images also escape the photographer's hallucinations, instead of actually seeing the pigeons and clouds he hallucinates and in the end these images are on a projector. For example: “…like an inverted crying spell, and little by little the picture clears up, perhaps the sun comes out, and the clouds begin to come again, two at a time…And the pigeons every now and then…” (Cortazar, 131 ). Such images of the clouds and pigeons ultimately become the projections of the photographer's mind as he projects these images onto the enlargement. The magnification itself becomes instrumental for the photographer as it becomes a revelation of the projected reality. The photographer's misinterpretation of reality is his way of projecting his reality.