As the initial surprising effects of Latin American experimental narrative wear off, an interest in the construction of those texts as an end in itself for criticism gives way to other problems opened up by those structures. Readers blinded by the difficulties posed by ludic variations of time and attribution may have very well been mistaken in thinking that the dismantling and description of such games constitute a valid form of understanding what is at stake in the literary tradition initiated by Macedonio Fernandez, Borges and Cartazar. For at the heart of these developments lies a contempt for the formalistic reading that some of those works have necessarily evoked due to the puzzling appearance of their pages.



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