Abstract
César Aira's work acquired its distinctiveness from the 1980s on. Some of the stories written in his youth, which were only known much later or are still unpublished to this day, pose some questions about the beginnings of his work. This article proposes a reading of Moreira (written in 1972, edited in 1975 and more widely known after 1981) as a text that forms parts of the avant-garde of the 60s and 70s and, at the same time, exceeds its boundaries, coining some procedures that will define Aira’s future work. Moreira's formal violence reflects the avant-garde excesses of both the period and the writer's youth, with a radicality that will never be manifested again in his later works and whose sublimation, we conjecture, implies the mastery of Borges's work.
Keywords:
avant-garde; political violence; transgression; plagiarism; Osvaldo Lamborghini