Abstract
The tendency of Guzman criticism in recent decades has been to focus on the conclusion of Part II, the account of the narrator's alleged repentence and religious conversion while serving life sentence as a galley slave.' By reading the nearly one-thousand page fictive autobiography solely in terms of its closing chapters, as an example ofor response to -Counterreformation apologetics, modern readers cast Spain's first so-called picaresque novel as a startling anomaly within the genre which it created. The outcome of the convict-turned-author's story must of course also be considered in light of his statement of intent in the opening pages of the novel. While Guzman is not made to preface
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