Abstract
The few studies which have examined the influence of Proust on the fiction of Julio Cortázar have, understandably, focused on his novels, and in particular Rayuela (1963). Yet when he relocated to Paris in 1951 the first literary works he produced were the cuentos that would eventually make up Las armas secretas (1959). Those stories were written in the wake of a careful re-reading of À la recherche du temps perdu, and in this essay I argue that the title story in particular is a considered, creative response to that reading.
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