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Ronald Mendez-Clark departs from the premise that Los adioses (1954) is the landmark that separates the early Onetti from the master with full command of narrative montage and plot development that characterizes his mature work.
The second section, which will be extremely valuable to serious students of Onetti, surveys major critical interpretations of Los adioses, specifically those of Emir Rodriguez Monegal (love versus sexuality), James East Irby (Faulkner's influence), Hugo Verani (ambiguity), Jorge Ruffinelli (subjectivity), Wolfgang Luchting (reader participation), Joel Hancock (psychopathic distortions on the part of the narrator), Jose Luis Coy (point of view), Doris Rolfe (ambiguity), and other studies by Josefina Ludmer, Silvia Molloy, and Aldo Prior.
In summary, Mendez-Clark's analysis of Los adioses succeeds in conveying Onetti's ultimate belief in the impossibility of grasping truth.