ABSTRACT
Felisberto Hernández’s bizarre stories have always attracted a small group of admirers as well as a number of detractors. In his lifetime, some critics celebrated Hernández’s originality, humour and subversivenes: so at first did Jules Supervielle (the Uruguayan-born French poet) and later Ángel Rama. But his stories were more negatively received by others who, like Emir Rodríguez Monegal in a famous review (1948), attacked Hernández’s flawed Spanish and the unorthodox sexuality depicted in his tales.
