In the field of study of the work of Julio Cortázar there are many studies about his celebrated stories and novels. Likewise, his first miscellaneous novel, La vuelta al día en ochenta mundos (1967), which has been examined in an academic thesis, has been analyzed (more individually than together), especially for the close relationship that exists between "Casilla del camaleón" and the poetic theory of the author.
However, later we will see the implied paradox, there is no rigorous academic study about his second miscellaneous novel, Último round (1969), a central work in the creative process of Cortázar and also in his biographical development, since its heterogeneous forms and contents catalyze the most relevant beginnings of Cortázar's theoretical and poetic theory, such as his living and literary utopia and his ideas about social commitment, all of which is unfailingly tied to the city of Paris.
It is about a book that has barely been explored by the many studies of Cortázar. Except for a few articles, which were more focused on the form than the content, such as the analysis of Riobó about the libros-objeto of Cortázar, there are no profound studies about the content of the book and many fewer focused on the gap until May 1968.
When we ask ourselves about the cause of this absence of analysis in the work of one of the most studied authors in contemporary literature, we find a foundational error that, probably, has worked in favor of the novels of Cortázar and in detriment to his almanac books, especially Último round..
