Introduction: “In 1968 a distinguished group of writers, critics, and translators organised a symposium in post-revolutionary Cuba in an attempt to assess the colossal impact that Julio Cortázar’s groundbreaking novel Rayuela (1963) (Hopscotch; 1966) had had in the Latin American literary arena.1 If the rationale behind the forum was to underline the uniqueness and innovativeness of a work that had shaken the foundations of Latin American literature, then the speakers soon realised that Cortázar’s masterpiece could only be approached, ironically, from the perspective of an even greater revolutionary work, James Joyce’s Ulysses. While Cortázar’s Hopscotch remained at the heart of the literary debate, the haunting figure of Joyce became a ubiquitous and inescapable ghostly presence that materialised, time and again, in the eloquent and dazzling performances of the speakers. The comparison of Hopscotch with Modernism’s most revered monument laid the ground for a vigorous debate that would have a long-lasting effect on ensuing critical insights of Hopscotch.2 How, then, was the phantom of Joyce summoned in a symposium in Havana dedicated to pay tribute to the path-breaking novel of an Argentine author?”

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