For Luisa Valenzuela, it is erroneous to associate Latin American fiction with the French surrealist movement and with oneiric representations of reality. According to her, Latin American surrealist literature does not exist. "...although this fiction we are here concerned with is described as surrealistic or surrealist as usually happens with non-Latin American readers, it is absolutely realistic literature as you well know, but from another point of view, which could be semantic; for is this thing called reality always scoping explicable limitations or could it be philosophical or metaphysical even pataphysical? In the supplementary reality to the one we were taught to perceive, there is a cosmoginy, a world vision shared with native Americans; nothing must escape your notice but you must also learn to look again with your eyes at the very edge of what is visible. You must learn to look at the world twice." (Note in book: "From an unpublished text by Luisa Valenzuela")

What It Means

This is a placeholder explanation generated by the low-overhead model. It interprets "For Luisa Valenzuela, it is erroneous to associate Latin American fiction with the French surrealist movement and with oneiric representations of reality. According to her, Latin American surrealist literature does not exist. "...although this fiction we are here concerned with is described as surrealistic or surrealist as usually happens with non-Latin American readers, it is absolutely realistic literature as you well know, but from another point of view, which could be semantic; for is this thing called reality always scoping explicable limitations or could it be philosophical or metaphysical even pataphysical? In the supplementary reality to the one we were taught to perceive, there is a cosmoginy, a world vision shared with native Americans; nothing must escape your notice but you must also learn to look again with your eyes at the very edge of what is visible. You must learn to look at the world twice." (Note in book: "From an unpublished text by Luisa Valenzuela")" in the context of "Marjorie Agosín "Reflections on the Fantastic" Translated from the Spanish by Celeste Kostopulos-Cooperman. In Secret Weavers: Stories of the Fantastic by Women Writers of Argentina and Chile (1992)" to mean that wisdom is timeless.