Self-Conscious Narrative and Metatheater in Un hombre que se parecia a Orestes

N 1968, Alvaro Cunqueiro's Un hombre que se parecia a Orestes won the Nadal prize for best Spanish novel of that year. Since then, the work has received very little critical attention. One critic, Michael Thomas, suspects that others have largely ignored Orestes because it is not explicitly engage.' In the same vein, Jose Domingo insinuates that Orestes is frivolous and thus devoid of any serious purpose when he employs the verbs embelesar, embaucar, divertir, evadir la realidad to explain the novel's objective.2 Several other critics have indicated severe structural defects in

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