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Widely known, the reasons for the marginalization of the Peruvian writer Julio Ramón Ribeyro (1929-1994) by the canon of the Latin American boom, can be summarized in three statements: a preference for the short story at the expense of the novel, a classic aesthetic with French roots, and a profile as a discreet writer. In this respect, the relationship between the said relative marginality of the author and marginality as a writing topic itself is usually considered within a state of reductive causality that does not fully exploit the diverse stakes of the concept of margin. The present article aims to analyze the way in which the mentioned author reverses his own marginalization process to turn it into an advantage by means of questioning the “zonalities” that governed the Hispanic literary field during the 1960s and 1970s.Las razones de la marginación del peruano Julio Ramón Ribeyro (1929-1994) por parte del canon del boom latinoamericano son ampliamente conocidas: una preferencia por el cuento en detrimento de la novela, una estética clásica de raigambre francesa y un perfil de escritor discreto. A este respecto, se suele considerar la relación entre esta marginalidad relativa del autor y la marginalidad como tema de escritura dentro de una causalidad reductora que no explota plenamente las implicancias del concepto de margen. Nuestro artículo propone analizar cómo Ribeyro revierte el proceso de su marginación histórica hasta convertirla en una ventaja mediante el cuestionamiento de las zonalidades que rigieron el campo literario hispánico de los años 1960 y 1970

(Breve) historia del margen en Julio Ramón Ribeyro