Besides his fiction, and the translation work he does for a living, Aira also writes literary criticism, including monographic studies of Copi, the poet Alejandra Pizarnik, and the nineteenth-century British limerick and nonsense writer Edward Lear.
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In 1966, he moved to Buenos Aires where he worked on various literary projects with the writer César Aira, also from Coronel Pringles, with whom he founded the literary magazine El Cielo.
Examples are La casa de cartón (The Cardboard House) of Martín Adán, El pianista (The pianist) of Ricardo Piglia, El todo surca la Nada (The Everything Cuts the Nothing) of César Aira and the bilingual volume of verses of Haroldo de Campos.
Like several of his contemporaries (Ricardo Piglia, César Aira, Roberto Bolaño), Saer's work often builds on particular and highly codified genres, such as detective fiction (The Investigation), colonial encounters (The Witness), travelogues (El río sin orillas), or canonical modern writers (e.g. Proust, in La mayor and Joyce, in "Sombras sobre vidrio esmerilado").
He is widely considered to be one of the founders of the modern Argentine novel; among those contemporary writers who claim to have been influenced by Arlt are Abelardo Castillo, Ricardo Piglia and César Aira.