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‘Albert Camus replies—Gombrowicz, in spite of contradictions—will end up very close to existentialism—Theatre repelled him—theatrical staging—the performances—wardrobes—viewers' gaze. However, something profoundly actorly followed him everywhere—he offended his correspondents with his diatribes—repeating himself at moments—but you always had to read him because just when you least expected it lightning would strike’

‘‘Living here is like—a permanent reread.’ In Argentina he neither sought out, nor was he rejected—he was very much at ease—He never wanted—to enter culture as one enters a temple in which the faithful are kneeled in prayer. Ultimately he understands—the place where one will direct their gaze: ‘Art is ultimately a problem of love. If we want to know the true position of the artist—we must ask what he's in love with’’

‘Gombrowicz’s first five years in Buenos Aires—a period marked by financial difficulties, linguistic difficulties—general difficulties. He sleeps in different guesthouses—in Almagro—At some point he settles in the Flores neighbourhood where he resides on the tree-lined Calle Bacacay. We might say that he survives this period due to the kind­ness of strangers. Ernesto Sábato (writer)—one of his most enduring friends.’