This was the famous picaresque novel, 'Lazarillo de Tormes,' by Hurtado de Mendoza, whose name then so familiarized itself to my fondness that now as I write it I feel as if it were that of an old personal friend whom I had known in the flesh. I do not know that I should counsel others to do so, or that the general reader would find his account in it, but I am sure that the intending author of American fiction would do well to study the Spanish picaresque novels; for in their simplicity of design he will find one of the best forms for an American story.

He must have acquired experiences which would form abundant material for a picaresque novel of modern Paris, but he remained aloof, and judging from his conversation there was nothing in those years that had made a particular impression on him.

They belonged mostly to that class of realistic fiction which is called picaresque , from the Spanish word 'picaro,' a rogue, because it began in Spain with the 'Lazarillo de Tormes' of Diego de Mendoza, in 1553, and because its heroes are knavish serving-boys or similar characters whose unprincipled tricks and exploits formed the substance of the stories.

The present study focuses on Jesus Carrasco's debut novel, Intemperie (2013), as an example of the picaresque tradition in contemporary Spanish fiction.

Subsequently, Nunez Rivera gives particular attention to the picaresque tradition, specifically Lazarillo de Tormes, as an informing literary genre to Cervantes's Gines de Pasamonte, El Rufian dichoso, Pedro de Urdemalas, and of course "Rinconete y Cortadillo" and "El Coloquio de los perros." (2) Part one of the book then concludes with a wink toward a Cervantine metafictionality that incorporates and expands upon the structural underpinnings of those earlier prose genres.

The author describes the role of the polit, a socially marginal character the world acts upon, and a variation on the Spanish picaro, as the quintessential protagonist in Jewish modernist literature, as well as its relationship to the picaresque and the Bildungsroman.

Este libro tiene su origen en el congreso Participating in the City: Microhistory and the Picaresque Novel, que tuvo lugar en la Universidad de Groningen en marzo de 2012.

While picaresque fiction has always been central to the study of Spanish literature, it has tended to skulk in the margins of our most influential histories of the English novel.

From that point on, the reader follows Marrone down a picaresque rabbit hole as he makes himself a feigned labor leader, explores the dilapidated shacks of lower-class Buenos Aires, and comes to identify Evita herself as the shining light that will lead his quest to its hopefully triumphant conclusion.

Though La vida del Lazarillo de Tormes, y de sus fortunas y adversidades (1554) has long been acknowledged the seminal text of the picaresque genre, a gap has opened between historical and theoretical accounts of its role in literary history.