Published during the debates around the role of the author in response to the Cuban Revolution, at the height of the Latin American literary Boom, Todos los fuegos el fuego (1966) emerges not only as a culmination of Julio Cortázar’s short fiction but also as a volume in dialogue with the literary, social, and political concerns of the time. Constant throughout this collection is the representation of characters who are displaced from familiar surroundings either physically, psychologically, or even fantastically. Characters are forced to share an uncomfortable space in “Autopista del Sur,” a story situated on the highway south of Paris that presents an allegory of human relations. Through the textual transposition of Che Guevara’s diaristic rendition of his trajectory through the Sierra Maestra Mountains in Cuba, “Reunión” also records the historical meeting of revolutionaries. Meanings produced through displacements develop also in the closing story of the volume, “El otro cielo,” in which Paris and Buenos Aires are seamlessly intertwined in the character’s experience. Displacement functions as an organizing thread through Todos los fuegos el fuego; transfers and reverberations in the stories generate disquieting tensions that reflect contemporary sociopolitical realities and the human condition.