There he met and came to work closely with Julio Cortázar, Alejandra Pizarnik, Claude Roy, Gaëtan Picon, Cristina Campo and Laure Bataillon .
[8] Calveyra's first book of poetry, Cartas Para Que La Alegria, was much heralded by Carlos Mastronardi; in Victoria Ocampo's Sur magazine No.
261 (1959) Carlos Mastronardi wrote, "The pages of Cartas exhume remote happenings and hazy states of the spirit, a language of a sustained and unvarying tone that allows us to access volatile capacities.
It's easy to feel how Calveyra negotiates expressive dilated forms, with incidental clauses that frequently capsize poetic essence.
Attentive to the pure and docile nature he gives to the voices that come from its urgent intimacy, Calveyra dispenses with the heavy appoggiaturas and connectors that are themselves the strictness of logical language.
Argentine literary critic Pablo Gianera recently wrote, "It isn't inexact to say that Arnaldo Calveyra never abandoned the Entre Rios (Mansilla) landscape, this primary terrain that gave forth to the almost adamic relationship he sustains with language.
Moctezuma (play) Collection Théâtre du Monde Entier, Editorial Gallimard, 1969 (French version, translation by Laure Bataillon).
L'éclipse de la balle (play) Editorial Papiers-Actes Sud, 1988 (French translation by Florence Delay).
Le lit d'Aurélia (fiction), Editorial Actes Sud, 1989 (French translation by Laure Bataillon and Alain Keruzoré).
L'origine de la lumière (fiction), Editorial Actes Sud, 1992 (French translation by Françoise Campo).
Si l'Argentine est un roman (essay), Editorial Actes Sud, 1998 (French translation by Claude Bleton).
Livre des papillons/Libro de las mariposas (poetry), Editorial Le temps qu'il fait, Cognac, France, bilingual edition, 2004 (translation by Anne Picard).
El caballo blanco de Mozart (essays), Editorial La Bestia Equilátera, Buenos Aires, 2010.