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This article explores the various meanings constructed around the idea of defective sight in Sergio Pitol’s Venetian narrative in El arte de la fuga (1996). I argue that through his playful engagement with the many connotations of vision and the place of Venice in the cultural imagination of the West, Pitol puts forward a multi-layered meditation on literature and writing, which are among his main preoccupations in El arte de la fuga and throughout his oeuvre. I also explore the notion of chiaroscuro in a figurative sense as a central feature of Pitol’s poetics. To a lesser extent, the article also brings to the discussion other texts by Pitol, namely ‘El relato veneciano de Billie Upward’ (1981) and El viaje (2000).
