My dissertation shows how Saer's dialogue with five writers associated with the nouveau roman---the source of some of the most dynamic and provocative experiments with the novel taking place in Paris during Saer's time there---functions as a laboratory and generative site of ideas that make their way into his criticism and fiction. While other readings of his work locate him in an Argentinian context, my approach breaks new ground by situating him in a comparative framework. After considering some of the basic theoretical points of convergence between Saer's writing and the nouveau roman, in the second chapter I study the relationship between Saer and the work of Alain Robbe-Grillet and Jean Ricardou according to the question of representation and the critique of Grillet and Jean Ricardou according to the question of representation and the critique of humanism. In the third chapter, I explore the connections between Saer and Nathalie Sarraute, paying careful attention to Saer's translation of Sarraute's Tropisms, which provides a window onto his creative process. Finally, I examine the contrast between Saer and Michel Butor with regard to the question of realism, and the link between Saer, Claude Simon and William Faulkner with respect to the creation of a unified literary world set in a marginalized rural locale. Whereas previous studies of post-Boom writers emphasize how they collapse the boundary between high and popular culture, my reading of Saer highlights his rigorous work with language and attention to place. This interpretation calls into question the dominant categories for reading Latin American writers in Europe and North America.