Besides his fiction, and the translation work he does for a living, Aira also writes literary criticism, including monographic studies of Copi, the poet Alejandra Pizarnik, and the nineteenth-century British limerick and nonsense writer Edward Lear. He wrote a short book, Las tres fechas (The Three Dates), arguing for the central importance, when approaching some minor eccentric writers, of examining the moment of their lives about which they are writing, the date of completion of the work, and the date of publication of the work. Aira also was the literary executor of the complete works of his friend the poet and novelist Osvaldo Lamborghini (1940–1985).
Aira has often spoken in interviews of elaborating an avant-garde aesthetic in which, rather than editing what he has written, he engages in a "flight forward" (fuga hacia adelante) to improvise a way out of the corners he writes himself into. Aira also seeks in his own work, and praises in the work of others (such as the Argentine-Parisian cartoonist and comic novelist Copi), the "continuum" (el continuo) of a constant momentum in the fictional narrative. As a result, his fictions can jump radically from one genre to another, and often deploy narrative strategies from popular culture and "subliterary" genres like pulp science fiction and television soap operas. He frequently refuses to conform to generic expectations for how a novel ought to end, leaving many of his fictions quite open-ended.
While his subject matter ranges from Surrealist or Dadaist quasi-nonsense to fantastic tales set in his Buenos Aires neighborhood of Flores, Aira also returns frequently to Argentina's nineteenth century (two books translated into English, The Hare and An Episode in the Life of a Landscape Painter, are examples of this; so is the best-known novel of his early years, Ema la cautiva (Emma, the Captive)). He also returns regularly to play with stereotypes of an exotic East, such as in Una novela china, (A Chinese Novel); El volante (The Flyer), and El pequeño monje budista (The Little Buddhist Monk). Aira also enjoys mocking himself and his childhood home town, Coronel Pringles, in fictions such as Cómo me hice monja (How I Became a Nun), Cómo me reí (How I Laughed), El cerebro musical (The Musical Brain) and Las curas milagrosas del doctor Aira (The Miraculous Cures of Dr. Aira). His novella La prueba (1992) served as the basis—or point of departure, as only the first half-hour follows the novella—of Diego Lerman's film Tan de repente (Suddenly) (2002). His novel Cómo me hice monja (How I Became a Nun) was selected as one of the ten best publications in Spain in the year 1998.
Alfieri, Carlos, Conversaciones: Entrevistas a César Aira, Guillermo Cabrera Infante, Roger Chartier, Antonio Muñoz Molina, Ricardo Piglia y Fernando Savater (Buenos Aires: katz Editores, 2008), 199 pp.
Arambasin, Nella (ed.), Aira en réseau: Rencontre transdisciplinaire autour du roman de l’écrivain argentin César Aira Un episodio en la vida del pintor viajero / Un épisode dans la vie du peintre voyageur (Besançon: Presses universitaires de Franche-Comté, 2005), 151 pp.
Capano, Daniel A.,『La voz de la nueva novela histórica: La estética de la clonación y de la aporía en La liebre de César Aira,』in Domínguez, Mignon (ed.), Historia, ficción y metaficción en la novela latinoamericana contemporánea (Buenos Aires: Corregidor, 1996), pp. 91–119.
Contreras, Sandra, Las vueltas de César Aira (Rosario: Beatríz Viterbo Editora, 2002), 320 pp.
Decock, Pablo,『El transrealismo en la narrativa de César Aira,』in Fabry, Geneviève, and Claudio Canaparo (eds.), El enigma de lo real: Las fronteras del realismo en la narrativa del siglo XX (Oxford and Bern: Lang, 2007), pp. 157–168.
Decock, Pablo, Las figuras paradojicas de Cesar Aira: Un estudio semiótico y axiológico de la estereotipia y la autofiguración (Bern: Peter Lang, 2014), 344 pp.
Estrin, Laura, César Aira: El realismo y sus extremos (Buenos Aires: Ediciones Del Valle, 1999), 79 pp.
Fernández, Nancy, Narraciones viajeras: César Aira y Juan José Saer (Buenos Aires: Editorial Biblos, 2000), 190 pp.
García, Mariano, Degeneraciones textuales: Los géneros en la obra de César Aira (Rosario: Beatríz Viterbo Editora / Consorcio de Editores, 2006), 320 pp.
Klinger, Diana Irene, Escritas de si, escritas do outro: O retorno do autor e a virada etnográfica: Bernardo Carvalho, Fernando Vallejo, Washington Cucurto, João Gilberto Noll, César Aira, Silviano Santigo (Rio de Janeiro: 7Letras, 2007), 187 pp.
Lafon, Michel, Cristina Breuil, Margarita Remón-Raillard, and Julio Premat (eds.), César Aira, Une Révolution (Grenoble: Université Stendhal – Grenoble 3, Tigre, 2005), 311 pp.
Mattoni, Silvio,『César Aira,』in Arán, Pampa (et al.) (eds.), Umbrales y catástrofes: Literatura argentina de los '90 (Argentina: Epoké, 2003), 258 pp.
Peñate Rivero, Julio,『¿Una poética del viaje en la narrativa de César Aira?』in Peñate Rivero, Julio (ed.), Relato de viaje y literaturas hispánicas [Papers from an international colloquium organized by the University of Fribourg, May 2004] (Madrid: Visor Libros, 2004), pp. 333–351.
Pitol, Sergio, and Teresa García Díaz (eds.), César Aira en miniatura: Un acercamiento crítico (Xalpa, Veracruz: Instituto de Investigaciones Lingüístico-Literarias, Universidad Veracruzana, 2006), 188 pp.
Scramim, Susana, Literatura do presente: História e anacronismo dos textos (Chapecó: Argos Editora Universitária, 2007), 190 pp.
Strafacce, Ricardo, César Aira, un catálogo (Buenos Aires: Mansalva, 2014), 264 pp.
^ abcThe Mondadori collection Las curas milagrosas del Doctor Aira (2007) reprints Las curas milagrosas del Dr. Aira (1998) with Fragmentos de un diario en los Alpes (2002) and El tilo (2003).
