The history of thought is inextricably linked to a disembodied vision; knowledge is fundamentally knowing how to see with the eye of the soul. From Plato onward, a gaze that obliterates the materiality of both the body itself and that with which one thinks (the page) has been favored, giving rise to an autotelic and cerebral notion of thinking. Matter, marked by the feminine, would be nothing more than "a bastard thought," in Plato's words, upon which the penetration of the idea occurs, a properly masculine and objective sign of thought. The Enlightenment, also called the Enlightenment, would come to strengthen this immaterial generic hierarchy, further exalting vision and its metaphors (light, clarity, white, etc.). The disjected gaze. Corpofiction ventures to intervene, from the very body of its "author," in the metaphysics of sedimented intellectual discourse, highlighting the power of defective, disjected gazes (myopia, amblyopia, retinoblastoma, etc.). To this end, we draw on Latin American literary fiction to show, on the one hand, the implications of the rectitude of male vision and its dislocation through the work of a group of female writers (Halfon, Nettel, Gerber, Meruane, among others) who demonstrate the power lodged in "sick" bodies and eyes that see in other ways. Organized into five chapters, the first rereads The Invention of Morel, the epitome of the reifying logic of the rectitude of male vision, while the last, based on The Passion According to G.H., shows the importance of disrespecting the perspectivist gaze, which mathematizes visual space in order to control it. Clarice Lispector imagines a gaze that does not respond to the cartography of the male gaze. Chapters 2 and 4 focus on revealing the corporeal material (the "author" and the page) upon which the book itself is constructed, first with a visual essay mounted on the medical record of the child who authored it, and then by chronicling the page, its materials (leather, pulp, etc.) and its forms. The third essay weaves a third-person account of the eye cancer of a character simply named r, alongside fragments dedicated to rethinking the relationship between gaze and clinical practice. The book as a whole explores material and non-ableist forms of thought, and is thus also an invitation to reimagine criticism and its writing.