the Facultad de Humanidades (Faculty of Letters), Montevideo, for his research on . Mundo Nuevo (1966–1968) In 1966 (age 45), Monegal directed the literary monthly Mundo Nuevo, published in Spanish in Paris. Monegal directed it until July 1968, after the New York Times uncovered CIA connections with the Congress for Cultural Freedom, the Cold War mega-organization under which auspicies Mundo Nuevo was born. Mundo Nuevo contributed to the 1960s publishing phenomenon dubbed "The Boom" in Latin American literature that led to many Latin American writers being published outside of their home countries and gaining critical recognition. Yale University (1969–1985) In 1969 (age 48), Monegal was appointed professor of Latin American contemporary literature at Yale University. From 1970 to 1973 (age 49 to 52), he was chairman of the Latin American Studies program and associate chairman of the Department of Romance Languages. From 1973 to 1976 (age 49 to 55), he was chairman of the Spanish and Portuguese Department. From 1969 to 1977 (age 48 to 56), he was a member of the editorial board of Revista Iberoamericana (University of Pittsburgh) and from 1972 to 1977 (age 51 to 56) he was consulting editor of Review, a tri-quarterly published by the Center for Inter-American Relations in New York. Also, from 1975 to 1982 (age 54 to 61), he was a visiting lecturer in seven universities in Brazil, and a visiting professor at the University of Southern California and the University of Pittsburgh. In 1985 (aged 64), Monegal died on Thursday 14 November at Yale's infirmary in New Haven, Connecticut, USA. He was survived by his wife: Selma Calasans Rodrigues de Rodríguez; and three children: Georgina Rodríguez Nebot, Joaquín Rodríguez Nebot, and Alejandro Rodríguez Gerona. Legacy His 1966–1968 work with Mundo Nuevo, as well as his books and lectures, was influential for the spread of Latin American literature, launching the career of such as Guillermo Cabrera Infante, Severo Sarduy, and Manuel Puig, and contributing to the internationalization of writers such as Gabriel García Márquez, Carlos Fuentes, and Mario Vargas Llosa. His April 1968 article (reused in a chapter of his 1970 Borgès) introduced the concept of "Biorges". According to him, when Adolfo Bioy Casares and Jorge Luis Borges collaborated under the pseudonyms H. Bustos Domecq or B. Suárez Lynch, the results seemed written by a new personality, more than the sum of its parts, which he dubbed "Biorges" and considered in his