Arreola himself admits that the threads of existentialism weave deeply into his literary fabric, especially in the intricate tapestry of "The Switchman." This philosophical outlook posits that life lacks inherent meaning, and it is humanity that cloaks it with purpose. The stranger's relentless determination to reach his destination imbues his existence with urgency and significance. However, the switchman's tales serve as a counterpoint, suggesting the subjectivity and perhaps futility of the stranger's ambitions. Through his surreal and comically absurd narrative of the railway, teeming with endless possibilities, we see a world—in this case, the realm of travel—that is erratic and nonsensical. This chaotic universe defies the logical expectations that the stranger clings to, such as the belief that a mere ticket guarantees arrival at his chosen endpoint.

In this way, the switchman's tale becomes the very essence of the existential world—a realm devoid of rational coherence. Within the sphere of existential literature, characters often lack personal names and are instead defined by their roles or functions, as seen in "The Switchman." The stranger initially earns his title by being an outsider, unfamiliar with both the land and the system. Yet, once he alters his destination and yields to the whims of the rail system, he transforms into a traveler. This shift signifies his surrender of personal will, as he succumbs to the unpredictable, existential landscape of the railway.

Absurdity, by its very nature, is the realm of the nonsensical, the illogical, and the blatantly untrue. While no particular philosophical discipline dedicates itself to the absurd, such a view of the world emerges when a futile attempt is made to find meaning in a universe indifferent to such efforts. The narrative spun by the switchman is steeped in absurdity, woven with outlandish and laughable events. It stretches the bounds of reality to imagine travelers hauling a dismantled train through an abyss, fording a river, and scaling the other side only to piece it together again. Equally irrational is the notion that the stranger would embrace these tales as gospel, adjusting his plans based on their folly.

The absurdity inherent in both the stranger's response and the switchman's tales underscores the ridiculousness of the stranger's frantic pursuit of his destination. This story's resolution casts a spotlight on humanity's broader role in the universe and highlights the inherent absurdity that dances through the mundane routines of daily existence.

The extraordinary realm of literature often embraces the wondrous, weaving tales that stretch beyond the confines of reality. This fantastical genre harmonizes closely with Magical Realism, a style where the miraculous intertwines seamlessly with the mundane. In "The Switchman," such genres converge, as we witness a surreal dialogue unfold between a stranger and a switchman. Despite the conversation's inherent oddity, it is recounted with an air of grounded realism, prompting readers to contemplate the broader significance of the narrative rather than become entangled in its peculiarities.

Throughout this narrative, elements of the fantastic are intricately connected to a prevailing sense of absurdity. Consider, for instance, the implausible notion that individuals might squander their entire fortunes on train tickets, blissfully unaware of their destinations, as the switchman suggests. By presenting this outlandish idea as commonplace, the switchman invites the stranger into a world where the bizarre is routine. As the tale progresses, the reader is similarly ensnared, perceiving the story as a metaphor for daily existence, where even the simplest occurrences are suffused with absurdity.