Luisa Valenzuela Analysis

Other Literary Forms

(Literary Essentials: Short Fiction Masterpieces)

In addition to her novellas, which have been included in collections of her short stories, Luisa Valenzuela is the author of several novels: Como en la guerra (1977; He Who Searches, 1979), Cola de lagartija (1983; The Lizard’s Tail, 1983), and Novela Negra con argentinos (1990; Black Novel with Argentines, 1992). She is also the author of the novel Realidad nacional desde la cama, 1990.

Luisa Valenzuela Achievements

(Literary Essentials: Short Fiction Masterpieces)

Luisa Valenzuela won a Fulbright Fellowship in 1969 to attend the University of Iowa Writers’ Workshop. She won the Instituto Nacional de Cinematografía Award in 1973 for her first novel Hay que sonreír (1966; Clara, 1976).

Luisa Valenzuela Bibliography

(Great Authors of World Literature, Critical Edition)

Bach, Caleb. “Metaphors and Magic Unmask the Soul.” Americas 47 (January/February, 1995): 22-28. Notes that Valenzuela is distressed by the cultural banality common the world over. Says that her prose involves the reader by posing questions rather than suggesting simplistic solutions; claims her books are not for the lazy reader.

Hoeppner, Edward H. “The Hand That Mirrors Us: Luisa Valenzuela’s Re-Writing of Lacan’s Theory of Identity.” Latin American Literary Review 20 (January-June, 1992): 9-17. Provides a thoughtful study of Valenzuela’s works in the light of psychoanalytic theory.

Logan, Joy. “Southern Discomfort in Argentina: Postmodernism, Feminism, and Luisa Valenzuela’s Simetrías.” Latin American Literary Review 24 (July-December, 1996): 5-17. Argues that in the fairy-tale section of Symmetries, Valenzuela’s critique of Western patriarchal practices is most clear. Claims that the collection is a textual performance of the interplay between postmodernism and feminism.

McNab, Pamela J. “Sexual Silence and Equine Imagery in Valenzuela and Cortazar.” Bulletin of Hispanic Studies 76 (April, 1999): 263-279. Compares the way in which both Valenzuela and Julio Cortazar use horse imagery to fill the gap between language and silence in their short stories....

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