Luisa Valenzuela (born November 26, 1938, in Buenos Aires, Argentina) is a post-'Boom' novelist and short story writer. Her writing is characterized by an experimental, avant-garde style which questions hierarchical social structures from a feminist perspective. She is best known for her work written in response to the dictatorship of the 1970s in Argentina. Works such as Como en la guerra (1977), Cambio de armas (1982) and Cola de lagartija (1983) combine a powerful critique of dictatorship with an examination of patriarchal forms of social organization and the power structures which inhere in human sexuality and gender relationships.

• The Censors/Los censoresLos mejor calzadosThe Best ShodEl custodio blancanievesThe Snow White WatchmanCronicas de pueblorrojoRedtown ChroniclesLa historia de PapitoPapito's StoryOne Siren or Another/Unas y otras sirenasCarnival camperoCountry CarnivalEl fontanero azulThe Blue Water ManUnas y otras sirenasOne Siren or AnotherProceso a la virgenTrial of the VirginLos menestrelesThe MinstrelsEl hijo de KermariaThe Son of KermariaLa puertaThe DoorVision de reojoVision Out of the Corner of One EyePavada de suicidioAll About SuicideThe Attainment of Knowledge/Para alcanzar el conocimientoPara alcanzar el conocimientoThe Attiainment of KnowledgeLeyenda de la criatura autosuficienteLegend of the Self Sufficient ChildPantera ocularCat's EyeDonde viven las aguilasUp Among the EaglesThe Place of its Quietude/El lugar de su quietudEl lugar de su quietudThe Place of its Quietude

""Luisa Valenzuela's affecting short stories—parables, really—are cryptic and poetic. Like many Latin American writers, she produces work that verges on the surreal."" New York Times Book Review|"[She is] the heiress of Latin American literature. She wears an opulent, baroque crown, but her feet are bare." —Carlos Fuentes|"Luisa Valenzuela explores the terrain where love and violence, erotic pleasure and death, exist perilously close to each other . . . Valenzuela plays with words, turns them inside out, weaves them into sensuous webs."—Voice Literary Supplement

Luisa Valenzuela (born November 26, 1938, in Buenos Aires, Argentina) is a post-'Boom' novelist and short story writer. Her writing is characterized by an experimental, avant-garde style which questions hierarchical social structures from a feminist perspective. She is best known for her work written in response to the dictatorship of the 1970s in Argentina. Works such as Como en la guerra (1977), Cambio de armas (1982) and Cola de lagartija (1983) combine a powerful critique of dictatorship with an examination of patriarchal forms of social organization and the power structures which inhere in human sexuality and gender relationships.

• The Censors/Los censoresLos mejor calzadosThe Best ShodEl custodio blancanievesThe Snow White WatchmanCronicas de pueblorrojoRedtown ChroniclesLa historia de PapitoPapito's StoryOne Siren or Another/Unas y otras sirenasCarnival camperoCountry CarnivalEl fontanero azulThe Blue Water ManUnas y otras sirenasOne Siren or AnotherProceso a la virgenTrial of the VirginLos menestrelesThe MinstrelsEl hijo de KermariaThe Son of KermariaLa puertaThe DoorVision de reojoVision Out of the Corner of One EyePavada de suicidioAll About SuicideThe Attainment of Knowledge/Para alcanzar el conocimientoPara alcanzar el conocimientoThe Attiainment of KnowledgeLeyenda de la criatura autosuficienteLegend of the Self Sufficient ChildPantera ocularCat's EyeDonde viven las aguilasUp Among the EaglesThe Place of its Quietude/El lugar de su quietudEl lugar de su quietudThe Place of its Quietude

""Luisa Valenzuela's affecting short stories—parables, really—are cryptic and poetic. Like many Latin American writers, she produces work that verges on the surreal."" New York Times Book Review|"[She is] the heiress of Latin American literature. She wears an opulent, baroque crown, but her feet are bare." —Carlos Fuentes|"Luisa Valenzuela explores the terrain where love and violence, erotic pleasure and death, exist perilously close to each other . . . Valenzuela plays with words, turns them inside out, weaves them into sensuous webs."—Voice Literary Supplement

Luisa Valenzuela (born November 26, 1938, in Buenos Aires, Argentina) is a post-'Boom' novelist and short story writer. Her writing is characterized by an experimental, avant-garde style which questions hierarchical social structures from a feminist perspective. She is best known for her work written in response to the dictatorship of the 1970s in Argentina. Works such as Como en la guerra (1977), Cambio de armas (1982) and Cola de lagartija (1983) combine a powerful critique of dictatorship with an examination of patriarchal forms of social organization and the power structures which inhere in human sexuality and gender relationships.

• The Censors/Los censoresLos mejor calzadosThe Best ShodEl custodio blancanievesThe Snow White WatchmanCronicas de pueblorrojoRedtown ChroniclesLa historia de PapitoPapito's StoryOne Siren or Another/Unas y otras sirenasCarnival camperoCountry CarnivalEl fontanero azulThe Blue Water ManUnas y otras sirenasOne Siren or AnotherProceso a la virgenTrial of the VirginLos menestrelesThe MinstrelsEl hijo de KermariaThe Son of KermariaLa puertaThe DoorVision de reojoVision Out of the Corner of One EyePavada de suicidioAll About SuicideThe Attainment of Knowledge/Para alcanzar el conocimientoPara alcanzar el conocimientoThe Attiainment of KnowledgeLeyenda de la criatura autosuficienteLegend of the Self Sufficient ChildPantera ocularCat's EyeDonde viven las aguilasUp Among the EaglesThe Place of its Quietude/El lugar de su quietudEl lugar de su quietudThe Place of its Quietude

""Luisa Valenzuela's affecting short stories—parables, really—are cryptic and poetic. Like many Latin American writers, she produces work that verges on the surreal."" New York Times Book Review|"[She is] the heiress of Latin American literature. She wears an opulent, baroque crown, but her feet are bare." —Carlos Fuentes|"Luisa Valenzuela explores the terrain where love and violence, erotic pleasure and death, exist perilously close to each other . . . Valenzuela plays with words, turns them inside out, weaves them into sensuous webs."—Voice Literary Supplement