This afterword would not have been possible without Latina writer and scholar Mariana Romo-Carmona’s critical input, Latin Americanist scholar Fernando Degiovanni’s bibliographical advice, translator Kit Maude’s comments on Somers’s writing, Lauren Rosemary Hook’s editing and guidance from the beginning, and Argentinian scholar María Cristina Dalmagro’s thorough publications on Armonía Somers’s archive.
Works Cited
Cixous, Hélène, and Catherine Clément. 2008. The Newly Born Woman. Translated by Betsy Wing. Minneapolis: University of Minnesota Press.
Conway, Christopher. 2015. “Gender Iconoclasm and Aesthetics in Esteban Echeverría’s La cautiva and the Captivity Paintings of Juan Manuel Blanes.” Decimonónica: Journal of Nineteenth Century Hispanic Cultural Production 12 (1): 117–33.
Cosse, Rómulo. 1988. “Del horror y la belleza.” In La rebelión de la flor: Antología personal by Armonía Somers, 3–7. Montevideo, Uruguay: Librería Linardi y Risso.
———, ed. 1990: Armonía Somers: Papeles Críticos; Cuarenta años de literatura. Montevideo, Uruguay: Librería Linardi y Risso.
Dalmagro, María Cristina. 2009. Desde los umbrales de la memoria: Ficción autobiográfica en Armonía Somers. Montevideo, Uruguay: Biblioteca Nacional de Uruguay.
Gandolfo, Elvio. 1986. “Un país pequeño, una gran novelista: Para conocer a Armonía Somers.” Clarín, January 9.
Olivera-Williams, María Rosa. 1991. “La mujer desnuda como manifestación de la narrativa imaginaria.” In Armonía Somers: Papeles Críticos: Cuarenta años de literatura, edited by Rómulo Cosse, 159–72. Montevideo, Uruguay: Librería Linardi y Risso.
———. 2012. El arte de crear lo femenino: Ficción, género e historia del Cono Sur. Santiago, Chile: Cuarto Propio.
Picon Garfield, Evelyn. 1987. Women’s Voices from Latin America: Interviews with Six Contemporary Authors. Detroit, MI: Wayne State University Press.
Rama, Ángel. 1972. La generación crítica: 1939–1969. Montevideo, Uruguay: Arca.
Reyes Moreira, Julio. 1959. “Dilema de una mujer singular: Armonía Etchepare de Henestrosa; Maestra y escritora.” Mundo Uruguayo, January 1: 25.
Risso, Álvaro. 1990. “Un retrato para Armonía (cronología y bibliografía).” In Armonía Somers: Papeles Críticos: Cuarenta años de literatura, edited by Rómulo Cosse, 247–83. Montevideo, Uruguay: Librería Linardi y Risso.
Showalter, Elaine. 1985. The New Feminist Criticism: Essays on Women, Literature, and Theory. New York: Pantheon Books.
Somers, Armonía. 1950. “La mujer desnuda.” Clima: Cuadernos de arte 1 (2–3).
———. 1953. El derrumbamiento. Montevideo, Uruguay: Ediciones Salamanca.
———. 1988. La rebelión de la flor: Antología personal. Montevideo, Uruguay: Librería Linardi y Risso.
———. 2009. La mujer desnuda. 4th ed. Buenos Aires, Argentina: Cuenco de Plata.
———. 2010. Solo los elefantes encuentran mandrágora. Buenos Aires, Argentina: Cuenco de Plata.
ABOUT THE AUTHOR AND TRANSLATOR
ARMONÍA SOMERS (1914–1994), the pen name of Armonía Liropeya Etchepare Locino, was a Uruguayan feminist, pedagogue, novelist, and short story writer. This is her first book to be translated into English.
KIT MAUDE is a Spanish-to-English translator based in Buenos Aires. His translations have been featured in Granta, the Literary Review, and the Short Story Project, among others.
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ALSO BY FEMINIST PRESS
On a dark and stormy night, two mysterious women invade an unnamed narrator’s house, where they proceed to ruthlessly question their host’s identity. While the two women are strangely intimate, even inventing a secret language, they harass the narrator by claiming repeatedly that they know his greatest secret: that he is, in fact, a woman. As the increasingly frantic protagonist fails to defend his supposed masculinity, he eventually finds himself in a sanatorium.
Published for the first time in English, this Gothic tale destabilizes male-female binaries and subverts literary tropes.
CRISTINA RIVERA GARZA is an award-winning author, translator, and critic. Her books, originally written in Spanish, have been translated into multiple languages. She is the recipient of the Roger Caillois Award for Latin American Literature (2013), the Anna Seghers-Preis (2005), and the only two-time winner of the International Sor Juana Inés de la Cruz Prize (2001; 2009). She received her PhD in 2012 in Latin American history from the University of Houston, where she is currently Distinguished Professor in Hispanic Studies.
SARAH BOOKER is a Spanish-to-English translator and PhD candidate at University of North Carolina, Chapel Hill. Her research revolves around contemporary Latin American narratives and translation studies. She is particularly interested in the relationship between translation and identity in the region, as well as fictional representations of translation.