This critical anthology renders visible the twentieth-century Spanish and Latin American traditions of the female fantastic, which presented alternatives to the model of literary realism. Not sufficiently known to readers, the five key short stories by Emilia Pardo Bazán, Amparo Dávila, Rosario Ferré, Cristina Fernández Cubas, and Ana María Shua collected in the book cover a range of cultural references and language specificities from Spain, Mexico, Puerto Rico, and Argentina. They attest to the richness and diversity of fantastic fiction in the Spanish language. Corresponding analyses provide social contexts and feminist interpretations of such popular fantastic tropes as the revenant, the monster, the doll, the double, the haunted house, and the werewolf.
About the Author
Patricia García is associate professor in Spanish and comparative literary studies at the University of Nottingham.
Teresa López-Pellisa is Ayudante Doctor in the department of Spanish, modern and classical philology of the Universitat de les Illes Balears.
"At long last, there is an anthology that makes great works in the fantastic by Hispanic women writers accessible to an anglophone public. Women authors in Spanish-speaking countries have a long tradition of crafting powerful and original works in the fantastic genre – and an equally lengthy history of being unknown outside their borders. This judicious selection of short stories by five major figures offers excellent critical introductions and sensitive translations, and no doubt will be of use to scholars, students at all levels, and fans of fantastic fiction for years to come. Professors García and López-Pellisa are to be commended for this important volume." — Dale Knickerbocker, East Carolina University
"This a fine introduction to off-beat tales of the weird and wonderful written by top women writers from Spain and Spanish America. It is extremely useful for students of Spanish who want to read the original texts, guided by notes and a vocabulary, and be thoroughly entertained and bemused." — Catherine Davies, University of London