Abstract
Elena Poniatowska is best known for her novel, Hasta no verte Jesus mio (1969), which provides a semi-fictional biography of a poor woman, struggling to survive in twentieth-century Mexico.1 She is less known for her more obviously fictional work, and De noche vienes in particular has received scant critical attention, despite its literary quality and its concern with what in feminist terms are highly political themes.2 In all her work she deconstructs the public/private dichotomy by examining the effects of power structures on people's everyday lives, and this is particularly the case in De noche vienes. In this collection of short stories she does precisely what she has praised in the work of Rosario Castellanos and transforms ‘las banalidades de la vida en materia memorable’.3
Sign-in/Register to access full text options 
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
