Abstract

Ever since Borges's Pierre Menard, autor del Quijote (1941) and Julio Cortizar's Rayuela (1963) placed writing so ostentatiously at the center of Latin American fiction, many Spanish American authors have published works that concern themselves with their own composition. The novel, Escalera para Electra (1970), by the Dominican writer, Aida Cartagena (1918-1994), continues this metafictional trend. However, Cartagena breaks with the conventional narrative pattern by choosing to give voice to a woman writer. Cartagena foregrounds the transgressive aspect of her narrative from its opening paragraphs:

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