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Reflecting the burgeoning interest in Hispanic women writers, this volume focuses on a group of writers who have only recently been accorded the attention they so richly deserve. The editors organize the essays under four broad thematic headings: Theatrical Self-Consciousness, Politics, History, and Feminist Positions. Though playwrights included range from the recognized-such as Gambaro (Gambaro) and Garro-to lesser-known yet nonetheless remarkable dramatists-e.g., Serebrisky-the volume would have profited from a broader geographic distribution: each chapter deals with one woman playwright, but 10 of the 15 come from either Mexico or Argentina. The editors concentrate on dramatists writing in the second half of the 20th century: the oldest author discussed was born in 1920, the youngest in 1960. All chapters follow an identical format: an introduction to the playwright... a description of her work in the theater... a more substantive analysis... of at least one specific text. This thoughtfully crafted book with its insightful and informative studies elucidates an overlooked, essential component of the Latin American literary canon. Recommended for courses supporting work at the upper-division undergraduate level and above. -- F. Colecchia, Duquesne University * Choice *

Reflecting the burgeoning interest in Hispanic women writers, this volume focuses on a group of writers who have only recently been accorded the attention they so richly deserve. The editors organize the essays under four broad thematic headings: Theatrical Self-Consciousness, Politics, History, and Feminist Positions. Though playwrights included range from the recognized-such as Gambaro (Gambaro) and Garro-to lesser-known yet nonetheless remarkable dramatists-e.g., Serebrisky-the volume would have profited from a broader geographic distribution: each chapter deals with one woman playwright, but 10 of the 15 come from either Mexico or Argentina. The editors concentrate on dramatists writing in the second half of the 20th century: the oldest author discussed was born in 1920, the youngest in 1960. All chapters follow an identical format: an introduction to the playwright... a description of her work in the theater... a more substantive analysis... of at least one specific text. This thoughtfully crafted book with its insightful and informative studies elucidates an overlooked, essential component of the Latin American literary canon. Recommended for courses supporting work at the upper-division undergraduate level and above.F. Colecchia, Duquesne University, Choice, November 1999

<p>Reflecting the burgeoning interest in Hispanic women writers, this volume focuses on a group of writers who have only recently been accorded the attention they so richly deserve. The editors organize the essays under four broad thematic headings: Theatrical Self--Consciousness, Politics, History, and Feminist Positions. Though playwrights included range from the recognized--such as Gambaro (Gambaro) and Garro--to lesser--known yet nonetheless remarkable dramatists--e.g., Serebrisky--the volume would have profited from a broader geographic distribution: each chapter deals with one woman playwright, but 10 of the 15 come from either Mexico or Argentina. The editors concentrate on dramatists writing in the second half of the 20th century: the oldest author discussed was born in 1920, the youngest in 1960. All chapters follow an identical format: an introduction to the playwright... a description of her work in the theater... a more substantive analysis... of at least one specific text. This thoughtfully crafted book with its insightful and informative studies elucidates an overlooked, essential component of the Latin American literary canon. Recommended for courses supporting work at the upper--division undergraduate level and above.F./P>--F. Colecchia, Duquesne University Choice (01/01/1999)

<p>Reflecting the burgeoning interest in Hispanic women writers, this volumefocuses on a group of writers who have only recently been accorded the attentionthey so richly deserve. The editors organize the essays under four broad thematicheadings: Theatrical Self -- Consciousness, Politics, History, and FeministPositions. Though playwrights included range from the recognized -- such as G?mbaro(Gambaro) and Garro -- to lesser -- known yet nonetheless remarkable dramatists --e.g., Serebrisky -- the volume would have profited from a broader geographicdistribution: each chapter deals with one woman playwright, but 10 of the 15 comefrom either Mexico or Argentina. The editors concentrate on dramatists writing inthe second half of the 20th century: the oldest author discussed was born in 1920, the youngest in 1960. All chapters follow an identical format: an introduction tothe playwright... a description of her work in the theater... a more substantiveanalysis... of at least one specific text

Reflecting the burgeoning interest in Hispanic women writers, this volume focuses on a group of writers who have only recently been accorded the attention they so richly deserve. The editors organize the essays under four broad thematic headings: Theatrical Self--Consciousness, Politics, History, and Feminist Positions. Though playwrights included range from the recognized--such as Gambaro (Gambaro) and Garro--to lesser--known yet nonetheless remarkable dramatists--e.g., Serebrisky--the volume would have profited from a broader geographic distribution: each chapter deals with one woman playwright, but 10 of the 15 come from either Mexico or Argentina. The editors concentrate on dramatists writing in the second half of the 20th century: the oldest author discussed was born in 1920, the youngest in 1960. All chapters follow an identical format: an introduction to the playwright... a description of her work in the theater... a more substantive analysis... of at least one specific text. This thoughtfully crafted book with its insightful and informative studies elucidates an overlooked, essential component of the Latin American literary canon. Recommended for courses supporting work at the upper--division undergraduate level and above.F./P>--F. Colecchia, Duquesne University Choice (01/01/1999)

Author Information

Catherine Larson is an Associate professor of Spanish and Adjunct Associate Professor of Women's Studies at Indiana University in Bloomington. She is the author of Language and the Comedia: Theory and Practice and numerous articles on the theater of Golden Age Spain and twentieth-century Latin America, and she has co-edited Brave New Words: Studies in Spanish Golden Age Literature. Margarita Vargas is an Associate Professor in the Department of Modern Languages and Literatures at the State University of New York at Buffalo. She is the co-translator of The House on the Beach and co-editor of Women Writing Women: An Anthology of Spanish-American Theater of the 1980s. She has also published critical essays on Mexican literature and Spanish-American theater.

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