However, what makes American literature during this period remarkable are those written by Latin women authors, who have crossed bravely the boundaries of a well-established masculine culture not only by engaging into the literary world believed worthy only for men, but more so for what they write – “... their transgressive and contestatorial nature, and their critical reconsideration of hierarchical opposition, that make their texts revolutionary, conflictual, and dialectical...” (xi).
Two Latin women authors worth of critical attention are Maria Lusia Bombal (1910-1980) – a Chilean fiction writer, who towed the dangerous literary path of revealing women’s innermost desires and power defiant of the realistic tradition in Latin America (Maria Luisa Bombal, par. 1), and Maria Luisa Bemberg (1922-1995) – an Argentinian self-professed feminist, whose critically acclaimed films had consistently depicted untraditional women, making her one of Latin America’s most significant female filmmakers (Maria Luisa Bemberg, par. 1). Though both writers tackled femininity from entirely different angles, indeed, both have contributed to a better understanding of women, as they have shaped a new consciousness that brings readers to confront long-ignored problems confronting women, such as ‘sexual abuse, abandonment, oppressive marriages, and the pressure of new-found independence’ (Mujica 44). To which Griselda Gambaro remarks, “... a work is feminist insofar as it attempts to explain the mechanics of cruelty, oppression and violence through a story that is developed in a world in which men and women exists” (qtd. in Jehenson xiii). But more than this, they were able “to change taken-for-granted views” (xiii).
Silence is consent to abuse, as the famous saying goes. However, this is not the case in Bombal’s second novel The Shrouded Woman originally titled La