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Principal texts

  • Diamela Eltit, Vaca sagrada (1991)
  • Luisa Valenzuela, Como en la guerra (1977)
    • Note that the original Buenos Aires 1977 edition (Sudamericana) does not have the very important porlogue called "Página cero" (due to censorship); the prologue was first published in English as Strange Things Happen Here: Twenty-Six Short Stories and a Novel [He Who Searches] trans. by Helen Lane (New York: Harcourt Brace Jovanovich, 1979)
    • The complete uncensored Spanish version appeared in the 2nd ed. in La Habana (Casa de la Américas, 2001)
    • The novel was republished as part of a trilogy: Trilogía de los bajos fondos [Hay que sonreír, Como en la guerra, Novela negra con argentinos] (Tierra Firme. México, D.F.: Fondo de Cultura Económica, 2004); also again as a standalone in 2009.
  • Judith Butler, Antigone's Claim: Kinship Between Life and Death (New York: Columbia University Press, 2000)

Secondary Literature

  • Carreño Bolívar, Rubí, ed. Diamela Eltit: redes locales, redes globales. Santiago de Chilelica de Chile, c2009 [in Latin American Studies library LIT.517]
  • Cróquer Pedrón, Eleonora. Gesto de Antígona o la escritura como responsabilidad: Clarice Lispector, Diamela Eltit y Carmen Boullosa (Santiago de Chile: Editorial Cuarto Propio, 2000)
  • Gordon, Avery F. Ghostly Matters: Haunting and the Sociological Imagination. Minneapolis: University of Minnesota Press, 1997. (Contains section on Como en la guerra.)
  • Hicks, Emily, “That Which Resists: The Code of the Real in Luisa Valenzuela's Como en la guerra”. Border Writing: The Multidimensional Text. Minneapolis: University of Minnesota Press, 1991. 68-75.
  • Hoeppner, Edward Haworth. “The Hand that Mirrors Us: Luisa Valenzuela’s Re-writing of Lacan’s Theory of Identity”. Latin American Literary Review 20.39 (1992): 9-17. <http://www.jstor.org/stable/20111370>.
  • Holmes, Amanda. "Scripting the City: Diamela Eltit's Lumpérica and Vaca sagrada". City Fictions: Language, Body, and Spanish American Urban Space. Lewisburg, PA: Bucknell University Press, 2007. 117-41. <http://site.ebrary.com/lib/camuk/Doc?id=10456411>
  • Kantaris, Geoffrey. “The Psychosomatic Text: Re-Reading Psychoanalysis and Semiotics in Como en la guerra, or, The Sisters of Oedipus”, A contracorriente: A Journal on Social History and Literature in Latin America [North Carolina] 12.1 (Fall 2012): 226-48. <http://acontracorriente.chass.ncsu.edu/index.php/acontracorriente/article/view/622/967>
  • Labanyi, Jo. “Topologies of Catastrophe: Horror and Abjection in Diamela Eltit’s Vaca sagrada” in Anny Brooksbank-Jones and Catherine Davies, eds, Latin American Women's Writing: Feminist Readings in Theory and Crisis. Oxford and New York: Oxford University Press, 1996.
  • Richard, Nelly. La estratificación de los márgenes: sobre arte, cultura y política/s. Santiago de Chile: Francisco Zegers Editor, 1989.
  • Richard, Nelly. La insubordinación de los signos (cambio político, transformaciones culturales y poéticas de la crisis). Santiago de Chile: Cuarto Propio, 1994.
  • Scarry, Elaine. The Body in Pain: The Making and Unmaking of the World. New York: Oxford University Press, 1985. (Theoretical text often cited in literature on torture.)
  • Taylor, Diana. Disappearing Acts: Spectacles of Gender and Nationalism in Argentina's “Dirty War”. Durham: Duke University Press, 1997.
  • Tomlinson, Emily. “Rewriting Fictions of Power: The Texts of Luisa Valenzuela and Marta Traba”. The Modern Language Review 93.3 (1998): 695-709. 14 May 2008 <http://www.jstor.org/stable/3736491>.