| Abstract | In lieu of an abstract, here is a brief excerpt of the content: Works Cited Brizuela, Leopoldo. "Las dos travesías de Luisa Valenzuela." Escritura y Secreto. By Luisa Valenzuela. Mexico City: Cátedra Alfonso Reyes, 2003. 123-45. Brown, Jonathan. A Brief History of Argentina. New York: Facts on File, 2003. Caruth, Cathy, ed. Trauma: Explorations in Memory. Baltimore: Johns Hopkins UP, 1995. Cordones-Cook, Juanamaría. "Cambio de armas: hacia el umbral del secreto." Luisa Valenzuela sin máscara. Ed. Gwendolyn Díaz. Buenos Aires: Feminaria, 2002. 57-69. Díaz, Gwendolyn. "Una odisea hacia el caos: La travesía de Luisa Valenzuela." Luisa Valenzuela sin máscara. Ed. Gwendolyn Díaz. Buenos Aires: Feminaria, 2002. 70-82. Foster, David William, Melissa Fitch Lockhart, and Darrell B. Lockhart. Culture and Customs of Argentina. Westport: Greenwood, 1998. Foucault, Michel. Discipline and Punish. Trans. Alan Sheridan. New York: Pantheon, 1995. Gates Madsen, Nancy. "Uncivilized Remembrance in Luisa Valenzuela's La travesía." Letras Femeninas. 31.2 (2005): 99-121. Harmon, William, and C. Hugh Holman. A Handbook to Literature. New Jersey: Prentice Hall, 1999. Magnarelli, Sharon. Reflections/Refractions: Reading Luisa Valenzuela. New York: Peter Lang, 1988. Massey, Doreen. Space, Place and Gender. Minneapolis: U of Minnesota P, 1994. Mercado, Tununa. "Memory and Exile." University of Louisville, Louisville. 22 Sept. 2004. Pimentel, Luz Aurora. El espacio en la ficción. Ficciones espaciales: la representación del espacio en los textos narrativos. Buenos Aires: Siglo Veintiuno, 2001. Saltz, Joanne. "Luisa Valenzuela's Cambio de armas: Rhetoric of Politics." Confluencia 3.1 (1987): 61-66. Saavedra, Guillermo. Interview with Luisa Valenzuela. La Nación. Buenos Aires. 1 July 2001. 18 July 2007. . Valenzuela, Luisa. Los deseos oscuros y los otros: cuadernos de Nueva York. Buenos Aires: Norma, 2002. ———. Escritura y Secreto. Madrid: Fondo de Cultura Económica de España, 2003. ———. La travesía. Buenos Aires: Norma, 2001. ———. Peligrosas palabras. Buenos Aires: Temas, 2001. Wilson, Elizabeth. The Sphinx in the City: Urban Life, the Control of Disorder, and Women. Berkeley: U of California P, 1992. Footnotes I express my gratitude to the anonymous readers of Revista Hispánica Moderna and to Dianna Niebylski for their constructive criticism regarding this article. 1. See an interview conducted with Luisa Valenzuela by Guillermo Saavedra, "En busca del deseo." 2. In A Handbook to Literature William Harmon and C. Hugh Holman define Bildungsroman as "a novel that deals with the development of a young person, usually from adolescence to maturity" (59). 3. This is particularly evident when the protagonist begins to muse before the artwork of Kurt Schwitters and Guillermo Kuitca. As she moves from one hall to another, the museum is a terrain in which the displayed works tell their own stories pertinent to different periods, movements, and socio-political as well as cultural settings. 4. The period from 1976-1983 in Argentina is known as the guerra sucia or Dirty War led by military generals. It has been estimated that by 1983 close to 23,000 individuals had disappeared in Argentina. 5. The protagonist remains in New York City throughout nearly the entirety of the novel; hence the rest of her journeys, as the reader encounters them, are sporadically remembered. Except for the protagonist's interaction with New York City, the rest of her city strolls are analeptic. 6. See Nancy Gates Madsen's recent article "Uncivilized Remembrance in Luisa Valenzuela's La travesía" regarding the symbolic weight the name of Marcela's professor, lover and ex-husband brings about. According to this critic, "Valenzuela's decision to name the protagonist's ex-husband Facundo further links the individual private history embodied in the character's secret marriage to the broader social events of the dictatorship and the imagining of the entire nation" (107). 7. Quoted in Joanne Saltz's article "Luisa Valenzuela's Cambio de armas: Rhetoric of Politics." 8. This allegoric undertone is a recurrent element of Valenzuela's writing. In an interview with critic Sharon Magnarelli in Reflections/Refractions, Valenzuela stresses that her frequent reference to an Argentine tragedy (thousands of disappeared individuals) stays inevitably crucial to her writing: "If you are living in a place where your friends have been tortured and killed and where the...
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