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Argues that Montserrat Roig's novel charts a chronicle of failure, the failure of women to forge changes in the structure of their relationships. Signals her profound questioning of the nature of gender and of the poetic voice, and argues that the novel has been largely misread, because Roig's attitude is much more open ended and positive than has previously been stated.

The present Number is the first which, through more than three score years and ten of continued publication, the Bulletin of Hispanic Studies has dedicated wholly to illuminating-with discussions of currently influential theories, and by analyses of novels, plays and poems composed in a variety of different places and epochs-the natures, roles and problems of women within the always shifting realities of Hispanic Life and Letters. Seven original articles are included, of which all are written by women, and of which all but one concern the work of writers who are also women. Among the authors studied two lived and wrote creatively during the Golden Age of the seventeenth century in Spain and the Spanish Empire. 'Ana Caro, una escritora de \"oficio\" del Siglo de Oro' was, or so it appears, a native of Seville who, between 1628-1645, wrote poems, relaciones, comedias and autos. Caro's activities and writings, too long neglected by other critics, are documented and studied, appropriately, with scrupulous attention, by Lola Luna, a scholar based at the University of Seville who recently completed critical editions of Caro's interestingly de-conventionalized comedias, El Conde Partinuplés and Valor, agravio y mujer.

Analyses the role played by gender in the confusion experienced by Pascual as to the possible motivation behind his life of crime, in Camilo Jose Cela's novel La familia de Pascual Duarte. Argues that Pascual's murder of his mother is the culmination of a series of actions which stem from the difficulty he encounters in conforming with the rigid gender boundaries of his society.

Discusses Ana Maria Moix's semiautobiographical first novel, illuminating how the author treats the protagonist's repressively bourgeois upbringing in Barcelona during the Franco era, her abnormally emotional dependence upon her mother, their sporadically intimate relationship, and Julia's consequent tendencies towards lesbianism and fears of heterosexual contacts.

Uses an eclectic mix of deconstructive, psychoanalytical, feminist and Jungian theory to discuss how Galdos perceives and criticizes stereotypes of the feminine accepted without thought or question by Spanish society. Argues that the Terrible Mother and the Immaculate Virgin are presented by the novelist as types or stereotypes which are unavoidably limited and incomplete, for they are imaginary constructs of a discourse and social order that have become unyielding and indelible.

Orally-transmitted Hispanic ballad as female cultural expression; examination of La vuelta del marido and Albanina