Abstract

The article proposes a review of the role of women in the works thatshape Salvador Reyes' narrative of Valparaíso:El café del puerto (1926),Piel nocturna (1936), Mónica Sanders(1951) and Valparaíso, puerto de nostalgia (1955). The construction of the female subjectfollows Rimbaud‘s notion of ―heart and beauty‖. This notion counters the phallocentric bias prevalent in Chile in the early 20th century by setting lines of flight that open possibilities of transgression within the order of the family. In addition, this article proposesintertextual connections necessary for understanding the disruptive component ofthe representation of women in Reyes‘ writing.