B. 1938 in Buenos Aries. Argentine novelist. Daughter of the novelist Luisa Mercedes Levinson. Self-exiled to France in the 1950s and 1960s. Settled in New York City in 1979, before returning to Argentina a decade later. Along with Jorge Luis Borges and Julio Cortazar, one of Argentina's more famous literati. Along with Clarice Lispector one of the most fantastic women writers in Latin America. If Borges is thought to be an author of intellectual novels, he is equalled, if not surpassed, by the semiotic disasters that Valenzuela's texts wreak upon our sheltered conceptions of political realities, language, and textual interference. Valenzuela currently lectures at a number of universities in Europe and the United States.

Valenzuela's work, typical of literature in exile is a chaotic swarm of poetic prose, sweeping over hundreds of miles in single lines, spanning millenia in paragraphs. Her texts are political, beautiful, intellectual and filled with urgency. Like many other Latin American writers, Valenzuela's work might be thought of as magical realism, but this is only a fair tag if it is remembered that the realities of the political atrocities, which writers like Valenzuela and Gabriel Garcia Marquez seek to address, are painful forces concentrated in unfair regimes that seek constantly to censor and oppress avante-gardism in the arts and rebellion in literature. The political inequities of Argentina are a constant subject in Valenzuela's works.

Her The Lizard's Tail is a chronicle of the mystical 'Sorcerer' who presided over the dead body of Argentina's spiritual mother, Eva Peron. The text moves easily between a real world and an entirely fantastic one. The scene switches quickly: the sorceror's diary, dialogues between anonymous government officials, and even Valenzuela's own difficulties with and fears of the text she is authoring, or channeling. The text is semiotically-charged, and the metaphors wrap around the political problems of her country with a comfort that the censors cannot always reject.

Here are the Spanish titles of some of Valenzuela's principle works. Information on her is not easy to obtain, so I am not currently able to provide a complete bibliography:
  • Hay que sonreír (1966)
  • Los heréticos (1967)
  • El gato eficaz (1972)
  • Aquí pasan cosas raras (1976)
  • Como en la guerra (1977)
  • Libro que no muerde (1980)
  • Cambio de armas (1982)
  • De noche soy tu caballo
  • Donde viven las águilas (1983)
  • Cola de lagartija (1983)
  • One siren or another/ Unas y otras sirenas (1988)
  • Realidad nacional desde la cama (1990)
  • Novela negra con argentinos (1991)
  • Simetrías (1993)
Some of her works in English-language translation are: