![]() Antonio Larreta prefaced a collection of two stories and a play, Virginia. Borges’s translation of Orlando inspired Armonía Somers’s first novel, La mujer desnuda (1950) but Woolf continued to haunt her, finally appearing in her last work, El hacedor de girasoles (1994). This chapter discusses the cultural context and early critical reception of Woolf in Uruguay, and then her influence on major writers. At first through her literary journal Sur, and then in Montevidean literary journals such as Marcha and Número, Woolf interested major critic Emir Rodríguez Monegal, and influenced writers who read her, to begin with, in Borges’s translations. ![]() Virginia Woolf’s Enduring Presence in Uruguay Lindsey Cordery Although Woolf’s works were available in English in Uruguay soon after publication, it wasn’t until Argentine publisher Victoria Ocampo introduced Woolf’s writings in translation and through her own essays, that they became available to all in Buenos Aires and Montevideo. ![]()
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