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Eleodora (1887) and Las consecuencias (1889) conform a singular example within Mercedes Cabello de Carboneras (1842- 1909) literary production, Though the usual critique tend to consider both as the same novel, because they share the same plot, there are manifold reasons to differentiate them, including their respective placements in different stages of the authors production. The former stands closer to the romantic drama, whilst the latter shows the marked naturalistic influence of the authors latest novels. Eleodora and Las consecuencias may be regarded as a rewriting process, thus revealing the strategies used for constructing the new aesthetics: title change, new ending, the complexities of supporting characters, the scientific terms, the descriptions, etc. At her release Eleodora benefitted from Ricardo Palmas support: it is him who endorsed and published it in the Ateneo de Lima. Cabello had based the plot on his A Mothers Love tradition, and had dedicated him the novel. Las consecuencias, much more voluminous, abandons this elite attitude as it appears serialized in several issues of La Nacion and as a book, that same year, but is received with negative criticism, very similar to the reaction arisen by Blanca Sol. Two years span between these two novels of so diverse aesthetics, a fact that be interpreted as revealing the tension about what a woman should and should not write, the struggle between canon and transgression. By taking this stance Mercedes Cabello de Carbonera opted for the harsh path. This edition by Monica Cardenas has a special interest for the Latin American Feminist Literature critique. It allows reading under all the scientific criteria two novels by Mercedes Cabello de Carbonera, unpublished since 1889. Peruvian Mercedes Cabello de Carbonera was an exceptional writer, whose fame equaled to Juana Manuela Gorritis and Emilia Pardo Bazans. Monica Cardenas has recovered Eleodora, the first version of Las consecuencias, and shows how…
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