The title of this paper deliberately establishes a dialogic relationship with Paul Julian Smith's work Writing in the Margin; at the same time, it suggests the possibility of the "re"-writing of dominant discourse in marginalized works. The concept of marginality holds significant implications for the consideration of literature beyond those directly addressed in Smith's work. In this discussion, I will use Ana Caro's comedia, Valor, agravio y mujer, to question assumptions underlying Smith's provocative treatise. His interpretive strategy, informed by poststructuralist theory, does not sufficiently allow for the challenge to both social and artistic norms posed by the self-conscious, metatheatrical elements of Golden Age theatre. The constant play with gender roles and the honor code in Caro's texts represents a rewriting of societal standards; moreover, her consistent manipulation of generic conventions critically engages "canonical" comedias. I will argue that in order to explore "writing in the margin" we must carefully consider works that have been marginalized; otherwise, we as critics may falsely claim to appropriate the place of "the Others," thereby propagating exclusionary practices that merely re-center rather than de-center discourse.

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Mediante un estudio de los niveles narrativos del Persiles, este trabajo demuestra que la obra dista mucho de ser una imitación fiel de la novela bizantina. La manipulación constante de las normas genéricas, indicio de la naturaleza metaficcional del texto, distancia al lector del mundo ficticio a la vez que cuestiona la relación entre lo real y lo ficcional. A veces, el juego con las convenciones literarias resulta cómico, lo cual desdice la afirmación prevalente que la obra carece de “humor.” Se espera que el reconocimiento de estos elementos textuales llevará a una reconsideración del Persiles como una parte íntegra de la creación cervantina.

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