Barbara Gordon

sofisticărilor literare. În acest stil, Alcides Argúedas, de pildă, evocă indienii din Bolivia (Rasa de bronz), Alejo Carpentier descrie Cuba (Împărăţia lumii acesteia sau Vânătoare de oameni), Rómulo Gallegos – viaţa savanelor venezueliene (Dona Barbara), João Guimarães Rosa explorează, aducând în scenă ţinuturile din centrul Braziliei (Buriti), Jorge Icaza evocă Ecuatorul Copiii soarelui). De altminteri, raporturile dintre cacici şi popor, în Canaima de Rómulo Gallegos, amintesc Fontamara italianului

1974; Pascal Laîné, La Dentellière, 1975) reassured many grateful readers that their problems were not unique. Yet the volume market remained dominated by the tradition of romantic fiction. New collections were launched (one was devoted entirely to Barbara Cartland) and the Canadian ‘Harlequin’ collection launched at the end of the decade attracted a large readership. Gérard de Villiers, not to be outdone, masterminded ‘Cristal’, an adult series which featured sexually adventurous heroines, an initiative