Rosa Montero
Rosa Montero at a book signing in Madrid (César Astudillo, 2007; via Wikimedia Commons CC BY-SA 2.0)

Rosa Montero (Madrid, b. 3 January 1951) is a widely-acclaimed fiction writer, essayist and journalist. As a celebrated author of the ‘boom’ of post-Franco women writers in Spain, one of the country’s most renowned female journalists, and a representative voice of the Spanish Transition to Democracy, Montero is an important cultural reference point in Hispanic literature and journalism. From age five to nine, she was unable to attend school due to tuberculosis and anaemia. During this time, Montero entertained herself at home with writing and reading, and developed a passion for literature, which she has maintained to this day. 

After completing four courses in Psychology at the Complutense University of Madrid (1969–1972), Montero obtained a degree in Journalism from the Official School of Journalism in Madrid (1970–1975). During her university years, she published columns and interviews in various reputable newspapers and magazines, such as Fotogramas, Pueblo, Posible and Hermano Lobo. Since 1976, Montero has collaborated with Spain’s leading newspaper El País, for which she has written over 2,000 literary interviews, as well as countless articles and journalistic columns. Montero was the first female editor-in-chief of the newspaper’s weekend supplement from 1981 to 1982 and served as special correspondent for El País in several countries (including Australia, India, Latin America and the USA). She has also published articles and opinion columns in various prominent international newspapers. 

In her formative years as a journalist, Montero became known for her provocative and challenging interview style, in addition to the technique of incorporating her own subjective perspective and unmasking the façade behind the celebrity interviewee. A politically committed journalist, Montero’s newspaper articles and editorial columns stand out not only for their ironic humour and sharp critical perspective but also for the deployment of a generically hybrid style, which infuses journalism with literary elements. Although Montero aligns broadly with a leftist political ideology, in her early journalism, she criticised the political parties of the Transition and early democratic period and the lack of social, economic and cultural progress in Spain at that time. Montero continues to use her journalistic platform to denounce patriarchal power structures, as well as human rights violations, racism, war, unbridled capitalism and ecological destruction, and to draw attention to the plight of marginalized and oppressed sectors of society, including animals, the elderly, immigrants, and the poor.

After making a name for herself as a journalist, Montero arrived on the literary scene at the age of 28 with the publication of her first novel, the female-centred testimonial chronicle of the Transition, Crónica del desamor (1979). Since then, her journalistic career has run parallel to her vocation as a fiction writer, and she has received great acclaim and notoriety in both fields. Her fictional output has been consistent, prolific and heterogeneous. To date, she has published 19 novels, a volume of short stories, eight compilations of literary journalism (including travel writing, literary criticism, biographies, literary interviews, columns and reportage), and four children’s books. She has also written several prologues to classic literary texts.

Since the publication of her opera prima, Montero has progressively incorporated a range of (sub)genres into her novelistic production, including the Bildungsroman, novela negra, romance, the historical novel, fantasy, autobiography, autofiction, personal essay and science fiction, among others. She also blends various genres within the same text. This generic mixing represents an important part of Montero’s stylistic repertoire, making it difficult to place this multi-faceted author in a conventional generic category. Her writing style is engaging, vivid and accessible. From a narratological perspective, many of her novels contain various narrative layers, embedded texts, and female narrators who are writers. These female characters search for an identity that does not subscribe to the traditional gender roles of the patriarchal society of Francoist and post-Franco Spain. Montero’s fiction blurs the boundaries between ‘high’ and ‘low’ culture, reality and fantasy, and incorporates metafiction, humour, irony, parody, collage, the hyper-real and grotesquery. In her autofictional texts, she engages in ludic, fictional self-representations, and metafictional reflections on the creative writing process. Although Montero experiments stylistically with different genres, various themes constantly reappear in her texts. These include: power and the abuse of power; fanaticism and dogmatism; memory and identity as artificial constructs; the relationship with, and need for, the Other; salvation through art; love; survival; the passage of time; death; and the meaning of life. 

Many of Montero’s novels are bestsellers and she has received numerous prestigious awards for both journalism and literature, including the National Prize for Journalism (1980), the Madrid Press Association Prize (2005), the VII José Luis Sampedro Prize (2016) and the National Prize for Spanish Literature (2017) for her literary trajectory to date. Such is her acclaim that she obtained an honorary doctorate from the University of Puerto Rico (2010), she was appointed Honorary Professor of the Department of Humanities at the Pontifical Catholic University of Peru (2018), and she is an Honorary Member of the University of Malaga. In 2019, a lecture theatre was named in her honour in the Faculty of Journalism at the Miguel Hernández University of Elche (Alicante).

In addition to her incursions into journalism and literature, Montero has contributed to other media. During her university years, she participated in avant-garde independent theatre groups. She wrote a feature film script, La vieja dama and a script for the acclaimed Spanish television series, Media naranja, which was aired in 1987 and was awarded the Martín Fierro de Televisión Prize in Argentina the following year for the best foreign series. Montero also assisted with a stage production for an opera based on her science fiction dystopian novel, Temblor (1994). In 2013, she was the presenter of Dictadoras, a series for Argentinian television about the wives of dictators. Montero gives lectures and courses on both journalism and the novel and participates in conferences and symposiums at colleges, universities and other cultural institutions throughout Europe, Latin America and the United States. Several of her novels have been adapted into films, comic books and art installations, and performed as plays and operas, and her fiction has been translated into more than 20 languages, including five novels into English.

Compiled by Deirdre Kelly (Dublin)


Prose (Novels and Short Stories)

Crónica del desamor (Barcelona: Debate, 1979)

La función Delta (Madrid: Debate, 1981)

Te trataré como a una reina (Barcelona: Seix Barral, 1983)

Amado amo (Madrid: Debate, 1988)

Temblor (Barcelona: Seix Barral, 1990)

Bella y oscura (Barcelona: Seix Barral, 1993)

La hija del caníbal (Madrid: Espasa Calpe, 1997)

Amantes y enemigos: Cuentos de parejas (Madrid: Alfaguara, 1998)

El corazón del tártaro (Madrid: Espasa Calpe, 2001)

La loca de la casa (Madrid: Alfaguara, 2003) 

Historia del rey transparente (Madrid: Alfaguara, 2005)

Instrucciones para salvar el mundo (Madrid: Alfaguara, 2008)

Lágrimas en la lluvia (Barcelona: Seix Barral: Alfaguara, 2011)

La ridícula idea de no volver a verte (Barcelona: Seix Barral, 2013)

El peso del corazón (Barcelona: Seix Barral, 2015)

La carne (Madrid: Alfaguara, 2016) 

Los tiempos del odio (Madrid: Seix Barral, 2018)

La buena suerte (Madrid: Alfaguara, 2020)

El peligro de estar cuerda (Madrid: Seix Barral, 2022)

La desconocida (Madrid: Negra Alfaguara, 2023) [with Olivier Truc; translated by Juan Carlos Durán Romero]

Prose (Children’s Literature)

El nido de los sueños (Madrid: Siruela, 1991)

Las barbaridades de Bárbara (Madrid: Alfaguara Infantil y Juvenil, 1996) 

El viaje fantástico de Bárbara (Madrid: Alfaguara Infantil y Juvenil, 1997)

Bárbara contra el Doctor Colmillos (Madrid: Alfaguara Infantil y Juvenil, 1998)

Journalism (Interviews, Biographies and Travel Literature)

España para ti para siempre (Madrid: AQ Ediciones, 1976)

Cinco años de país (Madrid: Debate, 1982) 

La vida desnuda (Madrid: Aguilar, 1994)

Historias de mujeres (Madrid: Santillana, 1995; 2007)

Entrevistas (Madrid: Aguilar, 1996)

Pasiones: amores y desamores que han cambiado la historia (Madrid: Aguilar, 1999)

Estampas bostonianas y otros viajes (Madrid: Península, 2002) 

Lo mejor de Rosa Montero (Madrid: Espejo de Tinta, 2005)

El amor de mi vida (Madrid: Alfaguara, 2011)

Nosotras. Historias de mujeres y algo más (Madrid: Alfaguara: 2018) 

El arte de la entrevista (Madrid: Debate: 2019).

Film and Television

Media Naranja (13 scripts written for a television series, dir. Jesús Yagüe; broadcast on TVE [1985] and later on several Latin American television stations. The series won the Martín Fierro Award for best foreign production in Argentina, 1988)

Dictadoras  (Argentinian docu-series for which Montero was co-scriptwriter, presenter and interviewer,  2015)

Edited Collection

Hombres (y algunas mujeres) (Alicante: Zenda, 2019)

Published Conference Papers

‘The Alienation of the Majority’. Translated by Ruth Katz Crispin in Spain 1975-1980 in: The Conflicts and Achievements of Democracy ed. by José L. Cagigao, John Crispin and Enrque Pulpp-Walker (Madrid, Editorial José Porrúa, 1982)

‘España: El vértigo de cenicienta’ (El País Semanal, 28 March 1993, pp.14-28)

‘La aventura de escribir’ in Maschere: Le scrítture delle donne nelle culture iberiche ed. by Susanna Regazzoni and Leonardo Buonomo (Rome: Bulzoni, 1994, pp.19-24)

‘Political Transition and Cultural Democracy: Coping with the Speed of Change’ in Spanish Cultural Studies: An Introduction: The Struggle for Modernity ed. by Helen Graham and Jo Labanyi (New York: Oxford University Press, 1995, pp. 315-320)

‘The Silent Revolution: The Social and Cultural Advances of Women in Democratic Spain’ in Spanish Cultural Studies: An Introduction: The Struggle for Modernity ed. by Helen Graham and Jo Labanyi (New York: Oxford University Press, 1995, pp. 381-385)

‘Más bello que el silencio. ¿Por qué necesitas leer y escribir novelas?’ Universidad Peruana de Ciencias Aplicadas (Lima: Perú, 2003)

‘Nonostante tutto’ in Scrittori della Nuova Europa (Rizzoli: Italia, 2005)


Ursula K. Le Guin: La mano izquierda de la oscuridad (Barcelona: Minotauro, 2018)

Fernando Krahn: Bichografías (Barcelona: Seix Barral, 2010)

Lydia Cacho: Memorias de una infamia (Barcelona: Debate, 2008)

Heinz von Eschwege: Lolita de Alicante (Barcelona: El Funambulista, 2004)

Mario Lacruz: Gaudi (Barcelona: Ediciones B, 2003)

Mercè Rodoreda: Espejo roto (Barcelona: Seix Barral, 2002)

José Ovejero: Añoranza del héroe (Barcelona: Ediciones B, 2002)

Montserrat Cano: Retrato de la felicidad (Madrid: Sial, 2002)

Raul Merida: Los animales también lloran (Madrid: Ateles, 2002)

Montserrat Roig: Mi viaje al bloqueo (Barcelona: Plaza y Janés, 2001)

Various authors: Cuentos de mujeres infieles (Buenos Aires: Alfaguara; Madrid: Suma de Letras, 2001)

Christopher Silvester: Las grandes entrevistas de la historia 1859-1992 (Madrid: El País-Aguilar, 1993)

Patricia Highsmith: La celda de cristal (Madrid: Debate, 1990)

Leon Tolstoi: Ana Karenina (Barcelona: Círculo de Lectores, 1982)

Montserrat Roig: Die violette Stunde ([Germany]: Elster Verlag, 1980)

Alfredo Castellón: Contrapunto de Europa. Teatro. Cantata en un acto (Madrid: Ayuso, 1979)

Mercè Rodoreda: Espejo roto (Barcelona: Seix Barral, 1979)

Translations by Montero

Cuando el viento sopla [Translation of When the Wind Blows by Raymond Briggs] (Madrid: Debate, 1983)

Cuando yo era niña solía gritar y chillar (Adaptation and translation of When I was a Girl, I used to Scream and Shout by Sharman Macdonald. First performed in Madrid, 1988)


'El monstruo del lago' (One of the stories from Amantes y enemigos from which the director Marcela Parada made five different short films, 1998)

'Mi hombre' (included in the production Sólo los peces muertos siguen el curso del río, produced by Fundiciones Teatrales C2 at the Alfil Theatre in Madrid, 1999)

El cristal de aguafría (opera libretto, based on the novel Temblor, music by Marisa Manchado, premiered at the Centro de Nuevas Artes Escénicas, Madrid, 1994)

O décimo punhal (short film by Vitor Moreira about the short story 'El puñal en la garganta', 2001; won the Audience Award at the Larissa Festival [Greece] and winner in the official fiction competition at the International Panorama Film Festival in Thessaloniki)

El corazón del tártaro (graphic novel, iIlustrated by Rafa Álvarez; Ed. Funambulista, 2001)

Historias de Mujeres (theatrical version of the book of the same name by the Sevillian company Decocoyhuevo, performed in 2001 and 2002)

'La gloria de los feos', 'El monstruo del lago', 'Mi hombre' and 'Amor ciego' (performed in Paris by La Voix Contemporaine [Théâtre des Trois Bonnes], 2001, and in Bordeaux [Théâtre La Boite a Jouer], 2003)

La hija del caníbal (film by Antonio Serrano, adaptation of the novel of the same name, 2003)

'Parece tan dulce' (part of the show El amor es una mentira pero funciona by the Teatro Imaginario, performed in various theatres and cities, 2003)

Amantes y enemigos (some stories perfomed by the company Plan B in Uruguay, 2003) 

¡Ubíquese! (theatrical adaptation of the novel La hija del caníbal, Tatiana Sobrado, Costa Rica, 2005) 

La loca de la casa (theatrical adaptation of the book of the same name, grupo Taller de costura, Ellen Milet, Brazil, 2008)

Lágrimas en la lluvia (graphic novel with Damián Campanario y Alessandro Valdrighi; Planeta Comic, 2011)

Historia del Rey Transparente (theatrical adaptation of the book of the same name, Lucrecia Zamboni for Teatro La Percha, dir. Hilda Bryndum, Buenos Aires, 2012)

Retrato de familia (short film by Jareb Jacobsen based on the story of the same name, 2014; won an award for best binational short film at the San Diego Films Awards, 2016)

Cambio madre por moto (opera libretto with Frank Nuyts, 2016 [unreleased])  

Lacrime nella Pioggia by artist Noke Yuiza (virtual art exhibition based on the novel Lágrimas en la lluvia [Immersive Worl(d)s Exhibition organised by the Brera Art Academy, Milan, 2012])

La ridícula idea de no volver a verte (theatrical version of the book of the same name by Arán Dramática, performed in 2019)

El caballero incierto (theatrical production by Laila Ripoll about the character Josefina Aznárez in Montero’s novel La carne; performed in 2020. Co-production byTeatro Español, Producciones Come y Calla and Silvia de Pé; nominated in the 24th Max Awards for the performing arts for best adaptation of a theatrical work, best musical composition for a stage performance, best costume design, best lighting design and best actress)

Translations into Foreign Languages

Absent Love: A Chronicle [Translation of Crónica del desamor by Cristina de la Torre and Diana Glad] (Lincoln, NE; London: University of Nebraska Press, 1991)

The Delta Function [Translation of La función Delta by Kari Easton and Yolanda Molina Gavilán] (Lincoln, NE; London: University of Nebraska Press, 1991)

Beautiful and Dark [Translation of Bella y oscura by Adrienne Mitchell] (San Francisco, CA: Aunt Lute Books, 2009)

Tears in Rain [Translation of Lágrimas en la lluvia by Lilit Zekulin Thwaites] (Seattle, WA: Amazon Crossing, 2012)

Weight of the Heart [Translation of El peso del corazón by Lilit Zekulin Thwaites] (Seattle, WA: Amazon Crossing, 2016)

The Madwoman of the House [Translation of La loca de la casa by Lilit Zekulin Thwaites] (Madrid: Hispabooks Publishing, 2018)


Belle et sombre [Translation of Bella y oscura by Myriam Chirousse] (Paris: Éditions Métailié, 2011)

La fille du cannibale [Translation of La hija del caníbal by André Gabastou] (Paris: Éditions Métailié, 2008)

Le Territoire des Barbares [Translation of El corazón del tártaro by André Gabastou] (Paris: Éditions Métailié, 2002)

Le roi transparent [Translation of La historia del rey transparente by Myriam Chyrousse] (Paris: Éditions Métailié, 2008)

Instructions pour sauver le monde [Translation of Instrucciones para salvar el mundo by Myriam Chyrousse] (Paris: Éditions Métailié, 2010)

L'Idée ridicule de ne plus jamais te revoir [Translation of La ridícula idea de no volver a verte by Myriam Chyrousse] (Paris: Éditions Métailié, 2015)

La chair [Translation of La carne by Myriam Chyrousse] (Paris: Éditions Métailié, 2017)

Des larmes sous la pluie [Translation of Lágrimas en la lluvia by Myriam Chyrousse] (Paris: Éditions Métailié, 2021)

Le temps de la haine [Translation of Los tiempos del odio by Myriam Chyrousse] (Paris: Éditions Métailié, 2019)

Le poids du cœur [Translation of El peso del corazón by Myriam Chyrousse] (Paris: Éditions Métailié, 2021)

La bonne chance [Translation of La buena suerte by Myriam Chyrousse] (Paris: Éditions Métailié, 2021)

L’inconnue du port [with Olivier Truc; Translation of La desconocida by Myriam Chyrousse] (Paris: Éditions Points, 2023)


Das Nest der Träume [Translation of El nido de los sueños by Alfonso Ruano Martin] (Stuttgart: Urachhaus 1998)

Geliebte und Feinde [Translation of Amantes y enemigos by Astrid Roth] (Munich: DTV, 2001)

Ich werde Dich behandeln wie eine Königin: Roman [Translation of Te trataré como a una reina by Susanne Ackermann] (Munich: DTV, 2002)

Die Tochter des Kannibalen: Roman [Translation of La hija del caníbal by Astrid Roth (Munich: DTV, 2002)

Geliebter Gebieter: Roman [Translation of Amado amo by Susanne Ackermann] (Munich: DTV, 2003)

Im Herzen des Tartaros: Roman [Translation of El corazón del tártaro by Astrid Roth] (Munich: DTV, 2003)

Zittern: Roman [Translation of Temblor by Susanne Ackermann] (Munich: DTV, 2005)

Anleitung, um die Welt zu retten: Roman [Translation of Instrucciones para salvar el mundo by Petra Zickmann] (Cologne: Lübbe 2010)

Ritterin des Königs [Translation of Historia del rey transparente by Kirsten Brandt] (Cologne: Lübbe, 2010)


Notturno di sole [Translation of Instrucciones para salvar el mundo by Hado Lyria] (Florence: Salani Editore 2011)

La pazza di casa [Translation of La loca de la casa by Michela Finassi Parolo] (Florence: Salani Editore 2015)

Lacrime nella pioggia [Translation of Lágrimas en la lluvia by Claudia Marseguerra] (Florence: Salani Editore 2012)

In carne e cuore [Translation of La carne by Michela Finassi Parolo] (Florence: Salani Editore 2017)


Instruções para Salvar o Mundo [Translation of Instrucciones para salvar el mundo by Helena Pitta] (Porto: Porto Editora, 2008)

Lágrimas na chuva [Translation of Lagrimas en la lluvia by Helena Pitta] (Porto: Porto Editora, 2012) 

A Carne [Translation of La Carne by Helena Pitta] (Porto: Porto Editora, 2017)

A louca da casa [Translation of La loca de la casa by Helena Pitta] (Lisbon: Livros do Brasil, 2019)

Nós, mulheres. Grandes vidas femininas [Translation of Nosotras. Historias de mujeres y algo más by Josely Vianna Baptista] (San Paolo: Todavia Editora, 2020)

Os Tempos do Ódio [Translation of Los tiempos del odio by Helena Pitta] (Porto: Porto Editora,2020)

A boa sorte [Translation of La buena suerte by Helena Pitta] (Porto: Porto Editora, 2021)

A ridícula ideia de não voltar a ver-te [Translation of La ridícula idea de no volver a verte by Helena Pitta] (Porto: Porto Editora, 2021)

O peso do coração [Translation of El peso del corazón by Helena Pitta] (Porto: Porto Editora, 2023)

O perigo de estar no meu perfeito juízo [Translation of El peligro de estar cuerda by Helena Pitta] (Porto: Porto Editora, 2023)


Strasti: ljubezni in usode, ki so spremenile zgodovino [Translation of Pasiones: amores y desamores que han cambiado la historia by Irena Levičar] (Radovljica: Didakta, 2008)

Kanibalova hči [Translation of La hija del caníbal by Barbara Vuga] (Ljubljana: Mladinska knjiga, 2000)


Ahumada Peña, Haydée: Poder y género en la narrativa de Rosa Montero (Madrid: Pliegos, 1999) 

Amago, Samuel: True Lies Narrative Self-Conciousness in the Contemporary Spanish Novel (Lewisburg, NJ: Bucknell University Press, 2006)

Amell, Alma: Rosa Montero’s Odyssey (Lanham, MD: UP of America, 1994)

Ballesteros, Isolina:  Escritura femenina y discurso autobiográfico en la nueva novela española (New York: Peter Lang, 1994)

Bonatto, Adriana Virginia: ‘La hibridez del género. Columnismo y construcción de imagen de escritora en Rosa Montero y Rosa Regás’ (Anuario brasileño de estudios hispánicos,  2012, pp. 143-156)  

Brown, Joan L.: ‘Rosa Montero: From Journalist to Novelist’ in Women Writers of Contemporary Spain: Exiles in the Homeland ed. by Joan L. Brown (London: Associated University Press, 1991, pp. 240-56)

Ciplijauskaité, Biruté:  La novela femenina contemporánea (1970-1985): hacia una tipología de la narración en primera persona (Barcelona: Anthropos, 1988)

Davies, Catherine: Contemporary Feminist Fiction in Spain. The Works of Montserrat Roig and Rosa Montero (Oxford/Providence, RI: Berg, 1994)

Delgado-Poust, Antonia: ‘(It’s) All About the Mother: Scarred Memories and Amnesic Bodies in Rosa Montero’s La hija del Caníbal’ (Bulletin of Spanish Studies,  29 March 2016) 

De Miguel Martínez: Emilio La primera narrativa de Rosa Montero (Salamanca: Universidad de Salamanca, 1983)
Durán, Isabel: ‘The Personal Essay as Autobiography. A Gender and Genre Approach’ (Revista Canaria de Estudios Ingleses, 58, April 2009, pp. 41-65)

Escudero, Javier: La narrativa de Rosa Montero. Hacia una ética de la esperanza (Madrid: Editorial Biblioteca Nueva, 2005)
Faber, Sebastiaan: ‘Gajes del oficio: popularidad cultural y performance democrático en la obra de Rosa Montero’ in (En)claves de la Transición. Una visión de los Novísimos: Prosa, poesía, ensayo ed. by Enric Bou and Elide Pittarello (Madrid/Frankfurt/M.: Iberoamericana Vervuert 2009, pp. 309-325)

Folkart, Jessica A.: ‘History Incarnate and the Liminal Body in Rosa Montero’s La hija del caníbal’ in Liminal Fiction at the Edge of the Millenium: The Ends of Spanish Identity by Jessica A. Folkart (Lewisberg: Bucknell University Press, 2014, pp. 73-100)

Galván, Juan C. Martín: ‘El universo posthumano de Lágrimas en la lluvia: memoria artificial, identidad, historia y ficción’ (Alambique. Revista académica de ciencia ficción y fantasía / Jornal acadêmico de ficção científica e fantasía, 2017, 5.1, 5) Available at:

García Álvarez, María Felicidad: ‘El lector intratextual en las columnas de Rosa Montero’ in El columnismo de escritores españoles (1975-2005) ed. by Alexis Grohmann and Maarten Steenmeijer (Madrid: Verbum 2006, pp. 175-197)

García Navarro, Carmen: ‘Affectivity and Intimacy in Dorris Lessing’s Love, Again and Rosa Montero’s La carne’ (Lectora 27, 2021, pp. 227-242)

Gascón Vera, Elena: ‘Rosa Montero ante la escritura femenina’ (Anales de la literatura española contemporánea, 12, 1987, pp. 59-77)

—:  ‘From Struggle to Commitment. The Essays of Rosa Montero’ in Spanish Women Writers and the Essay: Gender, Politics and the Self ed. by Kathleen Glenn, Mercedes Mazquiarán de Rodríguez (Columbia, Missouri: University of Missouri Press, 1998, pp. 250-63)

Glenn, Kathleen: ‘Fantasy, Myth and Subversion in Rosa Montero’s Temblor’ (Romance Languages Annual, 3, 1991, pp. 460-464)

—: ‘Reader Expectation and Rosa Montero’s La función Delta’ (Letras Peninsulares, 1, 1988, pp. 87–96)

—: ‘Victimized by Misreading: Rosa Montero’s Te trataré como a una reina’ (Anales de la literatura española contemporánea, 12.1, 1987, pp. 191-202)

Grohmann, Alexis: Literatura y errabundia (Javier Marías, Antonio Muñoz Molina y Rosa Montero) (Amsterdam/New York: Editions Rodopi, 2011)

Gutiérrez, José Ismael: ‘Rosa Montero ante la literatura: conocimiento versus compromiso’ in Escritoras y compromiso. Literatura española e hispanoamericana de los siglos XX y XXI ed. by Ángeles Encinar, Carmen Varcárcel and Eva Löfquist (Madrid: Visor Libros, 2009, pp. 757–74)

Harges, Mary C.: Synergy and Subversion in the Second Stage Novels of Rosa Montero (New York: Peter Lang, 2000)

Johnson, Warren: ‘Eating Her Heart Out: An Anthropophagic Reading of Rosa Montero’s La hija del caníbal’ (Revista de Hispánica Moderna, LV.2. 2002, pp. 457-66)

Kelly, Deirdre: ‘Looking Death in the "I": Rosa Montero’s La función Delta as Autothanatography’ (Journal of Romance Studies, 9.1, Spring 2009, pp. 31-46)

—: ‘Aesth/Ethics of Distance: (Un)Veiling Grief in Rosa Montero’s La ridícula idea de no volver a verte’ in New Journeys in Iberian Studies: A (Trans-)National and (Trans-)Regional Exploration ed. by Mark Gant, Anneliese Hutton and Paco Ruzzante (Newcastle Upon Tyne: Cambridge Scholars Publishing, 2018)

Knights, Vanessa: The Search for Identity in the Narrative of Rosa Montero (Lewiston, NY: Edwin Mellen, 1999)

Lenquette, Anne: ‘Narrativa(s) de lo real: modalidades de imágenes y sentido’ in Narrativa Española de Hoy (2000-2013): La imagen en el texto (3) ed. by Natalie Noyaret. (Berne: Peter Lang, 2014, pp. 55-70)

Lonsdale, Laura: ‘¿Literatura de consumo?: Digesting Rosa Montero’s La función Delta’ (Forum for Modern Language Studies, 49.1, January 2013, pp.99-110)

Leone, Maryanne L.: ‘Unorthodox Theories and Beings: Science, Technology, and Women in the Narratives of Rosa Montero’ in A Laboratory of Her Own: Women and Science in Spanish Culture ed. by Victoria L. Ketz, Dawn Smith-Sherwood and Debra Faszer-McMahon (Nashville: Vanderbilt University Press, 2021, pp. 235-262)

Mayock, Ellen: ‘Naturalism and the Self in Rosa Montero’s La hija del caníbal’ in Women in the Spanish Novel Today: Essays on the Reflection of Self in the Works of Three Generations ed. by Kyra Kietrys and Montserrat Linares (Jefferson NC: McFarland, 2009, pp. 57-76)

Myers, Eunice D.: ‘The Feminist Message: Propaganda and/ or Art? A Study of Two Novels by Rosa Montero’ in Feminine Concerns in Contemporary Spanish Fiction by Women ed. by Roberto C. Manteiga, Carolyn Galerstein and Kathleen McNerney (Potomac: Scripta Humanística. 1988, pp. 99-112)

Nieva de la Paz, Pilar: Narradoras españolas en la Transición política: textos y contextos (Madrid: Fundamentos, 2004)

Oaknin, Mazal: Feminism, Writing and the Media in Spain: Ana María Matute, Rosa Montero and Lucía Etxebarria (Berne: Peter Lang, 2019)

Ordóñez, Elizabeth J.: ‘Inscribing Difference: “l’Écriture Féminine” and New Narrative by Women’ (Anuales de la literatura española contemporánea, 12, 1987, pp. 45-57)

Pérez, Genaro J.: Subversión y de(s)construcción de subgéneros en la narrativa de Rosa Montero (Valencia: Albatros Ediciones, 2019)

Postlewate, Marisa Herrera: How and Why I write: Redefining Hispanic Women's Writing and Experience (New York: Peter Lang, 2003)

Ramos Mesonero, Alicia: La incógnita desvelada. Ensayos sobre la obra de Rosa Montero (Berne: Peter Lang, 2012)

Regazzoni, Susanna: Cuatro novelistas de hoy. Estudio y entrevistas (Milan: Cisalpino-La Goliardica, 1984)

Reisz, Susana: ‘Tropical como en el trópico. Rosa Montero y el “boom” femenino hispánico de los ochenta’ (Revista Hispánica Moderna, 48.1, 1995, pp. 189-204)

Richter, David: ‘Genre Trouble. Metafictive Writing, Imagination and Madness in Rosa Montero’s La loca de la casa’ (Letras Femeninas, 38. 2, 2012, pp. 29-44)

Rivera-Cordero, Victoria: ‘“El mundo fue un milagro”: Uses of the Past and Survival in Rosa Montero’s Historia del rey transparente’ (Confluencia, 26. 2, Spring 2011, pp. 118-127)

Rueda-Acedo, Alicia Rita: Miradas transatlánticas: El periodismo literario de Elena Poniatowska y Rosa Montero (Indiana: Purdue University Press, 2012)

Russo, Lucia: ‘Rosa Montero y la igualdad de género en siglo XXI’ in Femenino singular: Revisiones del canon literario iberoamericano contemporáneo ed. by Elia Saneleuterio and Mónica Fuentes del Río (Salamanca: Ediciones Universidad de Salamanca, 2021, pp. 193-207)

Squires, Jeremy: ‘Variations upon the Fantastic in Rosa Montero’s Short Stories’ (Journal of Romance Studies, 15.2, 2015, pp. 77-93)

Thompson-Casado, Kathleen: ‘Elements of the Novela Negra in Rosa Montero’s Te trataré como a una reina’ (España Contemporanea, 10.2, 1997, pp. 21-34)

Toro, Vera: ‘Soy simultáneo’. El concepto poetológico de la autoficción en la narrativa hispánica (Madrid/ Frankfurt: Iberoamericana Vervuert, 2017)

Torres Rivas, Inmaculada: Rosa Montero. Estudio del personaje en la novela (Málaga: Servicio de Publicaciones e Intercambio Científico de la Universidad de Málaga, 2004)

Valero-Costa, Pilar: ‘Fantasía, ironía, y doble conciencia narrativa: Herramientas desestabilizantes en la narrativa de Rosa Montero’ (Alba de América: Revista Literaria, 26. 49-50, July 2007, pp. 167-174)

Wehrheim Peuker, Monika: ‘De amantes y caníbales: divagación en torno al concepto del amor en la obra reciente de Rosa Montero’ in El amor, esa palabra: el amor en la novela española contemporánea de fin de milenio ed. by Anna Sophia Buck, Irene Gastón Sierra (Madrid: Iberoamericana Vervuert, 2005, pp. 169-83)

Zatlin, Phyllis: ‘Women Novelists in Democratic Spain: Freedom to Express the Female Perspective’ (Anuales de la Literatura Española Contemporánea, 12, 1-2, 1987, pp. 29-44)

—: ‘The Novels of Rosa Montero as Experimental Fiction’ (Revista Monográfica/ Monographic Review, 8, 1992, pp. 114-124)

Interviews/in the Media

Escudero, Javier and González, Julio: ‘Rosa Montero ante la creación literaria: “escribir es vivir”’ (Arizona Journal of Hispanic Cultural Studies, 2000, 4,  pp. 211-224)

Glenn, Kathleen: ‘Conversacion con Rosa Montero’ (Anales de la literatura española contemporánea, 1990, 15.1, pp. 275-283)

Kelly, Deirdre: ‘Interview with Rosa Montero’ (International Journal of Iberian Studies, 2021, 34.3, pp. 275-283)

Knights, Vanessa: ‘Interview with Rosa Montero, Madrid, 23 July 1997’ (Journal of Iberian and Latin American Studies, 1998, 4.1, pp. 77-82)

Talbot, Lynn K.: ‘Entrevista con Rosa Montero’ (Letras Femeninas, 1988, 14.1, pp.90-96)