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Such changes were no less evident in the publishing industry, which by the end of the 1980s had evolved into a capitalist marketplace driven by a "new generation of readers raised in a consumer society" (Tsuchiya 2002a, 139).

Yet it is Lucía Etxebarria's that plays a crucial part in the consecration of the Spanish lesbian novel because it participated in the great proliferation of lesbian literature in the country that occurred between 19, when at least seven novels with lesbian protagonists were published with success (Martín Armas 2006, 26).

Although they have been criticized for catering to a youth culture focused on immediate and ephemeral gratification, for Etxebarria the youth of this generation have found themselves in a world that ignores their interests, a world fraught with the broken promises of capitalism and the ideological failures of the left (Etxebarria 2007, 127–28)., a novel that is fully immersed in the language and culture of Generation X, with an author who is well aware of the commercial environment in which she is publishing her work.

Through her commercialism, Lucía Etxebarria has made herself a visible and prolific "phenomenon" in contemporary Spain, one whose potential impact has inspired much dispute (Henseler 2006, 94).

Moreover, and specifically in the context of Spain's history, these texts must be seen within the framework of the nation's transformation from dictatorship to postmodern democracy, where gender issues have come to be increasingly relevant and visible in social and legal discourses.

Indeed, her presence in the literary field has provoked intense reactions, both positive and negative, because of the way Etxebarria engages with systems of consumerism to the point of selling her own image, causing a debate as to her "'actual' literary value" (Bermúdez 2002, 224)., insofar as both these texts blur the line between feminism and postfeminism and engage with consumerist culture and identity.Moreover, they construe a philosophy that pushes the boundaries of normative discourse by misciting hegemonic notions of femininity and sexuality and creating the potential for change through such mis-repetition of hegemonic discourse.In so doing, she created a controversy within Spanish literary and non-literary circles that led to a discussion of the value given to women authors' work in a twenty-first century context, particularly with regard to the blatant expression of sexuality.In what follows, I evaluate Etxebarria's interaction with postfeminist consumerist culture through a discussion of these two works and I assess the transgressive expression of desire inscribed through the character of Beatriz.

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