While Avellaneda reached higher peaks through poetry than through fiction, her prose work is by no means negligible, for in her novels and shorter stories she expressed her true temperament with less restraint. Paraphrasing Walt Whitman, it can be said that whoever touches these texts touches a woman, one who was exceptional for her time, with a talent that she was able to laboriously mold to satisfy social conventions to which she did not at all conform.

One of the fundamental foundations of her work is precisely the situation of women, which she suffered firsthand and therefore denounced with genuine pain, even going so far as to draw a parallel between the situation of women and that of the slave, with no possible emancipation in the case of women. Her innate rebelliousness led her to somewhat expand the boundaries of what was possible for a woman; but it was impossible to erase inveterate customs and behaviors with a stroke of the pen. In this sense, being a woman and talented in that era meant losing the blindfold and automatically closing the doors to any semblance of happiness.

Her romantic vocation, however, did not go beyond a certain neoclassical elegance that evaded emotional extremes, but this did not impede her drive; in this sense, her writing is always a precarious—albeit successful—balance between authentic impulses and the moral demands of society, between the realistic portrayal of her everyday life and the tendency toward romantic idealization, which she exercised beyond literature, especially in her love for Ignacio de Cepeda. From this state of tension springs the interweaving of her stories.
One of the most important texts in literature on women’s themes is undoubtedly “Two Women” (1843), where she traces with agile brushstrokes the situation of women in nineteenth-century society, and what marriage represented and the absurdity of its everlasting nature, thus attacking the most cherished moral standards of her time.

He published other titles such as “Espatolino” (1844), based on the true story of a bandit, although the text has its romantic overtones, it does not point towards the salvation of the hero but towards social justice, and takes the opportunity to demystify historical figures such as Napoleon Bonaparte.

In 1846, Guatimazón, or the Last Emperor of Mexico, was published. He drew on a vast array of historical documents to narrate the conquest of Mexico. It has even been hailed as the best historical novel written in Spain under the Romantic era. It draws a central parallel between Hernán Cortés and Guatimazón, but the latter is the true hero; the work reveals a goal of vindicating all that is American.

In another section, the novel “Sab,” which deals with the topic of slavery, was cited. All of these pieces comprise Avellaneda’s very distinctive narrative style, where a latent rebellion against a morality rife with profound contradictions and disparities, including the high standards applied to women’s conduct, is always present. Nevertheless, she is forced to channel her opinions and emotional outbursts within the framework of certain social conventions.