Her travel narrative, La Havane, written in French and published in Paris in the 1840s, was claimed by the author herself to be a Cuban book, and it is analysed at length--and fruitfully--by Diaz, in his exploration of this 'heterolingual' Spanish American text.
Diaz questions his own assumption in the afterword, but his hesitation is brief and his final justification--that the concept of Spanish American literature is 'venerable'--lacks conviction, and does not deal with the matter of location.
Nonetheless, I fear that Williams has gone too far in the opposite direction and has blurred even more certain definitions that may contribute to our understanding of the twentieth-century Spanish American novel.
I certainly will not deny that the author of The Twentieth-Century Spanish American Novel recognized the ambiguity and redefinition of the term "modern" over time, but he was overly vague in his delineation of this key word.
Indubitably, with his rereading of major Spanish American novels (commentaries of which appear in chapters that usually alternate with those of a more general nature), Williams explained in greater detail individual texts and novelistic movements than he did in The Modern Latin-American Novel.
Perhaps the greatest weakness of The Twentieth-Century Spanish American Novel is due to the mere size of this book and the short time that was devoted to the actual writing of it.