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"Amparo's development from a disheveled street urchin into a lovely young woman, a leader among the women in the factory, and an inspired orator at a time of national conflict and decision, reflects the author's growing interest in the rights of women in Spanish society. Pardo Bazan offers the reader realistic depictions of the lives of proletarian and bourgeois inhabitants of a provincial capital. Dona Emilia feels obliged to caution any aspiring girl of the working class to tread with great caution near the many boundaries of class separation and she concludes her novel with a mixture of despair along with hope for a world that is still unlikely given the conditions of her time."--BOOK JACKET.
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The Countess Emilia Pardo Bazan introduced the French naturalistic movement to Spain with The Burning Question (1881). While she recognized the excesses of naturalism in its exclusive concentration on the sordid aspects of life, she saw in it possibilities for directing the Spanish novel to social and political issues. The Son of the Bondwoman (Los Pasos de Ulloa, 1886), which deals with the degeneration of an aristocratic family, is naturalistic in subject and in its deterministic conclusion.
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