Current Argentinean Patagonian narrative possesses Nadine Aleman (Esquel, 1977) as one of its most suggestive and creative voices. This assertion is based on her capacity to construct a narrative imaginary that produces performance effects, derived from the confluence and evocation of other languages that can be found in the literary reception of 17 simples cuentos (2006) and of El cura y la sucia (2012). The traditional boundaries that tend to restrict literature to a specific field of critical action seem, in consequence, to become fuzzy. Thus, performance-as a "methodological lense", according to Diana Taylor- is made into a certain possibility that widens perspectives to approach this Spanish American writing proposal.