The article proposes a review of the role of women in the works that shape Salvador Reyes' narrative of Valparaiso: El cafe del puerto (1926), Piel nocturna (1936), Monica Sanders (1951) and Valparaiso, puerto de nostalgia (1955). The construction of the female subject follows Rimbaud's notion of. heart and beauty". This notion counters the phallocentric bias prevalent in Chile in the early 20th century by setting lines of flight that open possibilities of transgression within the order of the family. In addition, this article proposes intertextual connections necessary for understanding the disruptive component of the representation of women in Reyes' writing.