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In theory she has been a disciple of French naturalism, and some of her novels, particularly Los Pazos de Ulloa and La madre Naturaleza, have somewhat of the repulsive realism of Zola's work. At times she expresses a cold cynicism or a mocking flippancy which detracts from the usual charm of her writings.
She practiced this theory, however, only in part, for her work partakes of both the romantic and the realistic.
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