By 1992, due to the Fifth Centennial of the Conquest, an increase in the publication of historic novels were taking place. As a consequence this editorial phenomenon caused the incorporation of new voices to a new tradition of genre already broaden established in Spanish America own to a long tradition of writers. Just at that moment Doña Inés contra el olvido, written by the Venezuelan writer Ana Teresa Torres, came up as an alternative version of telling the history from a woman perspective. Doña Inés, the responsible voice of the story, struck up a monologue in order to recount the Venezuelan history asking to absent speakers already dead. As a main topic the novel explains the dispute on the Curiepe lands, so it poses the conflicts to get the power between two groups or castes to gain the territory control along the three centuries.

This research has three specific aims: to put this novel into context within the wide tradition of this particular subgenre, the historical novel; in second place to introduce it in the renovation fulfilled by master pieces of female authorship; and as a last commitment, to describe and analyze the construction of the natioñs account. In fact, Curiepe is turned into a metaphorical territory to ascertain the power in dispute. Here the authoritarian discourse is questioned as well as the significance the minority resistance groups has had when they confront the power ones.

Though Doña Inés lets see it is possible to imagine the future when the past is imagined, the final historical pact between these two groups turned irony because it reflects a society which emerges as a result of an established violence from the power. At the same time, in this act of give in and reconcile, the historical sense is lost in the minority group struggle, led by a free slave. That is the reason why the novel also shows a pessimistic view of the history because this conflict persists as a narrative continuity in the Continent history.