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The global popularity of comics by the Argentinean Maitena Burundarena has been attributed to her ability to capture, and then gently mock, the woes of women. In fact, promotional material for her three comic series, the most translated of which is Mujeres alteradas [Women on the Edge], often claim that Burundarena speaks for all women. In translations of Burundarena’s comics, however, what becomes apparent is the tendency to downplay the Argentine cultural origins of the comic and the comic artist herself in order to accentuate the purported universality of female experience chronicled within its pages. Translations of the comic series Mujeres alteradas for readers in the United States and Spain tend to erase any distinctly Argentine markers in two key ways: through changes to the text itself and through the creation of paratexts and marketing materials that emphasise Burundarena’s gender and de-emphasise her nationality. Mapping the ways in which translation bends narratives of gender to fit local markets offers up new ways of understanding how universalising narratives function in the global world.

Domesticating Gender: Localising the “We” in Translations of Maitena Burundarena’s 'Women on the Edge'