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Cristina Rivera Garza’s (non) fiction trajectory is a dialogue of interests threaded by her passions for translation, history, poetics, among many other topics. In this article, Diamantina --  a repetitive character in the author’s corpora --  is traced to analyze how gender and cultural memory are portrayed in Nadie me vera llorar (1999) Ningun reloj cuenta esto (2002) and Dolerse: textos desde un pais herido (2011). By commenting on Ramon Lopez Velarde’s famous stanza “La patria es impecable y diamantina” in “Suave patria” (1921), Rivera Garza proposes an alternative way of performing nation by women who resist the virtuous adjectives exalted by Velarde in post-revolutionary Mexico, which can be threaded to the glitter used in recent public demonstrations against femicides and gender-based violence. Narrative memory is proposed to name the intersections of intertextuality and cultural memory in her literary cultural production that goes beyond the borders of a nation. This article centralizes the short-story, “La alineacion tambien tiene su belleza” in Ningun reloj cuenta esto, which is set in San Antonio, Texas and New York City, to analyze Mexican canonical representations of women as Patria from a transnational lens.

“La patria es impecable y diamantina”: Performing Diamantina in Cristina Rivera Garza’s (Non)Fiction