Bianco, Fraser-Molina, and Salgado's Mujeres con voz propia. Antología guiada provides a valuable contribution to the study of women's writing in Spanish. Encompassing poetry, short stories, essays, and testimonial literature in Spanish from twenty-two countries—including the Philippines, Equatorial Guinea, and the United States—this anthology is an excellent resource for courses in Hispanic women's writing. The collection is thematically structured within two broad chronological divisions: Chapters 1–5 encompass the seventeenth through nineteenth centuries, while Chapters 6–16 focus on twentieth- and twenty-first century authors. These themes, which are explored in sections presenting two authors per topic, include motherhood; immigration and bilingualism; national identity; human rights and social justice; domestic violence; marriage; education; the church and the sacred; bodies and identity; women in politics; and testimonial literature. As the editors explain in their preface, including women from each Spanish-speaking country was a guiding priority in selecting works and authors to anthologize. They also prioritized authors who have rarely been anthologized alongside those whom the editors view as having become canonical. As a result, they include poetry, short stories, essays, and testimonial literature from an ample array of Hispanic women authors such as Daisy Zamora, Soledad Acosta de Samper, and Domitila Barrios de Chungara.Given the constraints of the textbook format, some works have been edited for length. The editors have also modernized earlier works with standardized spelling and modernized lexicon to make them more comprehensible to the non-expert reader. Each section of the anthology opens with a one to one-and-one-half page historical and contextual introduction, followed by brief introductions to each author and literary selection. The introductions incorporate italicized parenthetical glosses in English to introduce terms that the authors deem likely to be unfamiliar to non-native Spanish speakers. This is an effective strategy that helps students avoid the need to continually interrupt their reading by referring to dictionaries and is, therefore, likely to enhance their comprehension of these passages by helping maintain their focus. This technique is employed selectively enough to prevent it from becoming disruptive. The editors do not utilize this parenthetical glossing within the literary selections themselves. Instead, they have chosen to use footnotes within the literary selections to clarify potentially unfamiliar expressions, using their discretion to determine the language of explanation. This approach seems to have been determined on a case-by-case basis. For example, within Zayas Sotomayor's “Al fin se paga todo,” a footnote defines “donaire” as “elegancia, atractivo,” but in the note beneath this one, the word “ternezas” is explained as “palabras tiernas; sweet nothings” (60). A footnote later on the same page defines “fingí” simply as “pretended” (60). While the selection of language and degree of explanation needed for each term is necessarily a subjective one, it does appear, based on this reviewer's experiences in introducing native English speakers to Spanish-language texts, that this strategy is effectively implemented and succeeds at minimizing the disruption and distraction caused by unfamiliar vocabulary.The anthology's structuring of Zayas Sotomayor's work will serve in this review to illustrate the text's functionality for teaching purposes. The historical-cultural introduction efficiently contextualizes and defines the Siglo de Oro, its primary artists and authors, and Spain's positioning within Europe from 1492–1700. The focus of the introduction, however, is on women's lives in that era, and—in a welcome departure from many textbooks’ norms—this summary avoids monolithic categorizations in favor of delineating the era contrastively in terms of gender and social class. The introduction concludes by positioning the author within the broader category of Renaissance writing, and footnotes (in Spanish) define the Renaissance and Baroque for the reader. This approach is repeated throughout the text, with highly informative and efficiently written introductions to each period, author, and work. The introductions conclude with brief comprehension questions, making them conducive to homework or quick in-class clarification/verification exercises. Literary passages are also followed by comprehension questions, which the authors identify in the book's preface as designed to be answered after a first reading, as well as more complex critical analysis questions focused on stylistic or rhetorical aspects of the texts. Each section concludes with a variety of oral activities and small-group discussion questions that address a range of cultural, lexical, or linguistic questions. The final activities of each section provide topics for further research that could serve as interesting and productive anchors for student presentations or essays, as well as a set of creative writing prompts. For example, after reading Zayas Sotomayor and Sor Juana Inés de la Cruz, students are asked to research the tradition of “matrimonios arreglados” or the “drama de capa y espada,” and their writing prompts include crafting a letter to her father from a young woman who refuses to marry the man he has chosen for her.As the authors acknowledge, including each of these anthology's works in a one-semester course would be difficult. This would be particularly true for an undergraduate course with students who are new to reading in Spanish, but this feels like one of the book's many strengths as it allows for great flexibility in course design. The breadth of topics, genres, and authors, combined with the editors’ skill at constructing introductions and assignments and the text's focus on inclusion of underrepresented writers and countries, make it an excellent and original contribution to Hispanic Studies.