including Joseph Bianco, Sylvia Molloy, and Enrique Pezzoni. Ocampo has been described as a shy woman who refused interviews and preferred a low profile. Critics wanted a firm statement about her position with respect to the "literary norm" so that they would know how to read her works and ensure that they were properly interpreting them, but they were unable to receive such a statement. In an interview with María Moreno—one of the few interviews Ocampo gave—Ocampo explained why she did not like to give interviews: "Tal vez porque protagonizo en ellas el triunfo del periodismo sobre la literatura” [Perhaps because I represent the triumph of journalism over literature in them].The only requirement that Ocampo put in order to be interviewed was that none of the questions be about literature. The only thing she said about the matter was the following: "Escribo porque no me gusta hablar, para dejar un testimonio más de la vida o para luchar contra ese exceso de materia que acostumbra a rodearnos. Pero si lo medito un poco, diré algo más banal" [I write because I don't like to talk, to leave one more testimony of life or to fight against that excess of matter that usually surrounds us. But if I ponder it a little, I'll say something else more banal]. Ocampo's habit of refusing to say much about her private life, methodology, and literature makes it difficult for critics to develop an analysis of her intentions. For Judith Podlubne, Ocampo's works are meta-literary. She says that the lack of information about where the writer comes from results in a dependence on literary norms. Sylvia Molloy suggests that criticism tries to reduce originality to something known, "reading what is read" instead of reading Ocampo's stories in their originality. In recent years, critics have rediscovered Ocampo, and some unpublished works have been published in compilations such as Las repetitions y otros cuentos (2006) and Ejércitos de la oscuridad (2008). Feminism Because Ocampo has rarely had a direct say on feminist issues, it is not clear whether or not she considered herself a feminist. Depending on their interpretation of her works, critics have taken varying positions. Due to her association with Simone de Beauvoir through her sister Victoria, Amícola deduces that Ocampo was a feminist of the French and English tradition. Amícola states that it is evident that the Ocampo sisters were sensitive to the changes