terms of editorial presence in the 1960s, as she only published the volume of short stories, Las invitadas (1961), and the poetry book, Lo amargo por dulce (1962). In contrast, she was somewhat more fruitful during the 1970s. During these years, Ocampo published the poems Amarillo celeste, Árboles de Buenos Aires, and Canto escolar. She also published the story Los días de la noche and a series of children's stories: El cofre volante, El tobogán, El caballo alado, and La naranja maravillosa. Last years and posthumous publications The publication of her last two books, Y así sucesivamente (1987) and Cornelia frente al espejo (1988), coincided with her onset of Alzheimer's disease. The illness gradually reduced her faculties until leaving her debilitated during her last three years. She died in Buenos Aires on December 14, 1993 at the age of 90. She was buried in the family crypt of the Recoleta Cemetery, a cemetery where Bioy Casares is also buried. Volumes of her unpublished texts appeared posthumously, including poetry and short novels. In 2006, four of her works were published: Invenciones del recuerdo (an autobiography written in free verse), Las repeticiones (a collection of unpublished short stories that includes two short novels), El vidente, and Lo mejor de la familia. In 2007, the novel La torre sin fin was published for the first time in Argentina, and in 2008, Ejércitos de la oscuridad appeared, a volume that includes various texts. All the material was edited by Sudamericana, which also reissued some of her short story collections. In 2011, La promesa was published, a novel that Ocampo began around 1963 and that, with long interruptions and rewrites, finished between 1988 and 1989, pressured by her illness. The edition was in the care of Ernesto Montequin. Critical reception For most of her career, Argentine critics did not recognize the merit of Ocampo's works. Due to some extent to her relationship with Borges, her stories were criticized as not being "Borgesian enough." It was the veneration of Borges and her sister Victoria that prevented critics from understanding the formal and thematic originality of her stories. Instead, they saw them as a failure in their attempt to copy the style of these other writers. It was only in the 1980s that critics and writers began to recognize her talent and write about her legacy. Eminent representatives of Sur attempted to rescue Ocampo's short story collection,