This dissertation explores the literary figurations of monstrosity in the works of three mid-twentieth-century women authors from the Andean and Southern Cone regions—Armonía Somers (Uruguay), Emilia Ayarza de Herrera (Colombia), and María Virginia Estenssoro (Bolivia)—whose writings encountered varying degrees of controversy, censorship, or marginalization within their national literary histories. Through queer-feminist and eco-centric-tentacular lenses, this dissertation examines how their poetry and experimental prose contest heteropatriarchal, colonial, and anthropocentric epistemologies by troubling dominant representations of female and feminized bodies and their entanglements with more-than-human forces (the vegetal, the animal, the mineral).By conceiving monstrosity as a form of agency and a mode of language, each chapter analyzes how these texts dismantle binaries such as masculine/feminine, culture/nature, human/non-human, and mind/body while subverting the predominant literary forms within male-centered literary ecosystems. Rather than treating monstrosity solely as a metaphor for deviance, this study foregrounds its polyvalent, polyform, and polysemantic qualities, emphasizing its capacity to generate epistemic and material mutations that enact poetic and political resistance. The monstrous emerges as a speculative mode that disrupts rational and representative language, revealing the instability of meaning, embodiment, and identity in subjectivities that dwell at the thresholds of intelligibility. It also proposes speculative ontologies that challenge the presumed universality of the human—an ideal shaped by colonial, androcentric, cisheteronormative, and class-based logics embedded in twentieth-century Uruguayan, Bolivian, and Colombian symbolic orders. The works analyzed—La mujer desnuda (1950), a selection of Ayarza’s free verse poems (1947–1962), and El occiso (1937)—are the most representative of each author’s radical poetics and, in the case of Somers and Estenssoro, sparked social scandal upon publication. These texts, written during periods of political unrest and incipient modernization, give voice to those marginalized from hegemonic national narratives: feminized bodies—sexualized, racialized, impoverished, and exploited. Ultimately, this dissertation argues that while engaging with longstanding associations between “woman” and “nature” in Latin American imaginaries, these authors displace such tropes into monstrous terrains—an unruly, fertile, and politically charged matter that resists unification and domestication. They emerge as monstruas of their time—figures who unsettled collective anxieties around femininity and, in doing so, expanded the horizons of literary expression. With this work, I hope to contribute to Latin American literary studies by foregrounding queer genealogies and situated modes of reading, broadening conversations around gender dissidence, ecological imagination, and speculative writing within the Hispanic literary traditions.