One enterprising publisher in particular, Carlos Barral, who headed a press called Seix Barral, based in Barcelona, saw an opportunity. He presented a dense annual catalogue, with descriptions that were designed to anticipate the dictates of the censors while emphasizing—and exaggerating—his reach into international markets. He created a series of prizes to manufacture prestige for edgier contemporary works that otherwise might have piqued the regime’s censors, and he awarded the Latin Americans he hoped to publish (Jorge Luis Borges, Mario Vargas Llosa, Guillermo Cabrera Infante) as a way of putting them in distinguished international company (Arthur Miller, Samuel Beckett). He hired Balcells to round out his portfolio of foreign writers. Her special charge was to take care of foreign rights, which she diligently sold in the world’s major cultural capitals (Rome, New York, Paris, London). Before Balcells got to work, publishing houses in Buenos Aires, Mexico City, and Havana comprised a rough and disconnected patchwork of regional pockets short on scope and visibility. Her advocacy helped change that, bringing writers more fully into view.