The present thesis draws on postcolonial theory to analyze a selection of narratives wntten by Elena Poniatowska (b. 1932), and two of her former students, Silvia Molina (b. 1946) and Rosa Nissan (b. 1939). More specifically, this study has taken several different components of the theory related to Latin American Subaltern Studies and applied them to the work of these three authors. This has been done with the two-fold purpose of creating test cases that strive to interrogate several tenets linked to Subaltern theory as well as utilizing these ideas, and others closely related to them, to elucidate the texts in question. Using the insights provided by Gayatri Spivak's essay, "Can the Subaltern Speak?", this thesis carefully examines the portrayal of the subaltern within each of the narratives examined, focusing above all on the inclusion or exclusion of the marginal voice therein. In particular this thesis analyzes the portrayal of subaltern groups, such as those marginalized as a result of disability or religious preference, a field not often covered in Latin American Subaltern Studies. This thesis also provides a short history and study of the writer's workshop named 'El girupo' that brought these three writers together. The origins and achievements of this institution, unofficially known as 'El taller de Elena Poniatowska', are traced, and several of the principles that the students learned from the workshop are identified. Chapter three evaluates the narratives created by 'the mentor' Ponlatowska: Hasta no verte Jesus mio, Querido Diego te abraza Quiela, and Gaby Brimmer, the fourth chapter examines 'Mentira piadosa', El amor que me juraste, and 'Ascension Tun' by Silvia Molina, and the final chapter considers the first two novels published by Rosa Nissan, Novia que te vea and Hisho que te nazca. Though these three authors do share some common themes and tendencies, distinct conclusions are drawn with regard to each writer in question.