Briefly engaged in setting up schools for the middle- and low-class girls, later she remained active advocating the presence of females in public life, especially in culture and education.

Her 1882 poem, dedicated to Jesus, was published in local press;[11] her 1884 comedy was played at the Carmelitan theatre in León; her religious polemics was also acknowledged in print.

The groom was Fernando Valcárcel Saavedra Fajardo Ladrón de Guevara (1865-1895),[3] descendant to a noble[14] Levantine family;[12] the couple settled in Mula.

[36] In terms of public and scholarly recognition Gortázar was first noticed as a translator; her Spanish El arte poética (1901) version of Horace's Ars poëtica[37] won awards at the León Juegos Florales[38] and was acknowledged with praise by Real Academia Española.

[45] Both are in fact one and the same novel, the latter slightly re-edited to provide a sense of novelty;[46] the disguise proved successful, as in contemporary press La roca was acknowledged as original.

Falling into the typical genre fiction of the era, El Cristo / La roca is perhaps most interesting due to its narrative technique, as the story is made of different recollective accounts.

[58] short stories,[59] pieces on literature, arts, culture and education, all invariably formatted along Catholic lines and generally steering clear of controversial topics.

[90] On top of this she contributed to feminine press, kept giving lectures on cultural topics,[91] took part in various veladas culturales[92] and was member of Asociación de Escritores y Artistas.

[97] Initially her activity was about organizing prayers[98] and donations for the Spanish army fighting in Cuba,[99] yet already in 1899 she engaged in veladas artisticas of the León círculo carlista.

In a huge 1919 front-page El Correo Español article she hailed Cid-style loyalty to the king as a genuine virtue;[110] in 1920 she was listed active on numerous Jaimista meetings;[111] in 1921 she became president of the Madrid Margaritas,[112] the Carlist feminine organization.

She switched to other conservative periodicals,[117] proudly boasting her friendship with Don Jaime,[118] hailing him as "nuestro caudillo"[119] and at times taking part in Traditionalism-flavored events.

[93] During late primoderiverismo and Dictablanda she resumed more active stand, opening círculos,[123] featuring in headlines[124] and presiding over the Madrid Margaritas, mobilizing against "grandes privilegios a las mujeres rojas",[125] especially after declaration of the Republic.

In course of its first years she remained active in the Carlist realm, though rather in the second if not the third row:[126] Gortázar contributed to Cruzado, presided over some meetings,[127] opened new círculos,[128] and gave lectures.

[131] However, when adhering to the cruzadista line she remained at the sidelines of Carlist loyalty and her contributions were rejected by chief editor of the official party mouthpiece, El Siglo Futuro, Manuel Senante.

[132] In 1901, Gortázar won her first awards with Ars Poetica appreciated at the León Juegos Florales[133] and by the Academy;[134] in public discourse the work earned her the prestige of "distinguida latinista".

[145] Most of the above seem marketing slogans rather than opinion of informed critics,[146] though Gortázar is known to have exchanged a friendly correspondence with Marcelino Menendez Pelayo[147] and to have collaborated with Concepción Gimeno de Flaquer.

[148] In more detailed reviews, her novels were appreciated for educational[141] and human values,[149] adhering to "profoundly Catholic" moral standards, much needed in time of false idols and "libros insulsos o criminales".

[150] In terms of literary value, they were noted for suggestive,[47] graceful, elegant, natural style,[151] flesh-and-blood personalities,[152] social observations[47] and in-depth psychological background,[153] but especially for lively narration and interesting plot, allegedly corresponding to "historial de su autora";[52] all that rendered the work "highly recommended".

[154] The anti-clerical El Pais also recommended the novel, having found in it a criticism of conventual education, which ensures luxury of religious establishment and pushes the secular one into poverty.

She earned biographical entries in two studies, perhaps due to her sex rather than because of the quality of her writings,[164] and was twice dedicated articles in the Leonese press, named "principal escritora leonesa de su tiempo".