Rosabetty Muñoz grew up in Ancud, and took her first steps as a poet in the Chaicura Group, directed by Mario Contreras Vega [es].
She published her first book of poems, Canto de una oveja del rebaño, in 1981 as a university student in Valdivia.
"[4] On her poetry – "which is characterized by reflecting southern Chile, dealing with gender issues and human relations and making poetry 'a space of resistance'"[11] – Sergio Mansilla Torres [es] has said: "In her verses, and closely following Vallejo, she expresses the vastness and depth of human pain, but lived and seen from the ontological condition of woman constituted in the cultural space of Chiloé previous or parallel to capitalist modernity", and "Her language, in simple appearance, almost minimalist, is actually very complex because of the metaphysical dimension it contains, that makes her poetry a kind of prayer or song that always moves toward recollection.
[11] In addition, she was nominated in the literary arts category, poetry mention of the 2009 Altazor Award for National Arts for En Nombre de Ninguna, referred to as a "remarkable contribution to world literature (...) [and] a deep and painful poetic entry in one of the many torn sides of the body of Chile,"[14] while in the 2012 edition, she won the award for Polvo de huesos.
[12] She is married to the teacher and director of the Polivalente de Quemchi high school, Juan Galleguillos, with whom she has a daughter and two sons.
All of this is evidenced in the poem "Grito de una oveja descarriada": Hay que salir a la calle / y zarandear a todo el mundo, / traumatizarlos si es necesario.
Los hombres dicen que el gran universo / prendido en la noche / es lo único más grande que ellos.
This poems book, composed by poems which show an evident toponymy of Chiloe, such as ”Chacao”, “Llingua”, “Caguach”, “Lemuy”, “isla Coldita”, “Metalqui”, among others, recall the issue of the marginalized motherhood, set in the Chiloe Archipelago, describing elements of its culture and showing, as in the previous works, characteristics of social criticism based on a context of forced miscegenation between foreigners and native women:[17]
This collection of poems, with titles such as “Ella carga recién nacidos”, “La culpa”, “Arden las velas de la devoción” and “Mi útero rememora”, includes many religious aspects that are expressed in the suffering of the woman: the saint, and that virtuous (and stereotyped) intrinsic holiness which she is searching to get rid of:[16]
Within its poems such as “Casa de citas”, “Festivas”, “Espectros”, “Huellas” and “Río nocturno”, it can be inferred the desolate spectral presence of the women who used to work in those places in verses such:[17]
In always-inside-parentheses poems such as “(En esas playas)”, “(Al olor de la desgracia)”, “(Se encabrita el miedo)”, “(El diente filoso de la rata)” and “(Tan enorme plaga)”, it can be observed a putrid environment, and from the author's view, for being there “it is necessary being defeated”.
It captures testimonies of women who miscarry and writes about incest and girls who were sexually abused with a direct style that does not require further interpretation.