She lived and wrote in French in Paris until shortly after World War II, when she went to New York in 1949 to work as a multilingual proofreader for the newly formed United Nations.
Just a few years later, having realized that she would stay in the United States, she made the decision to systematically retrain herself not only to write, but to dream, think, and speak, in the language of her new soil.
Using a vast battery of unusual and privileged literary tools, she hoped to arrive at a new set of universals by the stringent crafting of razor-sharp narratives, which come to merciless, acerbic conclusions about culture and go so far as to radically reinterpret Greek myth.
Molinaro was a linguist and a world traveler and a woman who participated in the artistic milieus of late Modernist Paris, Abstract Expressionist and then Off-Off Broadway New York, London, Rome, Lisbon, and provincial America.
[3] Molinaro also subtitled a number of films including Une femme mariée (Jean-Luc Godard, 1964)[4] and Le Bonheur (Agnès Varda, 1965).
Her texts, which often employed unusual spacing between words and lines as a means to create spoken rhythms, could not have been written without her wide experience as a translator and linguist.