Veronica Rodriguez - Burning Desire -15.04.2022- | SIMPLE • STRATEGY |

The most striking innovation in Burning Desire is Rodriguez’s use of olfactory and tactile scar imagery. She describes the memory of a lover not by sight, but by the smell of “gasoline and honeysuckle” —a volatile mixture of danger and sweetness. The protagonist does not seek to extinguish the burn; she maps it. Rodriguez writes: “Every woman has a scar where she was taught not to want. I am drawing my scars in lipstick.”

Burning Desire is not a resolution; it is a sustained temperature. Veronica Rodriguez posits that desire’s value lies not in its consummation (which would be the ash) but in its maintenance (the glow). By fixing the work to a specific, unremarkable date, she argues that transcendence is not found in a holiday or a birthday, but in the radical decision to burn brightly on a random Friday. For Rodriguez, the opposite of love is not hate—it is air conditioning. Veronica Rodriguez - Burning Desire -15.04.2022-

This paper examines Veronica Rodriguez’s 2022 work, Burning Desire , situating it within the context of post-pandemic Latinx feminist literature. Rodriguez employs fire as a dual symbol of destruction and genesis, challenging traditional linear narratives of romance. By analyzing the text’s specific date of release (April 15, 2022)—a moment of global transition—this paper argues that Burning Desire functions not as a simple erotic narrative, but as a philosophical treatise on the nature of delayed gratification and the politics of feminine want. The most striking innovation in Burning Desire is