The study is based on the analysis of the way the feminine character is constructed under the pressure of the ideology during the first decade of the communist regime in Romania. Such literary investigation proves its necessity, firstly, in order to reflect upon the profile of the socialist realism – the only method to artistically (and “durably”) create in the period, put in theory by and through the almighty Party. Therefore, in a literature subservient to the political system, the writer’s capacity to incorporate the ideology in his work is, by means of political authority, the only accepted measure of talent and success, disregarding, when not vehemently condemning, the autonomy of the aesthetic. The configuration of the feminine character in such a literature is characterized by the absence of the concept of “difference”; paradoxically, the same symptom is presented by the masculine character, fact which tends to be ignored in an analysis on the feminine literary figure, much to the detriment of the approach. Throughout our study we shall try to discover the consequences of this “creative” process, mainly defined by its power to annihilate the genre…both feminine and masculine. While considering the importance of the „difference” in constructing the literary character, some references to the feminist discourse seemed to be impossible to overlook, as they can become quite significative in a discussion on a controversial femininity. However, the emphasis remains on the fictional product of literature, even if, most of the times, in order to have a better view of the traits the character displays, a glance at the fiction the social and political ideology manufactures in a totalitarian system is required. We’ve considered that a study of what represents, primarily, an ideological concept – the communist woman –, only apparently dislocated from the semantic impulses of the revolutionary “new man” promoted by the communist doctrine, is justified not only by its brutal rupture with the feminine model of the inter-war literature, but also by the propagandistic mechanism it triggers through a discourse with feminist echoes, but with trenchant political ends. Initially constructed in the terms of maniheism („the bourgeois woman” vs.” the communist woman”), the literary discourse will alter after Stalin’s death. As a fortunate consequence, we discover a feminine character trying to recover its complexity, meaning its femininity itself, even if barely recognizable under the thick and effortlessly cursive layers of ideological phrases. Thus, re-evaluating some of the representative works of the period („Cântecul uzinei” by Cella Serghi, „Ana Roşculeţ” by Marin Preda, „Ana Nucului” by Remus Luca, „Cronică de familie” by Petru Dumitriu, „A doua moarte a lui Anton Vrabie” by Nicolae Ţic, etc.) we shall attempt to analyze the phenomenon created by the literary reflection (or “duplication”) of the ideology. Under this aspect we shall begin by relating the woman to the wide social and political context, then gradually narrowing the area of analysis by describing the feminine character within the closed social circle (the family, the working place), in order to end our study by drawing out a draft for (an)/a (im)possible intimacy.