El BoomEl BoomAn introduction to late 20An introduction to late 20thth C. C.

Latin American literatureLatin American literatureOrOr

Some politico-cultural reasons Some politico-cultural reasons why “the story is truer than why “the story is truer than

truth”truth”

El BoomEl Boom

►BoomBoom

►Boom-and-Boom-and-BustBust

= a deep, hollow sound like the a deep, hollow sound like the roar of a cannon or of big roar of a cannon or of big waves ... a sudden activity waves ... a sudden activity and increase in business, and increase in business, prices or values of property...prices or values of property...

= an economic cycle of great an economic cycle of great prosperity followed by a prosperity followed by a serious depression.serious depression.

Literature’s curious problems in Literature’s curious problems in Latin AmericaLatin America

► TThe Spanish Inquisition established branches in capitals such as he Spanish Inquisition established branches in capitals such as Lima and México. The Lima and México. The Index Librorum ProhibitorumIndex Librorum Prohibitorum (Index of (Index of Forbidden Books, c.1570) codified what books were to be censored, Forbidden Books, c.1570) codified what books were to be censored, thus recognizing the power of literature to subvert the status quo.thus recognizing the power of literature to subvert the status quo.

► IImportingmporting novels to colonial Spanish America was strictly prohibited novels to colonial Spanish America was strictly prohibited by the Spanish Crown since the late sixteenth century. But this was by the Spanish Crown since the late sixteenth century. But this was not foolproof and books of chivalry, picaresque novels and even not foolproof and books of chivalry, picaresque novels and even Cervantes's Cervantes's Don Quixote Don Quixote (1605, 1615) managed to circulate. (1605, 1615) managed to circulate. However, the early Latin American writers were forced to channel However, the early Latin American writers were forced to channel their inventiveness differently. History texts, chronicles, accounts of their inventiveness differently. History texts, chronicles, accounts of the conquest and exploration of America become the only ‘legal’ the conquest and exploration of America become the only ‘legal’ space where the native imagination can prosper.space where the native imagination can prosper.

► AAs a result, Fiction and History become united in a particularly s a result, Fiction and History become united in a particularly curious way. What is history? and What is fiction? are questions that curious way. What is history? and What is fiction? are questions that at some level or other can be asked in dealing with colonial texts at some level or other can be asked in dealing with colonial texts and beyond.and beyond.

TTwo examples of Fiction and wo examples of Fiction and History History in Latin American in Latin American

Literature:Literature:1.1. Historia verdadera de la conquista de la Nueva EspañaHistoria verdadera de la conquista de la Nueva España

(The True Account of the Conquest of New Spain, 1580) (The True Account of the Conquest of New Spain, 1580) written by Bernal Díaz del Castillo, foot soldier in Cortéz's armywritten by Bernal Díaz del Castillo, foot soldier in Cortéz's army before independence from Europe of before independence from Europe of anyany American state American state autobiographical description of the conquest of México (1519-autobiographical description of the conquest of México (1519-

1521)1521) chronicle of historical eventschronicle of historical events seen by some critics as the "first Spanish American novel“seen by some critics as the "first Spanish American novel“ characterisation of Cortéz, Moctezuma, and many other characterisation of Cortéz, Moctezuma, and many other

historical figures accentuates the humane, the personal, and historical figures accentuates the humane, the personal, and other qualitiesother qualities

narrative composition reminiscent of fictional best-sellers of the narrative composition reminiscent of fictional best-sellers of the time – i.e. books of chivalry like time – i.e. books of chivalry like Amadís de GaulaAmadís de Gaula (Amadis of (Amadis of Gaul 1508), Gaul 1508), Tirant lo BlancTirant lo Blanc (1490), etc. – where valiant knights (1490), etc. – where valiant knights travelled to unknown lands to face uncertain perils in the travelled to unknown lands to face uncertain perils in the pursuit of high minded victories.pursuit of high minded victories.

TTwo examples of Fiction and wo examples of Fiction and History History in Latin American in Latin American

Literature:Literature:2.2. El periquillo Sarniento El periquillo Sarniento (The Itching Parrot, (The Itching Parrot,

1816)1816) written by Mexican journalist Joaquín Fernández de written by Mexican journalist Joaquín Fernández de

Lizardi after independence of México from SpainLizardi after independence of México from Spain

considered the first Latin American Novelconsidered the first Latin American Novel

censorship prevented journalists from freely writing censorship prevented journalists from freely writing any opinions in local any opinions in local gacetasgacetas (newspapers) (newspapers)

Lizardi uses a ‘novel’ to criticizeLizardi uses a ‘novel’ to criticize►The backwardness of his native country The backwardness of his native country

►The flaws in the "national character" of its people.The flaws in the "national character" of its people.

Evolution of the Latin Evolution of the Latin American novelAmerican novel

► CConstrained by religious and political onstrained by religious and political strictures, and conditioned to glorify and strictures, and conditioned to glorify and differentiate the character of emerging differentiate the character of emerging nations, the novel in Latin America evolves out nations, the novel in Latin America evolves out of the necessity to speak out, to preach, to of the necessity to speak out, to preach, to educate the emerging peoples of the educate the emerging peoples of the continent.continent.

►Writers see themselves as privileged voices in Writers see themselves as privileged voices in charge of “creating a national literature that charge of “creating a national literature that refers to and documents the national reality” refers to and documents the national reality”

(Argentinean writer Esteban Echeverría, 1805-1851)(Argentinean writer Esteban Echeverría, 1805-1851)

Notes on Chilean author JoséNotes on Chilean author José Donoso's “The Boom...A Donoso's “The Boom...A

Personal History”Personal History” ►OnOn the regional nature of the Spanish the regional nature of the Spanish

American novel prior to 1960:American novel prior to 1960: Before 1960 it was very uncommon to hear laymen Before 1960 it was very uncommon to hear laymen

speak of the "contemporary Spanish American speak of the "contemporary Spanish American novel": there were Uruguayan, Ecuadorian, novel": there were Uruguayan, Ecuadorian, Mexican or Venezuelan novels. (. . .) The novelist Mexican or Venezuelan novels. (. . .) The novelist in the Spanish American countries wrote for his in the Spanish American countries wrote for his parish: about the problems of his parish and in the parish: about the problems of his parish and in the language of his parish, addressing himself to the language of his parish, addressing himself to the number and level of his readers – quite different, number and level of his readers – quite different, certainly, in Paraguay than in Argentina, in Mexico certainly, in Paraguay than in Argentina, in Mexico than in Ecuador – which his parish was able to offer than in Ecuador – which his parish was able to offer him, without much hope of anything else.him, without much hope of anything else.

Notes on Chilean author JoséNotes on Chilean author José Donoso's “The Boom...A Donoso's “The Boom...A

Personal History”Personal History” ►OnOn the different non-Hispanic influences in 1960s the different non-Hispanic influences in 1960s

Latin American fiction:Latin American fiction: On the other hand, today's Spanish American novel was On the other hand, today's Spanish American novel was

from the very beginning a from the very beginning a mestizamestiza, a crossbreeding, a , a crossbreeding, a disregarding of the Hispanic American tradition (as much disregarding of the Hispanic American tradition (as much disregard for what was Hispanic [+Spain] as for what disregard for what was Hispanic [+Spain] as for what was American [-Spain]) and draws itself almost totally was American [-Spain]) and draws itself almost totally from other literary sources, because without a whimper, from other literary sources, because without a whimper, our orphaned sensibility let itself be infected by the our orphaned sensibility let itself be infected by the North Americans, the French, the English, and the North Americans, the French, the English, and the Italians, all of whom seemed to us more "ours," much Italians, all of whom seemed to us more "ours," much more "our own" than a Gallegos (more "our own" than a Gallegos (Doña BárbaraDoña Bárbara) or a ) or a Güiraldes (Güiraldes (Don Segundo SombraDon Segundo Sombra) for example, or a ) for example, or a Baroja [Spanish novelist (1872- 1956)].Baroja [Spanish novelist (1872- 1956)].

Notes on Chilean author JoséNotes on Chilean author José Donoso's “The Boom...A Donoso's “The Boom...A

Personal History”Personal History” ►OnOn the pernicious effect of the the pernicious effect of the regionalistaregionalista / /

criollistacriollista canon and the prescriptions of social canon and the prescriptions of social realism:realism: A novel was considered good if it loyally reproduced A novel was considered good if it loyally reproduced

those [indigenous] concerns, all that which those [indigenous] concerns, all that which specifically makes us different – which separates us – specifically makes us different – which separates us – from other areas and other countries of the from other areas and other countries of the continent: a type of foolproof, chauvinistic machismo. continent: a type of foolproof, chauvinistic machismo. (. . .) the only true criterion of excellence is the (. . .) the only true criterion of excellence is the precision required to depict what is inherently ours, precision required to depict what is inherently ours, the verifiable verisimilitude that tends to transform a the verifiable verisimilitude that tends to transform a novel into a faithful document portraying or novel into a faithful document portraying or capturing a segment of univocal reality. capturing a segment of univocal reality.

Notes on Chilean author JoséNotes on Chilean author José Donoso's “The Boom...A Donoso's “The Boom...A

Personal History”Personal History” ►MoreMore on the harmful effects of on the harmful effects of criollistacriollista literary literary

dogmadogma In addition to being unmistakably ours, as the In addition to being unmistakably ours, as the

criollistascriollistas wanted, the novel should be, above all wanted, the novel should be, above all else, "important," "serious," an instrument which else, "important," "serious," an instrument which would be directly useful to social progress. (. . .) would be directly useful to social progress. (. . .) Formal experimentation was prohibited. The Formal experimentation was prohibited. The architecture of the novel and its language were to be architecture of the novel and its language were to be simple, flat, colourless, sober, and poor. (. . .) The simple, flat, colourless, sober, and poor. (. . .) The fantastic and the personal elements, the strange and fantastic and the personal elements, the strange and marginal writers, those who "abused" the language marginal writers, those who "abused" the language or the form, were exiled by these criteria, which or the form, were exiled by these criteria, which reigned for so many years that the magnitude and reigned for so many years that the magnitude and the potential of the novel were sadly impoverished.the potential of the novel were sadly impoverished.

The first phase of the Boom:The first phase of the Boom:

A.A. A novel: Carlos Fuentes's A novel: Carlos Fuentes's La región La región más transparente más transparente ((Where the Air Is Where the Air Is Clear, Clear, 1958)1958)

B.B. A momentous event : The Congress of A momentous event : The Congress of Intellectuals at the University of Intellectuals at the University of Concepción, Chile (1962)Concepción, Chile (1962)

C.C. A personality: Carlos FuentesA personality: Carlos FuentesD.D. A socio-political phenomenon: The A socio-political phenomenon: The

Cuban RevolutionCuban Revolution

The second & third phases of The second & third phases of the Boom:the Boom:

2.2. Mario Vargas Llosa Mario Vargas Llosa ► received the Biblioteca Breve Prize from the Barcelonese received the Biblioteca Breve Prize from the Barcelonese

publishing house of Seix Barral in 1964, when only twenty-publishing house of Seix Barral in 1964, when only twenty-four-years-oldfour-years-old

► La ciudad y los perros La ciudad y los perros (The Time of the Hero, 1963) (The Time of the Hero, 1963) caused the whole continent to talk. caused the whole continent to talk. ► Perhaps it would not be too risky to offer the opinion that its Perhaps it would not be too risky to offer the opinion that its

success was in part due to the fame and ‘maneuverings’ of success was in part due to the fame and ‘maneuverings’ of Carlos Fuentes, who had fertilized the land so that the thing Carlos Fuentes, who had fertilized the land so that the thing could take root.(61)could take root.(61)

3.3. Gabriel García MárquezGabriel García Márquez► One Hundred Years of SolitudeOne Hundred Years of Solitude (1967) (1967)

► Perhaps the definitive moment of the Latin American Boom Perhaps the definitive moment of the Latin American Boom occurs with [this] publication (. . . ) One edition untiringly occurs with [this] publication (. . . ) One edition untiringly follows another: one speaks in terms of millions of copies. follows another: one speaks in terms of millions of copies. (62)(62)

The writers of the Boom The writers of the Boom discovered,discovered,

as if for the first time and all at as if for the first time and all at once, that:once, that:

The World is an Inescapable The World is an Inescapable FabricationFabrication

1.1. the world is a FABRICATION and full of the world is a FABRICATION and full of delirious improbabilities delirious improbabilities butbut, alas, still real , alas, still real enough and thus INESCAPABLE (cf. the enough and thus INESCAPABLE (cf. the mirror of J L Borgés)mirror of J L Borgés)

Where the Imagination is Where the Imagination is KingKing

2.2. the imagination is nearly always right, either the imagination is nearly always right, either because because

a.a. SOMEONE HAS ALREADY DONE WHAT YOU HAVE SOMEONE HAS ALREADY DONE WHAT YOU HAVE ONLY IMAGINED (‘tradition’ - reinventing ONLY IMAGINED (‘tradition’ - reinventing Shakespeare; ‘intertextuality’ - all texts refer to Shakespeare; ‘intertextuality’ - all texts refer to other texts, starting from the same base of other texts, starting from the same base of ‘language’; repetition - from one’s own daily ‘language’; repetition - from one’s own daily routine all the way to the cycles of history) routine all the way to the cycles of history) oror because because

b.b. YOU HAVE IMAGINED A FITTING METAPHOR, YOU HAVE IMAGINED A FITTING METAPHOR, image or representation for someone else’s image or representation for someone else’s need, desires, hopes, aspirationsneed, desires, hopes, aspirations

And Fiction is deadly serious And Fiction is deadly serious play… play…

3.3. fiction, under these circumstances, is both fiction, under these circumstances, is both a PLAYGROUND and a BATTLEFIELD - a PLAYGROUND and a BATTLEFIELD - thethe place where a culture’s central quarrels place where a culture’s central quarrels may be fought out and seen to be fought may be fought out and seen to be fought outout

CULTURE = how you (or your society) define CULTURE = how you (or your society) define your identity, values, beliefsyour identity, values, beliefs

Realism ... ?Realism ... ?

►What is ‘realism’ in Latin America? It did not What is ‘realism’ in Latin America? It did not work as a literary and artistic style because work as a literary and artistic style because it rested on a commitment to a solid it rested on a commitment to a solid material and historical world no one in South material and historical world no one in South America quite believed in.America quite believed in.

► The best known play of Ruíz de Alarcón is The best known play of Ruíz de Alarcón is called called The Suspect TruthThe Suspect Truth and its moral is and its moral is that habitual liars make even the truth that habitual liars make even the truth sound uncertain when they happen to tell it sound uncertain when they happen to tell it ((Richard IIIRichard III, , 19841984, political spin doctors)., political spin doctors).

… … or truthful doubt?or truthful doubt?

► A poem by Sor Juana says A poem by Sor Juana says “solamente lo que toco veo” – “solamente lo que toco veo” – she takes her eyes into her she takes her eyes into her hands and will only see what she hands and will only see what she can touch (a powerful can touch (a powerful reinvention of St Thomas’ doubt reinvention of St Thomas’ doubt at Christ’s resurrection)at Christ’s resurrection)

The The other novelother novel► Thus the Boom produced the Thus the Boom produced the

other other (super realist) (super realist) novelnovel, which , which reported absolutely everything reported absolutely everything (like Borgés’ autistic savant (like Borgés’ autistic savant character Funes) that could be character Funes) that could be seen, even in hallucinations – a seen, even in hallucinations – a modernized baroquemodernized baroque** that that showed the brilliant trail of its showed the brilliant trail of its deceptions (in a self-conscious deceptions (in a self-conscious narrative style known as narrative style known as ‘metafiction’) BUT ALSO lovingly ‘metafiction’) BUT ALSO lovingly and carefully relating the fragile and carefully relating the fragile life of facts which in other places life of facts which in other places (back in Europe and its realistic (back in Europe and its realistic novel) would seem safe, stable, novel) would seem safe, stable, ordinary.ordinary.* * baroque = a flamboyant and exaggerated late classical style begun in baroque = a flamboyant and exaggerated late classical style begun in

16th Europe but typical of colonial architecture in Latin America16th Europe but typical of colonial architecture in Latin America

Magic RealismMagic Realism

► So the ultimate effect So the ultimate effect of this new narrative of this new narrative style was to reinvent, style was to reinvent, for very local reasons, for very local reasons, what all great literary what all great literary art worldwide has art worldwide has always tried to do – always tried to do – make us see the make us see the familiar with new familiar with new eyes…eyes…

A set of characteristics A set of characteristics discernible in many of the discernible in many of the

novels of the Boom:novels of the Boom:1.1. The use of complex narrative structures requiring an active reader The use of complex narrative structures requiring an active reader

capable of organizing the narrative matter by him/herself.capable of organizing the narrative matter by him/herself.2.2. The development of linguistic experimentation from:The development of linguistic experimentation from:

► the pursuit of a cultural identity that creates its own reality within the the pursuit of a cultural identity that creates its own reality within the novel (i.e. the universe of Macondo in novel (i.e. the universe of Macondo in One Hundred Years of SolitudeOne Hundred Years of Solitude).).

► to the baroque displays of writers like Carpentier, Lezama Lima, and to the baroque displays of writers like Carpentier, Lezama Lima, and others.others.

3.3. The insistence on the writer's right to create his/her own fictional The insistence on the writer's right to create his/her own fictional reality.reality.► Frequently the problem of literary creation is dealt with as a theme, Frequently the problem of literary creation is dealt with as a theme,

that is, the tendency towards metafiction (self-conscious writing).that is, the tendency towards metafiction (self-conscious writing).

4.4. Historical/Social novels abound: ( i.e. Historical/Social novels abound: ( i.e. The Lost StepsThe Lost Steps, , Pedro Pedro PáramoPáramo, , The Death of Artemio CruzThe Death of Artemio Cruz, , The Time of The HeroThe Time of The Hero, etc.), etc.)

5.5. The exploration of immediate reality to grotesque extremes of The exploration of immediate reality to grotesque extremes of caricature.caricature.► Humour makes its debut in Latin American fiction.Humour makes its debut in Latin American fiction.

A set of characteristics A set of characteristics discernible in many of the discernible in many of the

novels of the Boom:novels of the Boom:6.6. Existential themes are still dealt with, but while ignoring Existential themes are still dealt with, but while ignoring

psychological analysis, and often pursuing mythical or psychological analysis, and often pursuing mythical or allegorical formulations (i.e. allegorical formulations (i.e. Pedro PáramoPedro Páramo, , HopscotchHopscotch, etc.), etc.)

7.7. Rejection of bourgeois – middle class – morality, certain Rejection of bourgeois – middle class – morality, certain conventional social mores, and even the customary way of conventional social mores, and even the customary way of perceiving reality (rationalism).perceiving reality (rationalism).

8.8. Rejection of dominant cultural contexts and models (such Rejection of dominant cultural contexts and models (such High vs. Low culture), especially in younger novelists such as High vs. Low culture), especially in younger novelists such as Manuel Puig, Reinaldo Arenas, Luis Rafael Sánchez, etc. Manuel Puig, Reinaldo Arenas, Luis Rafael Sánchez, etc.

9.9. A tendency to unify different genres: poetry and narrative, A tendency to unify different genres: poetry and narrative, music and narrative, film and narrative.music and narrative, film and narrative.

10.10. Segmentation and fragmentation of narrative structures (i.e.. Segmentation and fragmentation of narrative structures (i.e.. HopscotchHopscotch, , The Kiss of the Spider WomanThe Kiss of the Spider Woman, etc.), etc.)

11.11. The incorporation of popular culture and mass produced The incorporation of popular culture and mass produced cultural artefacts in theme and/or form.cultural artefacts in theme and/or form.

Isabel AllendeIsabel Allende

► Born in Lima, Peru, in 1942 to a Chilean Born in Lima, Peru, in 1942 to a Chilean diplomat who ran away when Allende was 3diplomat who ran away when Allende was 3

► Allende's mother, Panchita Llona Barros, took Allende's mother, Panchita Llona Barros, took her to her grandfather's mansion in Chile, where her to her grandfather's mansion in Chile, where she lived until she was 10she lived until she was 10

► At 19, she married a Chilean engineer and had a At 19, she married a Chilean engineer and had a thriving career as a journalist, writing an advice thriving career as a journalist, writing an advice column and hosting her own TV programcolumn and hosting her own TV program

► Her uncle, Salvador Allende, the first avowed Her uncle, Salvador Allende, the first avowed Marxist to be elected president in a Latin Marxist to be elected president in a Latin American country, was killed in 1973 in a CIA-American country, was killed in 1973 in a CIA-backed military coup that established the backed military coup that established the military dictatorship of General Augusto military dictatorship of General Augusto Pinochet. Shortly after the coup, Isabelle Allende Pinochet. Shortly after the coup, Isabelle Allende fled the country for Venezuela, followed by her fled the country for Venezuela, followed by her husband and children.husband and children.

The House of the SpiritsThe House of the Spirits► On Jan. 8, 1981, Isabel Allende began a letter to On Jan. 8, 1981, Isabel Allende began a letter to

her grandfather, who was nearing 100 and on his her grandfather, who was nearing 100 and on his death bed. “People die”, he had told her, “only death bed. “People die”, he had told her, “only when they are forgotten.”when they are forgotten.”

► After 500 pages, Allende realized she had a novel, After 500 pages, Allende realized she had a novel, not a letter. "Writing a book," she thought, "might not a letter. "Writing a book," she thought, "might hold him to the Earth." She has, for luck, begun all hold him to the Earth." She has, for luck, begun all subsequent books on the same day, each serving subsequent books on the same day, each serving in some way as a spell or a talisman to revive in some way as a spell or a talisman to revive flagging spirits or exorcise demons. "A book," she flagging spirits or exorcise demons. "A book," she has written, "is only a way to touch someone, a has written, "is only a way to touch someone, a bridge extended across loneliness and obscurity." bridge extended across loneliness and obscurity."

► Allende's childhood was the raw material for Allende's childhood was the raw material for The The House of the SpiritsHouse of the Spirits but it put her in the vanguard but it put her in the vanguard of “el boom’s” younger generation of novelists…of “el boom’s” younger generation of novelists…

One Hundred Years of Solitude One Hundred Years of Solitude andand

The House of the Spirits The House of the Spirits : : parallel novelsparallel novelsOne Hundred Years of

SolitudeThe House of the Spirits

Context Written after the triumph of the Written after the triumph of the Cuban revolution (1952)Cuban revolution (1952)

Written after the tragedy of Salvador Written after the tragedy of Salvador Allende’s defeat by military coup Allende’s defeat by military coup (1973)(1973)

Historical themes

Historical cycles in the novel are Historical cycles in the novel are always vicious, inescapable always vicious, inescapable defeatsdefeats

Progressive enlightenment is portrayed Progressive enlightenment is portrayed as a possibility (or even as essential for as a possibility (or even as essential for women)women)

Female protagonis

ts

Ursula Iguarán is the backbone of Ursula Iguarán is the backbone of the Buendía family, but as such the Buendía family, but as such also underpins a patriarchal also underpins a patriarchal societysociety

Clara maintains both family and Clara maintains both family and narrative continuity by constantly narrative continuity by constantly resisting patriarchal societyresisting patriarchal society

Genealogies Lineages are masculine – through Lineages are masculine – through either an Arcadio or an Aurelianoeither an Arcadio or an Aureliano

Lineages are feminine – Nivea to Clara Lineages are feminine – Nivea to Clara to Blanca to Albato Blanca to Alba

Narrative voice The narrator is external, The narrator is external, omniscient and male; and the omniscient and male; and the writing of the book is symbolised writing of the book is symbolised by the magical male Melquíadesby the magical male Melquíades

The family notebooks are kept by The family notebooks are kept by female writers, and all narration is female writers, and all narration is intrinsic to the novel or internalintrinsic to the novel or internal

Identity The repetition of names The repetition of names represents the confusion represents the confusion dominating the lives of charactersdominating the lives of characters

Characters have similar but different Characters have similar but different names because “repeated names sow names because “repeated names sow confusion in notebooks that bear confusion in notebooks that bear witness to life”witness to life”

Style The deadpan style plays up the The deadpan style plays up the use of tricks, illusions and a use of tricks, illusions and a labyrinthine plotlabyrinthine plot

The novel moves very quickly from the The novel moves very quickly from the child’s-eye-view magic of young Clara child’s-eye-view magic of young Clara to a matter-of-fact style that to a matter-of-fact style that eventually achieves a powerful self eventually achieves a powerful self effacing realismeffacing realism

Eva LunaEva Luna► This, Allende’s third novel, was published 6 years after This, Allende’s third novel, was published 6 years after

her first and moves beyond it in several ways:her first and moves beyond it in several ways: The family saga and romance genres of The family saga and romance genres of House of the House of the

Spirits Spirits and and Of Love and ShadowsOf Love and Shadows have been replaced have been replaced by a free adaptation of the Spanish picaresque formby a free adaptation of the Spanish picaresque form

While seemingly located in an anonymous South While seemingly located in an anonymous South American country, Allende has moved her socio-American country, Allende has moved her socio-political setting from the Chile of her childhood and political setting from the Chile of her childhood and youth to the Venezuela of her adult exileyouth to the Venezuela of her adult exile

Though maintaining the feminist concerns of her Though maintaining the feminist concerns of her earlier novels, earlier novels, Eva LunaEva Luna comes closer to the magic comes closer to the magic realism of her male literary forebears than the realism of her male literary forebears than the political pragmatism to which political pragmatism to which House of the Spirits House of the Spirits aspired.aspired.