Basado en personas y eventos de la vida real, Inés del Alma Mía narra la asombrosa vida de una audaz conquistadora española que trabajaba muy duro para ayudar a construir la nación de Chile, y cuyo papel fundamental ha sido muy seguido descuidado por la historia. Inés Suárez, costurera, nacida en España y en la pobreza, se ve condenada a una vida de trabajo duro sin recompensa o esperanza para el futuro. Es el siglo XVI, el comienzo de la conquista española de las Américas, y cuando su marido perezoso desaparece ...
Basado en personas y eventos de la vida real, Inés del Alma Mía narra la asombrosa vida de una audaz conquistadora española que trabajaba muy duro para ayudar a construir la nación de Chile, y cuyo papel fundamental ha sido muy seguido descuidado por la historia. Inés Suárez, costurera, nacida en España y en la pobreza, se ve condenada a una vida de trabajo duro sin recompensa o esperanza para el futuro. Es el siglo XVI, el comienzo de la conquista española de las Américas, y cuando su marido perezoso desaparece llenándose al Nuevo Mundo, Inés aprovecha la oportunidad para buscarlo como excusa para huir de su sofocante patria y buscar aventuras. Después de un adverso viaje a Perú, se entera de que su marido ha muerto en una batalla. Al poco tiempo ella comienza una historia de amor fogosa con un hombre que cambiará el curso de su vida: Pedro de Valdivia, héroe de guerra y mariscal de campo del famoso Francisco Pizarro. Juntos, Inés y Valdivia construirán la nueva ciudad de Santiago y libraran una guerra sin cuartel contra los indígenas chilenos. La horrible lucha los cambiará para siempre, llevando a cada uno hacia destinos separados.
Aristocratic Chile is vividly evoked in Isabel Allende’s lyrical novels, in which a family’s past and future is linked inextricably with that of its country’s. A writer whose dreamy, imagistic books transport the reader to another time and place, Allende is considered by many to be the heir to Gabriel García Márquez’s lavish magic realism.
In Isabel Allende's books, human beings do not exist merely in the three-dimensional sense. They can exert themselves as memory, as destiny, as spirits without form, as fairy tales. Just as the more mystical elements of Allende's past have shaped her work, so has the hard-bitten reality. Working as a journalist in Chile, Allende was forced to flee the country with her family after her uncle, President Salvador Allende, was killed in a coup in 1973.
Out of letters to family back in Chile came the manuscript that was to become Allende's first novel. Her arrival on the publishing scene in 1985 with The House of the Spirits was instantly recognized as a literary event. The New York Times called it "a unique achievement, both personal witness and possible allegory of the past, present and future of Latin America."
To read a book by Allende is to believe in (or be persuaded of) the power of transcendence, spiritual and otherwise. Her characters are often what she calls "marginal," those who strive to live on the fringes of society. It may be someone like Of Love and Shadows 's Hipolito Ranquileo, who makes his living as a circus clown; or Eva Luna, a poor orphan who is the center of two Allende books (Eva Luna and The Stories of Eva Luna).
Allende's characters have in common an inner fortitude that proves stronger than their adversity, and a sense of lineage that propels them both forward and backward. When you meet a central character in an Allende novel, be prepared to meet a few generations of his or her family. This multigenerational thread drives The House of the Spirits, the tale of the South American Trueba family. Not only did the novel draw Allende critical accolades (with such breathless raves as "spectacular," "astonishing" and "mesmerizing" from major reviewers), it landed her firmly in the magic realist tradition of predecessor (and acknowledged influence) Gabriel García Márquez. Some of its characters also reappeared in the historical novels Portrait in Sepia and Daughter of Fortune.
"It's strange that my work has been classified as magic realism," Allende has said, "because I see my novels as just being realistic literature." Indeed, much of what might be considered "magic" to others is real to Allende, who based the character Clara del Valle in The House of the Spirits on her own reputedly clairvoyant grandmother. And she has drawn as well upon the political violence that visited her life: Of Love and Shadows (1987) centers on a political crime in Chile, and other Allende books allude to the ideological divisions that affected the author so critically.
But all of her other work was "rehearsal," says Allende, for what she considers her most difficult and personal book. Paula is written for Allende's daughter, who died in 1992 after several months in a coma. Like Allende's fiction, it tells Paula's story through that of Allende's own and of her relatives. Allende again departed from fiction in Aphrodite, a book that pays homage to the romantic powers of food (complete with recipes for two such as "Reconciliation Soup"). The book's lighthearted subject matter had to have been a necessity for Allende, who could not write for nearly three years after the draining experience of writing Paula.
Whichever side of reality she is on, Allende's voice is unfailingly romantic and life-affirming, creating mystery even as she uncloaks it. Like a character in Of Love and Shadows, Allende tells "stories of her own invention whose aim [is] to ease suffering and make time pass more quickly," and she succeeds.
Good To Know
Allende has said that the character of Gregory Reeves in The Infinite Plan is based on her husband, Willie Gordon.
Allende begins all of her books on January 8, which she considers lucky because it was the day she began writing a letter to her dying grandfather that later became The House of the Spirits.
She began her career as a journalist, editing the magazine Paula and later contributing to the Venezuelan paper El Nacional.