The Stories of Eva Luna

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Comprised of whispered exchanges between lovers Rolf Carle and Eva Luna, this stunning collection of twenty-three vibrant and enchanting stories from author Isabel Allende looks at the lavishly imagined lives of campesinos and rich landowners, guerrillas and fortune-tellers, and great beauties and tyrants. Love, vengeance nostalgia, compassion, irony - Allende leaves no emotion untouched. These tales are opulently imagined, stirringly told and they once more confirm Allende's place as one of the world's leading ...
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New York 1991 Hardcover First American edition. As New in As New jacket 288 pages. Signed by Author(s) First American edition, first printing. Signed by Allende on the title ... page. Dust jacket design by Wendy Bass. Her fourth book. Translated by Margaret Sayers Peden. As new book in a like dust jacket. A beautiful copy! Read more Show Less

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Overview

Comprised of whispered exchanges between lovers Rolf Carle and Eva Luna, this stunning collection of twenty-three vibrant and enchanting stories from author Isabel Allende looks at the lavishly imagined lives of campesinos and rich landowners, guerrillas and fortune-tellers, and great beauties and tyrants. Love, vengeance nostalgia, compassion, irony - Allende leaves no emotion untouched. These tales are opulently imagined, stirringly told and they once more confirm Allende's place as one of the world's leading writers.
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Editorial Reviews

Publishers Weekly - Publisher's Weekly
The eponymous heroine of Eva Luna returns as the narrator of 23 tales, sumptuous marriages of Chilean writer Allende's earthy characters and her celestial version of magical realism. Although other figures from that novel also reappear (for example, Eva Luna spins her stories at the request of her lover Rolf Carle), this collection is in no sense a sequel: indeed, each piece here can stand alone. Allende's people are warm-blooded, original, memorable. A simple lyricism evokes European emigres to South America; social climbers; outlaws; schoolteachers; Indians; a nearly indefatigable imagination explores the critical moments in these figures' lives. Many of the stories build on the intricate attachments of unlikely lovers, such as a dictator and the foreign woman he abducts or a criminal and a judge's wife. Allende's inventiveness justifies her own comparisons of her literary creation to Scheherazade, and throughout all these short works whispers the mysticism of Eva Luna herself--her well-placed faith in a world of spirits and in the immortality of human love. (Jan.)
Library Journal
Born in Chile but now living in Northern California, Allende is the first female Latin American novelist to become well-known to the American reading public. Her novels-- The House of the Spirits LJ 4/15/85, Of Love and Shadows LJ 5/1/87, and Eva Luna LJ 10/15/88--are frequently compared to those of Gabriel Garcia Marquez. The title character of the third book narrates the 24 stories in this collection, which, though scattered with familiar names, places, and images, is an independent work, not a sequel. Allende employs the techniques of Latin American magical realism to create a vivid world full of humor, passion, pathos, and color. Highly recommended. Previewed in Prepub Alert, LJ 9/1/90.-- Mary Margaret Benson, Linfield Coll . Lib., McMinnville, Ore.
From the Publisher
San Francisco Chronicle Allende again shows her brilliance as a storyteller...[who] grips us from first sentence to last.

The Wall Street Journal Gratifyingly ambitious...truly captivating...There is a richness in this book — and it is, in its finest moments, a richness not only of language but of life.

The Orlando Sentinel Full of grace and passion...love and revenge...enchanting...One could go on reading her stories forever.

Chicago Sun-Times Instantly seductive, richly sensual, and unabashedly romantic.

Leigh Allison Wilson The Washington Post Allende is a real talent, an amazingly prolific one. In her stories there are palpable life and death risks, the risks of passionate love, the risks of passionate belief, of convictions and honor.

Sarah Sheard The Toronto Star The fabulous scale of narrative, the characters as darkly pungent as coffee tinged with blood, charge her stories with a physicality and power that will leave the readers checking for bruises on their thighs.

Gillian Steward The Calgary Herald The stories are like opulent parables...I, for one, sense I will be going back to this book again and again just to be with them.

San Francisco Chronicle An extraordinary fictional potion.

The San Diego Union Isabel Allende always revives one's faith in the intoxicating power of sheer old-fashioned storytelling.

Jane Urquhart Quill & Quire What is most admirable about this collection is Allende's ability to portray a world in which the ordinary and the miraculous, the natural and the supernatural, the political and the particular not only co-exist but actually affect one another.

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Product Details

  • ISBN-13: 9780689121029
  • Publisher: Scribner
  • Publication date: 1/15/1991
  • Pages: 331
  • Product dimensions: 6.40 (w) x 9.54 (h) x 1.31 (d)

Meet the Author

Isabel Allende is the author of The House of the Spirits, Of Love and Shadows, The Infinite Plan, Aphrodite, Daughter of Fortune, and the memoir Paula. Her latest novel is Portrait in Sepia. She lives in Northern California.

Biography

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.

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Read an Excerpt

Prologue

You untied your sash, kicked off your sandals, tossed your full skirt into the corner -- it was cotton, if I remember -- and loosened the clasp that held your hair in a ponytail. You were shivering, and laughing. We were too close to see one another, each absorbed in our urgent rite, enveloped in our shared warmth and scent. You opened to me, my hands on your twisting waist, your hands impatient. You pressed against me, you explored me, you scaled me, you fastened me with your invincible legs, you said a thousand times, come, your lips on mine. In the final instant we glimpsed absolute solitude, each lost in a blazing chasm, but soon we returned from the far side of that fire to find ourselves embraced amid a riot of pillows beneath white mosquito netting. I brushed your hair back to look into your eyes. Sometimes you sat beside me, your legs pulled up to your chin and your silk shawl over one shoulder in the silence of the night that had barely begun. That is how I remember you, in stillness.

You think in words, for you, language is an inexhaustible thread you weave as if life were created as you tell it. I think in the frozen images of a photograph. Not an image on a plate, but one traced by a fine pen, a small and perfect memory with the soft volumes and warm colors of a Renaissance painting, like an intention captured on grainy paper or cloth. It is a prophetic moment, it is our entire existence, all we have lived and have yet to live, all times in one time, without beginning or end. From an indefinite distance I am looking at that picture, which includes me. I am spectator and protagonist. I am in shadow, veiled by the fog of atranslucent curtain. I know I am myself, but I am also this person observing from outside. I know what the man on the rumpled bed is feeling, in a room with dark beams arching toward a cathedral ceiling, a scene that resembles a fragment from some ancient ceremony. I am there with you but also here, alone, in a different frame of consciousness. In the painting, the couple is resting after making love, their skin gleams moistly. The man's eyes are closed, one hand is on his chest and the other on her thigh, in intimate complicity. That vision is recurrent and immutable, nothing changes: always the same peaceful smile on the man's face, always the woman's languor, the same folds in the sheets, the same dark corners of the room, always the lamplight strikes her breasts and cheekbones at the same angle, and always the silk shawl and the dark hair fall with the same delicacy.

Every time I think of you, that is how I see you, how I see us, frozen for all time on that canvas, immune to the fading of memory. I spend immeasurable moments imagining myself in that scene, until I feel I am entering the space of the photograph and am no longer the man who observes but the man lying beside the woman. Then the quiet symmetry of the picture is broken and I hear voices very close to my ear.

"Tell me a story," I say to you.

"What about?"

"Tell me a story you have never told anyone before. Make it up for me."

Rolf Carlé

Copyright © 1989 by Isabel Allende

First Story

She went by the name of Belisa Crepusculario, not because she had been baptized with that name or given it by her mother, but because she herself had searched until she found the poetry of "beauty" and "twilight" and cloaked herself in it. She made her living selling words. She journeyed through the country from the high cold mountains to the burning coasts, stopping at fairs and in markets where she set up four poles covered by a canvas awning under which she took refuge from the sun and rain to minister to her customers. She did not have to peddle her merchandise because from having wandered far and near, everyone knew who she was. Some people waited for her from one year to the next, and when she appeared in the village with her bundle beneath her arm, they would form a line in front of her stall. Her prices were fair. For five centavos she delivered verses from memory, for seven she improved the quality of dreams, for nine she wrote love letters, for twelve she invented insults for irreconcilable enemies. She also sold stories, not fantasies but long, true stories she recited at one telling, never skipping a word. This is how she carried news from one town to another. People paid her to add a line or two: our son was born, so-and-so died, our children got married, the crops burned in the field. Wherever she went a small crowd gathered around to listen as she began to speak, and that was how they learned about each others' doings, about distant relatives, about what was going on in the civil war. To anyone who paid her fifty centavos in trade, she gave the gift of a secret word to drive away melancholy. It was not the same word for everyone, naturally, because that would have been collective deceit. Each person received his or her own word, with the assurance that no one else would use it that way in this universe or the Beyond.

Belisa Crepusculario had been born into a family so poor they did not even have names to give their children. She came into the world and grew up in an inhospitable land where some years the rains became avalanches of water that bore everything away before them and others when not a drop fell from the sky and the sun swelled to fill the horizon and the world became a desert. Until she was twelve, Belisa had no occupation or virtue other than having withstood hunger and the exhaustion of centuries. During one interminable drought, it fell to her to bury four younger brothers and sisters, when she realized that her turn was next, she decided to set out across the plains in the direction of the sea, in hopes that she might trick death along the way. The land was eroded, split with deep cracks, strewn with rocks, fossils of trees and thorny bushes, and skeletons of animals bleached by the sun. From time to time she ran into families who, like her, were heading south, following the mirage of water. Some had begun the march carrying their belongings on their back or in small carts, but they could barely move their own bones, and after a while they had to abandon their possessions. They dragged themselves along painfully, their skin turned to lizard hide and their eyes burned by the reverberating glare. Belisa greeted them with a wave as she passed, but she did not stop, because she had no strength to waste in acts of compassion. Many people fell by the wayside, but she was so stubborn that she survived to cross through that hell and at long last reach the first trickles of water, fine, almost invisible threads that fed spindly vegetation and farther down widened into small streams and marshes.

Belisa Crepusculario saved her life and in the process accidentally discovered writing. In a village near the coast, the wind blew a page of newspaper at her feet. She picked up the brittle yellow paper and stood a long while looking at it, unable to determine its purpose, until curiosity overcame her shyness. She walked over to a man who was washing his horse in the muddy pool where she had quenched her thirst.

"What is this?" she asked.

"The sports page of the newspaper," the man replied, concealing his surprise at her ignorance.

The answer astounded the girl, but she did not want to seem rude, so she merely inquired about the significance of the fly tracks scattered across the page.

"Those are words, child. Here it says that Fulgencio Barba knocked out El Negro Tiznao in the third round."

That was the day Belisa Crepusculario found out that words make their way in the world without a master, and that anyone with a little cleverness can appropriate them and do business with them. She made a quick assessment of her situation and concluded that aside from becoming a prostitute or working as a servant in the kitchens of the rich there were few occupations she was qualified for. It seemed to her that selling words would be an honorable alternative. From that moment on, she worked at that profession, and was never tempted by any other. At the beginning, she offered her merchandise unaware that words could be written outside of newspapers. When she learned otherwise, she calculated the infinite possibilities of her trade and with her savings paid a priest twenty pesos to teach her to read and write, with her three remaining coins she bought a dictionary. She poured over it from A to Z and then threw it into the sea, because it was not her intention to defraud her customers with packaged words.

One August morning several years later, Belisa Crepusculario was sitting in her tent in the middle of a plaza, surrounded by the uproar of market day, selling legal arguments to an old man who had been trying for sixteen years to get his pension. Suddenly she heard yelling and thudding hoofbeats. She looked up from her writing and saw, first, a cloud of dust, and then a band of horsemen come galloping into the plaza. They were the Colonel's men, sent under orders of El Mulato, a giant known throughout the land for the speed of his knife and his loyalty to his chief. Both the Colonel and El Mulato had spent their lives fighting in the civil war, and their names were ineradicably linked to devastation and calamity. The rebels swept into town like a stampeding herd, wrapped in noise, bathed in sweat, and leaving a hurricane of fear in their trail. Chickens took wing, dogs ran for their lives, women and children scurried out of sight, until the only living soul left in the market was Belisa Crepusculario. She had never seen El Mulato and was surprised to see him walking toward her.

"I'm looking for you," he shouted, pointing his coiled whip at her, even before the words were out, two men rushed her -- knocking over her canopy and shattering her inkwell -- bound her hand and foot, and threw her like a sea bag across the rump of El Mulato's mount. Then they thundered off toward the hills.

Hours later, just as Belisa Crepusculario was near death, her heart ground to sand by the pounding of the horse, they stopped, and four strong hands set her down. She tried to stand on her feet and hold her head high, but her strength failed her and she slumped to the ground, sinking into a confused dream. She awakened several hours later to the murmur of night in the camp, but before she had time to sort out the sounds, she opened her eyes and found herself staring into the impatient glare of El Mulato, kneeling beside her.

"Well, woman, at last you've come to," he said. To speed her to her senses, he tipped his canteen and offered her a sip of liquor laced with gunpowder.

She demanded to know the reason for such rough treatment, and El Mulato explained that the Colonel needed her services. He allowed her to splash water on her face, and then led her to the far end of the camp where the most feared man in all the land was lazing in a hammock strung between two trees. She could not see his face, because he lay in the deceptive shadow of the leaves and the indelible shadow of all his years as a bandit, but she imagined from the way his gigantic aide addressed him with such humility that he must have a very menacing expression. She was surprised by the Colonel's voice, as soft and well-modulated as a professor's.

"Are you the woman who sells words?" he asked.

"At your service," she stammered, peering into the dark and trying to see him better.

The Colonel stood up, and turned straight toward her. She saw dark skin and the eyes of a ferocious puma, and she knew immediately that she was standing before the loneliest man in the world.

"I want to be President," he announced.

The Colonel was weary of riding across that godforsaken land, waging useless wars and suffering defeats that no subterfuge could transform into victories. For years he had been sleeping in the open air, bitten by mosquitoes, eating iguanas and snake soup, but those minor inconveniences were not why he wanted to change his destiny. What truly troubled him was the terror he saw in people's eyes. He longed to ride into a town beneath a triumphal arch with bright flags and flowers everywhere, he wanted to be cheered, and be given newly laid eggs and freshly baked bread. Men fled at the sight of him, children trembled, and women miscarried from fright, he had had enough, and so he had decided to become President. El Mulato had suggested that they ride to the capital, gallop up to the Palace, and take over the government, the way they had taken so many other things without anyone's permission. The Colonel, however, did not want to be just another tyrant, there had been enough of those before him and, besides, if he did that, he would never win people's hearts. It was his aspiration to win the popular vote in the December elections.

"To do that, I have to talk like a candidate. Can you sell me the words for a speech?" the Colonel asked Belisa Crepusculario.

She had accepted many assignments, but none like this. She did not dare refuse, fearing that El Mulato would shoot her between the eyes, or worse still, that the Colonel would burst into tears. There was more to it than that, however, she felt the urge to help him because she felt a throbbing warmth beneath her skin, a powerful desire to touch that man, to fondle him, to clasp him in her arms.

All night and a good part of the following day, Belisa Crepusculario searched her repertory for words adequate for a presidential speech, closely watched by El Mulato, who could not take his eyes from her firm wanderer's legs and virginal breasts. She discarded harsh, cold words, words that were too flowery, words worn from abuse, words that offered improbable promises, untruthful and confusing words, until all she had left were words sure to touch the minds of men and women's intuition. Calling upon the knowledge she had purchased from the priest for twenty pesos, she wrote the speech on a sheet of paper and then signaled El Mulato to untie the rope that bound her ankles to a tree. He led her once more to the Colonel, and again she felt the throbbing anxiety that had seized her when she first saw him. She handed him the paper and waited while he looked at it, holding it gingerly between thumbs and fingertips.

"What the shit does this say," he asked finally.

"Don't you know how to read?"

"War's what I know," he replied.

She read the speech aloud. She read it three times, so her client could engrave it on his memory. When she finished, she saw the emotion in the faces of the soldiers who had gathered round to listen, and saw that the Colonel's eyes glittered with enthusiasm, convinced that with those words the presidential chair would be his.

"If after they've heard it three times, the boys are still standing there with their mouths hanging open, it must mean the thing's damn good, Colonel" was El Mulato's approval.

"All right, woman. How much do I owe you?" the leader asked.

"One peso, Colonel."

"That's not much," he said, opening the pouch he wore at his belt, heavy with proceeds from the last foray.

"The peso entitles you to a bonus. I'm going to give you two secret words," said Belisa Crepusculario.

"What for?"

She explained that for every fifty centavos a client paid, she gave him the gift of a word for his exclusive use. The Colonel shrugged. He had no interest at all in her offer, but he did not want to be impolite to someone who had served him so well. She walked slowly to the leather stool where he was sitting, and bent down to give him her gift. The man smelled the scent of a mountain cat issuing from the woman, a fiery heat radiating from her hips, he heard the terrible whisper of her hair, and a breath of sweetmint murmured into his ear the two secret words that were his alone.

"They are yours, Colonel," she said as she stepped back. "You may use them as much as you please."

El Mulato accompanied Belisa to the roadside, his eyes as entreating as a stray dog's, but when he reached out to touch her, he was stopped by an avalanche of words he had never heard before; believing them to be an irrevocable curse, the flame of his desire was extinguished.

During the months of September, October, and November the Colonel delivered his speech so many times that had it not been crafted from glowing and durable words it would have turned to ash as he spoke. He travelled up and down and across the country, riding into cities with a triumphal air, stopping in even the most forgotten villages where only the dump heap betrayed a human presence, to convince his fellow citizens to vote for him. While he spoke from a platform erected in the middle of the plaza, El Mulato and his men handed out sweets and painted his name on all the walls in gold frost. No one paid the least attention to those advertising ploys; they were dazzled by the clarity of the Colonel's proposals and the poetic lucidity of his arguments, infected by his powerful wish to right the wrongs of history, happy for the first time in their lives. When the Candidate had finished his speech, his soldiers would fire their pistols into the air and set off firecrackers, and when finally they rode off, they left behind a wake of hope that lingered for days on the air, like the splendid memory of a comet's tail. Soon the Colonel was the favorite. No one had ever witnessed such a phenomenon: a man who surfaced from the civil war, covered with scars and speaking like a professor, a man whose fame spread to every corner of the land and captured the nation's heart. The press focused their attention on him. Newspapermen came from far away to interview him and repeat his phrases, and the number of his followers and enemies continued to grow.

"We're doing great, Colonel," said El Mulato, after twelve successful weeks of campaigning.

But the Candidate did not hear. He was repeating his secret words, as he did more and more obsessively. He said them when he was mellow with nostalgia; he murmured them in his sleep; he carried them with him on horseback; he thought them before delivering his famous speech; and he caught himself savoring them in his leisure time. And every time he thought of those two words, he thought of Belisa Crepusculario, and his senses were inflamed with the memory of her feral scent, her fiery heat, the whisper of her hair, and her sweetmint breath in his ear, until he began to go around like a sleepwalker, and his men realized that he might die before he ever sat in the presidential chair.

"What's got hold of you, Colonel," El Mulato asked so often that finally one day his chief broke down and told him the source of his befuddlement: those two words that were buried like two daggers in his gut.

"Tell me what they are and maybe they'll lose their magic," his faithful aide suggested.

"I can't tell them, they're for me alone," the Colonel replied.

Saddened by watching his chief decline like a man with a death sentence on his head, El Mulato slung his rifle over his shoulder and set out to find Belisa Crepusculario. He followed her trail through all that vast country, until he found her in a village in the far south, sitting under her tent reciting her rosary of news. He planted himself, spraddle-legged, before her, weapon in hand.

"You! You're coming with me," he ordered.

She had been waiting. She picked up her inkwell, folded the canvas of her small stall, arranged her shawl around her shoulders, and without a word took her place behind El Mulato's saddle. They did not exchange so much as a word in all the trip; El Mulato's desire for her had turned into rage, and only his fear of her tongue prevented his cutting her to shreds with his whip. Nor was he inclined to tell her that the Colonel was in a fog, and that a spell whispered into his ear had done what years of battle had not been able to do. Three days later they arrived at the encampment, and immediately, in view of all the troops, El Mulato led his prisoner before the Candidate.

"I brought this witch here so you can give her back her words, Colonel," El Mulato said, pointing the barrel of his rifle at the woman's head. "And then she can give you back your manhood."

The Colonel and Belisa Crepusculario stared at each other, measuring one another from a distance. The men knew then that their leader would never undo the witchcraft of those accursed words, because the whole world could see the voracious-puma eyes soften as the woman walked to him and took his hand in hers.

Copyright © 1989 by Isabel Allende

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Table of Contents

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Introduction

Prologue You untied your sash, kicked off your sandals, tossed your full skirt into the corner -- it was cotton, if I remember -- and loosened the clasp that held your hair in a ponytail. You were shivering, and laughing. We were too close to see one another, each absorbed in our urgent rite, enveloped in our shared warmth and scent. You opened to me, my hands on your twisting waist, your hands impatient. You pressed against me, you explored me, you scaled me, you fastened me with your invincible legs, you said a thousand times, come, your lips on mine. In the final instant we glimpsed absolute solitude, each lost in a blazing chasm, but soon we returned from the far side of that fire to find ourselves embraced amid a riot of pillows beneath white mosquito netting. I brushed your hair back to look into your eyes. Sometimes you sat beside me, your legs pulled up to your chin and your silk shawl over one shoulder in the silence of the night that had barely begun. That is how I remember you, in stillness.

You think in words, for you, language is an inexhaustible thread you weave as if life were created as you tell it. I think in the frozen images of a photograph. Not an image on a plate, but one traced by a fine pen, a small and perfect memory with the soft volumes and warm colors of a Renaissance painting, like an intention captured on grainy paper or cloth. It is a prophetic moment, it is our entire existence, all we have lived and have yet to live, all times in one time, without beginning or end. From an indefinite distance I am looking at that picture, which includes me. I am spectator and protagonist. I am in shadow, veiled by the fog of a translucent curtain. I know I am myself, but I am also this person observing from outside. I know what the man on the rumpled bed is feeling, in a room with dark beams arching toward a cathedral ceiling, a scene that resembles a fragment from some ancient ceremony. I am there with you but also here, alone, in a different frame of consciousness. In the painting, the couple is resting after making love, their skin gleams moistly. The man's eyes are closed, one hand is on his chest and the other on her thigh, in intimate complicity. That vision is recurrent and immutable, nothing changes: always the same peaceful smile on the man's face, always the woman's languor, the same folds in the sheets, the same dark corners of the room, always the lamplight strikes her breasts and cheekbones at the same angle, and always the silk shawl and the dark hair fall with the same delicacy.

Every time I think of you, that is how I see you, how I see us, frozen for all time on that canvas, immune to the fading of memory. I spend immeasurable moments imagining myself in that scene, until I feel I am entering the space of the photograph and am no longer the man who observes but the man lying beside the woman. Then the quiet symmetry of the picture is broken and I hear voices very close to my ear.

"Tell me a story," I say to you.

"What about?"

"Tell me a story you have never told anyone before. Make it up for me."

Rolf Carlé

Copyright © 1989 by Isabel Allende

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Customer Reviews

Average Rating 4.5
( 9 )
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Sort by: Showing all of 9 Customer Reviews
  • Posted May 25, 2010

    I Also Recommend:

    Magic Realism

    This is definitely a book for readers who love Magic Realism. Isabel Allende creates amazing stories and situations, some more dramatic than others but all very creative and very different from each other. She does a great job of incorporating her style that everyone loves. She catches you from the very first tale, "Two Words" in which a girl actually 'sells words'. This book is perfect for those who just want to read a small chapter before bed or have a lot of time to kill but lose interest quickly. It is definitely stand alone, a person does not have to read "Eva Luna" in order to understand this one.

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  • Anonymous

    Posted March 15, 2009

    Very colorful stories.

    This book was filled with stories from the most creative mind.
    - Mind Grasping
    - Surprising
    - Clever
    - Intense
    All these aspects were put into this book with such intelligent thinking. Isabel Allende is one amazing writer who creates different and cultural stories that take you by your chair and make you think about what just went on. The tales in this book are crazy,nail biting,feirce and just ridiculous sometimes, but it works.
    What makes most people keep reading a book?
    A good book gets you hooked in the first sentence. This book does just that. It's jam packed with altered ways to clasp your attention into what's happening.
    The stories of Eva Luna is fascinating book that i think anybody would be fond of.
    The thing i like most about these tall tales is that they are so different fomr each other, each new chapter is like jumping into a new book each time.Legends that tell of made up monsters that make you think it could have been real once apon a time, and myths that make you curious as to just how these things are actually talking place.The characters in this book all portrayed a different aspect of them that made you have respect for them.This book sparked my curiosity because the first little adventure i read kept me reading all the other ones. To me it's so interesting because the stories are either romantic, strange, or just plain interesting to get your head into. There were a few things i did not enjoy in some of the stories. For example there were a couple different scenario's about man handeling or cruelty toward women so maybe the author of this book writes these things to show past experiences. Whatever the case Isabel Allende is a great writer and should pursue in the types of stories such as these.

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  • Anonymous

    Posted July 15, 2008

    Great To Read On Romantic Picnics

    Walk far off the beaten track with companion, carrying your wine, bread and cheese, as if they too were another person on this picnic. Spread out the largest blanket you have in a meadow, or a grassy outcropping overlooking a lake. Breathe deeply and let go of the world. Give your lover a slow kiss, ask him/her to ready the food while you read 'two words'. Think on the passion that directs your soul and body to one person, for however long your passion lasts without waning. Then visit Amadeo Paralta and ask yourself 'Can beauty be a conceptual thing, which exists in the purest mind and soul, while reality may well be the most cruel and unkind to true beauty, the beauty that comes from the heart?'

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  • Anonymous

    Posted April 3, 2006

    A Succession of Fantastical Stories by Allende

    The Stories of Eva Luna are enough to make Scherezade herself blush. A wonderful collection by a master storyteller.

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  • Anonymous

    Posted January 24, 2006

    Hypnotic, Orginal, Wonderfully Written...

    The book has a hypnotic feel to it that would make you refuse to put it down. The stories are sometimes funny, sometimes creepy, sometimes there's a happy ending, and sometimes you would wonder where the heck the end of the story went! Very original and the way Allende describes her characters will make them pop out of the book--no matter how dull your imagination may be! I read this book as an English class requirement and thank heavens to my professor who assigned it! I highly recommend this book to everyone who wants to enjoy a really, really good book without having to understand complicated ideas or heavy english.

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  • Anonymous

    Posted November 17, 2004

    A great book

    I recommend any of her books. This book was so good I didn't want to finish it.

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  • Anonymous

    Posted June 27, 2003

    Magical, Strange Stories of Love

    These hypnotic, strange and poetic stories deal with the darker side of love. In each tale, Isabel Allende paints mini-portraits of men and women who suffer from the twin-disease of passion and obsession. These stories will haunt you long after you've finished reading this book.

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  • Anonymous

    Posted December 15, 2002

    imaginitive

    The first story that hooked me on Allende was "If You Touched My Heart", a great story about a girl that is suduced by a appalingly self-centered man that ends up locking her in a basement for the rest of her life. Allende's imagination is remarkable and is only complimented by her beautifully sensual style of writing.

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  • Anonymous

    Posted March 4, 2010

    No text was provided for this review.

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