Magical Realism in Isabel Allende’s House of the Spirits
Magical Realism in The House of the Spirits
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Magical realism has its roots in Latin American culture. Stories describe wondrous things, born from the strangeness that explorers encountered: fantastic animals, hidden cities, fountains of eternal youth, and trees bearing fruit that provided all men needed for subsistence. The emergence of contemporary Latin American writers who questioned this view led to what became known as magical realism, exemplified by Gabriel García Márquez’s One Hundred Years of Solitude.
Definition
Magical realism flourished in the 1960s and 70s, arising from discrepancies between two coexisting visions in Latin America: the culture of technology and the culture of superstition (e.g., the belief in the magical properties of ants). It also emerged as a reaction against the dictatorial regimes of the time. Magical realism is a stylistic approach that presents the unreal or strange as ordinary and commonplace. It is a literary expression where magic is not meant to evoke emotions but represents an attitude towards reality.
Magical Realism in The House of the Spirits
The Title
The title refers to the spirits Clara invokes and who are present throughout the Trueba family saga. The spirits of the dead act as a metaphor for the memory of those departed, their presence aiding the living. For example, Clara’s spirit helps Alba resist torture, and Esteban Trueba’s appears to calm his chaotic life.
Exaggeration of Reality
The novel blends the ordinary and extraordinary, featuring curses, premonitions, moving objects, and spirits who return to say goodbye. The dead leave behind a story written by Clara and revived through Alba’s narration.
Key Elements of Magical Realism in the Novel
Magical Elements Perceived as Normal
- Clara’s clairvoyance: She predicts Rosa’s death, her own wedding, and even her own demise.
- Communication with spirits: Clara maintains contact with ghosts even after her death, guiding Alba in prison.
- Telekinesis: Clara moves objects with her mind, such as table legs or food while the Mora sisters eat.
- Spiritualism: The Mora sisters share Clara’s spiritualist tendencies, and they encounter others who predict the future and reveal unknown lovers.
Multiple Narrators
- An omniscient third-person narrator tells the story based on Clara’s life journals.
- Esteban Trueba narrates in the first person, editing Clara’s text and offering his perspective.
- Alba writes the epilogue in the first person.
These multiple perspectives enrich the novel and provide insights into Esteban Trueba’s often inexplicable actions.
The Phenomenon of Death
- Characters die and return to life, blurring the line between magic and reality. For instance, Uncle Marcos is presumed dead but reappears alive, only to die again later.
- Clara’s spirit appears to Alba, offering strength and encouragement.
Latin American Setting
The story unfolds in Chile, showcasing the stark contrast between the upper classes in the city and the extreme poverty of those living under landowners in rural areas. This setting provides a backdrop where magic and myth intertwine with real life.