Instead, Eva Luna’s life proceeds without the scripted education and wealth or professional jobs available to upper-class women. With words, Consuelo does not merely escape reality but lives “words are free,” she instructs her daughter.Įva Luna, the illegitimate daughter of Consuelo and an Indian gardener, whose snakebite Consuelo cures through an ingenious sexual remedy, does not benefit from the status or opportunities many of Allende’s other female characters have enjoyed, including the upperclass heroines of her first two novels, Alba and her relatives in The House of the Spirits and Irene in Of Love and Shadows. Consuelo, a servant woman, exemplifies both the oppression of the lower classes and the lack of freedom for women of her class and time, but she also values a particular type of liberty. Consuelo, whose life has been both harsh and difficult, bequeaths to her daughter the ability to fill silences with words, and with words to create wondrous narratives and experience literally any event she can imagine. Both Eva Luna and her exceptional mother, Consuelo, possess the ability to recreate the world around them, shaping it so that people never really die and unpleasant events may be restructured.
In the character of Eva Luna, Allende adds another element to her usual mix of feminism and social commentary: She explores the nature of storytelling and, to some extent, the nature of reality. Fiction becomes both her reality and her livelihood. In this novel, Allende experiments with a protagonist whose abilities mimic her own: Eva Luna, like her creator, the Chilean author Allende, is a storyteller. Eva Luna, the protagonist of the novel Eva Luna, is not an exception to that rule. The majority of the characters drawn by the writer Isabel Allende (1942– ) possess some special talent or attribute.
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