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Allende, Isabel: Primary Sources

ISABEL ALLENDE: PRIMARY SOURCES

ISABEL ALLENDE (ESSAY DATE 1989)

SOURCE: Allende, Isabel. "Writing as an Act of Hope." In Paths of Resistance: The Art and Craft of the Political Novel, edited by William Zinsser, pp. 39-63. Boston: Houghton Mifflin, 1989.

In the following essay, Allende discusses her reasons for writing, the lessons she hopes her novels teach, and the marginality that women writers face.

In every interview during the last few years I encountered two questions that forced me to define myself as a writer and as a human being: Why do I write? And who do I write for? Tonight I will try to answer those questions.

In 1981, in Caracas, I put a sheet of paper in my typewriter and wrote the first sentence of The House of the Spirits : "Barabbas came to us by sea." At that moment I didn't know why I was doing it, or for whom. In fact, I assumed that no one would ever read it except my mother, who reads everything I write. I was not even conscious that I was writing a novel. I thought I was writing a letter—a spiritual letter to my grandfather, a formidable old patriarch, whom I loved dearly. He had reached almost one hundred years of age and decided that he was too tired to go on living, so he sat in his armchair and refused to drink or eat, calling for Death, who was kind enough to take him very soon.

I wanted to bid him farewell, but I couldn't go back to Chile, and I knew that calling him on the telephone was useless, so I began this letter. I wanted to tell him that he could go in peace because all his memories were with me. I had forgotten nothing. I had all his anecdotes, all the characters of the family, and to prove it I began writing the story of Rose, the fiancée my grandfather had had, who is called Rose the Beautiful in the book. She really existed; she's not a copy from García Márquez, as some people have said.

For a year I wrote every night with no hesitation or plan. Words came out like a violent torrent. I had thousands of untold words stuck in my chest, threatening to choke me. The long silence of exile was turning me to stone; I needed to open a valve and let the river of secret words find a way out. At the end of that year there were five hundred pages on my table; it didn't look like a letter anymore. On the other hand, my grandfather had died long before, so the spiritual message had already reached him. So I thought, "Well, maybe in this way I can tell some other people about him, and about my country, and about my family and myself." So I just organized it a little bit, tied the manuscript with a pink ribbon for luck, and took it to some publishers.

The spirit of my grandmother was protecting the book from the very beginning, so it was refused everywhere in Venezuela. Nobody wanted it—it was too long; I was a woman; nobody knew me. So I sent it by mail to Spain, and the book was published there. It had reviews, and it was translated and distributed in other countries.

In the process of writing the anecdotes of the past, and recalling the emotions and pains of my fate, and telling part of the history of my country, I found that life became more comprehensible and the world more tolerable. I felt that my roots had been recovered and that during that patient exercise of daily writing I had also recovered my own soul. I felt at that time that writing was unavoidable—that I couldn't keep away from it. Writing is such a pleasure; it is always a private orgy, creating and recreating the world according to my own laws, fulfilling in those pages all my dreams and exorcising some of my demons.

But that is a rather simple explanation. There are other reasons for writing.

Six years and three books have passed since The House of the Spirits. Many things have changed for me in that time. I can no longer pretend to be naïve, or elude questions, or find refuge in irony. Now I am constantly confronted by my readers, and they can be very tough. It's not enough to write in a state of trance, overwhelmed by the desire to tell a story. One has to be responsible for each word, each idea. Be very careful: the written word cannot be erased.

I began to receive academic papers from American universities about the symbols in my books, or the metaphors, or the colors, or the names. I'm always very scared by them. I just received three different papers on Barabbas, the dog. One of them says that he symbolizes the innocence of Clara because he accompanies her during her youth, and when she falls in love, symbolically, the dog dies in a pool of blood. That means the sexual act, it seems. The second paper says that the dog represents repression—the militarists—and the third paper says that he is the male part of Clara, the hidden, dark, big beast in her. Well, really, Barabbas was just the dog I had at home. And he was killed as it was told in the book. But of course it sounds much better to answer that Barabbas symbolizes the innocence of Clara, so that's the explanation I give when somebody asks.

Maybe the most important reason for writing is to prevent the erosion of time, so that memories will not be blown away by the wind. Write to register history, and name each thing. Write what should not be forgotten. But then, why write novels? Probably because I come from Latin America, a land of crazy, illuminated people, of geological and political cataclysms—a land so large and profound, so beautiful and frightening, that only novels can describe its fascinating complexity.

A novel is like a window, open to an infinite landscape. In a novel we can put all the interrogations, we can register the most extravagant, evil, obscene, incredible or magnificent facts—which, in Latin America, are not hyperbole, because that is the dimension of our reality. In a novel we can give an illusory order to chaos. We can find the key to the labyrinth of history. We can make excursions into the past, to try to understand the present and dream the future. In a novel we can use everything: testimony, chronicle, essay, fantasy, legend, poetry and other devices that might help us to decode the mysteries of our world and discover our true identity.

For a writer who nourishes himself or herself on images and passions, to be born in a fabulous continent is a privilege. In Latin America we don't have to stretch our imaginations. Critics in Europe and the United States often stare in disbelief at Latin American books, asking how the authors dare to invent those incredible lies of young women who fly to heaven wrapped in linen sheets; of black emperors who build fortresses with cement and the blood of emasculated bulls; of outlaws who die of hunger in the Amazon with bags full of emeralds on their backs; of ancient tyrants who order their mothers to be flogged naked in front of the troops and modern tyrants who order children to be tortured in front of their parents; of hurricanes and earthquakes that turn the world upside down; of revolutions made with machetes, bullets, poems and kisses; of hallucinating landscapes where reason is lost.

It is very hard to explain to critics that these things are not a product of our pathological imaginations. They are written in our history; we can find them every day in our newspapers. We hear them in the streets; we suffer them frequently in our own lives. It is impossible to speak of Latin America without mentioning violence. We inhabit a land of terrible contrasts and we have to survive in times of great violence.

Contrast and violence, two excellent ingredients for literature, although for us, citizens of that reality, life is always suspended from a very fragile thread.

The first, the most naked and visible form of violence is the extreme poverty of the majority, in contrast with the extreme wealth of the very few. In my continent two opposite realities coexist. One is a legal face, more or less comprehensible and with a certain pretension to dignity and civilization. The other is a dark and tragic face, which we do not like to show but which is always threatening us. There is an apparent world and a real world—nice neighborhoods where blond children play on their bicycles and servants walk elegant dogs, and other neighborhoods, of slums and garbage, where dark children play naked with hungry mutts. There are offices of marble and steel where young executives discuss the stock market, and forgotten villages where people still live and die as they did in the Middle Ages. There is a world of fiction created by the official discourse, and another world of blood and pain and love, where we have struggled for centuries.

In Latin America we all survive on the borderline of those two realities. Our fragile democracies exist as long as they don't interfere with imperialist interests. Most of our republics are dependent on submissiveness. Our institutions and laws are inefficient. Our armed forces often act as mercenaries for a privileged social group that pays tribute to transnational enterprises. We are living in the worst economic, political and social crisis since the conquest of America by the Spaniards. There are hardly two or three leaders in the whole continent. Social inequality is greater every day, and to avoid an outburst of public rancor, repression also rises day by day. Crime, drugs, misery and ignorance are present in every Latin American country, and the military is an immediate threat to society and civil governments. We try to keep straight faces while our feet are stuck in a swamp of violence, exploitation, corruption, the terror of the state and the terrorism of those who take arms against the status quo.

But Latin America is also a land of hope and friendship and love. Writers navigate in these agitated waters. They don't live in ivory towers; they cannot remove themselves from this brutal reality. In such circumstances there is no time and no wish for narcissistic literature. Very few of our writers contemplate their navel in self-centered monologue. The majority want desperately to communicate.

I feel that writing is an act of hope, a sort of communion with our fellow men. The writer of good will carries a lamp to illuminate the dark corners. Only that, nothing more—a tiny beam of light to show some hidden aspect of reality, to help decipher and understand it and thus to initiate, if possible, a change in the conscience of some readers. This kind of writer is not seduced by the mermaid's voice of celebrity or tempted by exclusive literary circles. He has both feet planted firmly on the ground and walks hand in hand with the people in the streets. He knows that the lamp is very small and the shadows are immense. This makes him humble.

But just as we should not believe that literature gives us any sort of power, neither should we be paralyzed by false modesty. We should continue to write in spite of the bruises and the vast silence that frequently surrounds us. A book is not an end in itself; it is only a way to touch someone—a bridge extended across a space of loneliness and obscurity—and sometimes it is a way of winning other people to our causes.

I believe in certain principles and values: love, generosity, justice. I know that sounds old-fashioned. However, I believe in those values so firmly that I'm willing to provoke some scornful smiles. I'm sure we have the capacity to build a more gentle world—that doing so is our only alternative, because our present equilibrium is very fragile. In literature, we have been told, optimism is dangerous; it flirts with simplicity and is an insurrection against the sacred laws of reason and good taste. But I don't belong to that group of desperate intellectuals. Despair is a paralyzing feeling. It only benefits our enemies.

My second novel, Of Love and Shadows, tells about the desaparecidos, "the disappeared ones." It's based on a political massacre that took place in Chile in 1973 during the military coup that put an end to 150 years of democracy. The novel denounces repression and the impunity of the murderers, and it had a warm reception from most readers and critics. But it also drew some strong attacks. Some said it was too political and sentimental and not very objective, as if one could be objective about the crimes of a dictatorship. Maybe these critics would have forgiven me, as other writers have been forgiven, if the book had only been a story of horror and bitterness. They didn't like the fact that in the novel solidarity and hope prevail over death and torture. If the main characters, Irene and Francisco, had died in a torture chamber, or at least if the violent experiences they endured had drowned them in despair and destroyed forever their capacity to love and to dream, these critics might have been more tolerant. Evidently it's hard to accept in literature that love can be stronger than hatred, although it frequently is in life.

If my books are going to be classified as political, I hope readers will find out that they are not political for ideological reasons only, but for other, more subtle considerations. They are political precisely because Alba Trueba, in The House of the Spirits, who has been raped, tortured and mutilated, is able to reconcile herself with life; because Irene and Francisco, in Of Love and Shadows, make love in spite of terror; because in my third novel, Eva Luna, Eva defeats the odds of her fate with generosity and candor; because these characters search for truth and have the courage to risk their lives.

I suppose I have the secret ambition to become a great writer, to be able to create stories that will resist the passage of time and the judgment of history. Yes, I know, it's terribly pretentious! But I'm more interested in touching my readers—as many of them as possible—on a spiritual and emotional level. To do this from a feminine point of view is a beautiful challenge in the society I live in. The political literature that some women writers have begun to create is so revolutionary that no wonder many critics are scared. Women are questioning the set of values that have sustained human society since the first apes stood on their feet and raised their eyes to the sky. After centuries of silence, women are taking by assault the exclusive male club of literature. Some women have done it before, of course, struggling against formidable obstacles. But now half of the novels published in Europe and the United States are written by women. Our sisters are using the cutting edge of words to change the rules we have always had to obey. Until now, humankind has organized itself according to certain principles that are considered part of nature: we are all born (it has been said) with some original sin; we are basically evil, and without the strict control of religion and laws we would devour each other like cannibals; authority, repression and punishment are necessary to keep us in line. According to these theories, the best proof of our perverse nature is that the world is what it is—a round rock lost in the cosmic nightmare, where abuse, war, inequality and hatred prevail.

But a small group of women and young men are now making the most astonishing statements. Fortunately, most of them work in the best universities, so even if they are only a few, their voices have great impact. These people are questioning everything, starting with our own image as human beings. Until now, men have decided the destiny of this suffering planet, imposing ambition, power and individualism as virtues. (They don't admit this, of course; it is more eloquent to speak of peace and cooperation.) These values are also present in literature. Critics, most of them men, as you probably can guess, have determined what is good in literature—what is valuable or artistic, according to our aesthetic, intellectual and moral patterns—leaving aside the feminine half of the human race, whose opinions on this or any other matter don't interest them.

I think it's time to revise this situation. But it is not the Old Guard who will do it. It will be done by women and by young men who have nothing to lose and therefore have no fear.

In the process of analyzing books, critics have exalted all kinds of literary experiments, some of them quite unbearable. How many books have you tried to read lately and haven't gotten past page fifteen because they were simply boring? Flamboyant literary techniques win awards even though the subject is deplorable. The worst vices are glorified if the writing is elegant. Lies, bitterness and arrogance are forgiven if the language is original and the author already has his laurels. Pessimism is in fashion.

But many novels that don't fit that pattern are now being written by women and by some brave men, not all of them young—for example, García Márquez, who wrote that incredible and sentimental book Love in the Time of Cholera, which is a sort of magnificent soap opera about two old people who fall in love, and they love each other for eighty years. It's wonderful.

Those writers are shaking the literary world nowadays because they propose a completely new set of values. They don't accept the old rules anymore. They are willing to examine every-thing—to invent all over again and to express other ethical and aesthetic values; not always to replace the prevailing ones, but to complement them. It's not a question of changing male chauvinism for militant feminism, but of giving both women and men a chance to become better people and to share the heavy burden of this planet. I believe that this is the true political literature of our time.

All political systems, even revolutions, have been created and directed by men, always within the patriarchal regime. Important philosophical movements have tried to change man and society, but without touching the basis of human relations—that is, inequality of the sexes. Men writers of all periods have written political literature, from Utopia to parody, but feminine values have been scorned and women have been denied a voice to express them.

Now, finally, women are breaking the rule of silence and raising a strong voice to question the world. This is a cataclysm. It is a new literature that dares to be optimistic—to speak of love in opposition to pornography, of compassion against cruelty. It is a literature that's not afraid of colloquial language, of being sentimental if necessary; a literature that searches the spiritual dimension of reality, that accepts the unknown and the unexplainable, confusion and terror; a literature that has no answers, only questions; a literature that doesn't invent history or try to explain the world solely with reason, but also seeks knowledge through feelings and imagination. Maybe, this literature says, it's not true that we are perverse and evil. Maybe the idea of original sin is just a terrible mistake. Maybe we are not here to be punished, because the gods love us and are willing to give us a chance to decipher the clues and trace new paths.

The effect of these books is hard to measure, because the old instruments are no longer useful. Probably the strongest literature being written nowadays is by those who stand unsheltered by the system: blacks, Indians, homosexuals, exiles and, especially, women—the crazy people of the world, who dare to believe in their own force. We dare to think that humanity is not going to destroy itself, that we have the capacity to reach an agreement, not only for survival but also to achieve happiness. That is why we write—as an act of human solidarity and commitment to the future. We want to change the rules, even if we won't live long enough to see the results. We have to make real revolutions of the spirit, of values, of life. And to do so we have to begin dreaming them.

So I will continue to write: about two lovers embracing in the moonlight, near an abandoned mine where they have found the bodies of fifteen peasants, murdered by the military. Or about raped women and tortured men and families who sell themselves as slaves because they are starving. And also—why not?—about golden sunsets and loving mothers and poets who die of love. I want to tell stories and say, for example, that I care more for the free man than the free enterprise, more for solidarity than charity. I want to say that it's more important for me to share than to compete. And I want to write about the necessary changes in Latin America that will enable us to rise from our knees after five centuries of humiliations.

Much skill will be needed to write about these things eloquently. But with patience and hard work I hope to acquire that skill. I suppose I'm being very ambitious. Well, most writers are, even women writers.

Now, for whom do I write?

When I face a clean sheet of paper, I don't think of a large audience or of the people who would raise their knives to cut me in pieces. If I did, terror would paralyze me. Instead, when I write, a benevolent image comes to my mind—that of Alexandra Jorquera, a young woman who lives in Chile whom I scarcely know. She has read my books so many times that she can repeat paragraphs by heart. In fact, she knows them better than I do. She quotes me and I don't know she's quoting me. Once she told me that she had discovered in my books the history of Chile that is denied by the official textbooks of the dictator-ship—the forbidden and secret history that nevertheless is still alive in the memories of most Chileans.

This is the best compliment my work has ever received. For the sake of this girl I am very demanding with my writing. Sometimes, tempted by the beauty of a sentence, I am about to betray the truth, and then Alexandra comes to my mind and I remember that she, and others like her, don't deserve that. At other times I'm too explicit, too near the pamphlet. But then I step back, thinking she doesn't deserve that either—to be underestimated. And when I feel helpless against brutality and suffering, her candid face brings back my strength. All writers should have a reader like her, waiting for their words. They would never feel lonely, and their work would have a new and shining dimension.

In Latin America today, 50 percent of the population is illiterate. Among those who can read and write, only very few can buy books, and among those who can buy books, very few have the habit of reading. What, then, is the importance of a book in Latin America? None, would be the reasonable answer. But it's not exactly that way. For some strange reason, the written word has a tremendous impact in that illiterate continent. The totalitarian regimes have persecuted, tortured, sent into exile and murdered many writers. This is not an accident; dictators don't make mistakes in these details. They know that a book can be dangerous for them. In our countries most of the press is controlled by private enterprises or by inefficient governments. Eduardo Galeano, the great writer from Uruguay, puts it bluntly: "Almost all mass media promote a colonialistic culture, which justifies the unjust organization of the world as a result of the legitimate victory of the best—that is, the strongest. They lie about the past and about reality. They propose a lifestyle which postulates consumerism as an alternative to communism, which exalts crime as achievement, lack of scruples as virtue, and selfishness as a natural requirement."

What can writers do against this persistent and powerful message? The first thing we should try to do is write clearly. Not simply—that only works with soap advertising; we don't have to sacrifice aesthetics for the sake of ethics. On the contrary, only if we are able to say it beautifully can we be convincing. Most readers are perfectly able to appreciate subtleties and poetic twists and symbols and metaphors. We should not write with a paternalistic attitude, as if readers were simpleminded, but we should also beware of elaborate and unnecessary ornamentation, which frequently hides a lack of ideas. It has been said that we Spanish-speaking people have the vice of empty words, that we need six hundred pages to say what would be better told in fifty.

The opportunity to reach a large number of readers is a great responsibility. Unfortunately, it is hard for a book to stand against the message of the mass media; it's an unfair battle. Writers should therefore look for other forms of expressing their thoughts, avoiding the prejudice that only in books can they make literature. All means are legitimate, not only the cultivated language of academia but also the direct language of journalism, the mass language of radio, television and the movies, the poetic language of popular songs and the passionate language of talking face to face with an audience. These are all forms of literature. Let us be clever and use every opportunity to introduce ourselves in the mass media and try to change them from within.

In Venezuela, José Ignacio Cabrujas, a playwright and novelist, one of the most brilliant intellectuals of the country, writes soap operas. These shows are the most important cultural phenomenon in Latin America. Some people watch three or four a day, so you can imagine how important that kind of writing is. Cabrujas doesn't elude reality. His soap operas show a world of contrasts. He presents problems such as abortion, divorce, machismo, poverty and crime. The result is quite different from "Dynasty." But it's also very successful.

I tried to put some of that soap opera stuff in Eva Luna, because I'm fascinated by that version of reality. The ladies on TV wear false eyelashes at eleven in the morning. The difference between rich and poor is that the rich wear cocktail gowns all the time and the poor have their faces painted black. They all go blind or become invalids and then they recover. Just like real life!

Many of the most important Latin American writers have been journalists, and they go back to it frequently because they are aware that their words in a newspaper or on the radio reach an audience that their books can never touch. Others write for the theater or the movies, or write lyrics for popular songs. All means are valid if we want to communicate and don't presume to be writing only for an educated elite or for literary prizes.

In Latin America a book is almost a luxury. My hairdresser calls me Dr. Allende because I usually carry a book, and she probably thinks that a doctorate is the minimum prerequisite for such an extravagance. In Chile a novel of three hundred pages can cost the equivalent of a laborer's monthly wages. In some other countries—like Haiti, for example—85 percent of the population is illiterate. Elsewhere in Latin America, nothing is published in the Indian languages of the majority. Many publishers have been ruined by the economic crisis, and the price of books imported from Spain is very high.

However, we should not despair. There is some hope for the spirit. Literature has survived even in the worst conditions. Political prisoners have written stories on cigarette paper. In the wars of Central America, little soldiers, fourteen years old, write poetry in their school notebooks. The Pieroa Indians, those who haven't yet been exterminated by the genocide being carried out against the aborigines of the Amazon, have published some legends in their language.

In my continent, writers often have more prestige than they do in any other part of the world. Some writers are considered witch doctors, or prophets, as if they were illuminated by a sort of natural wisdom. Jorge Amado has to spend part of the year away from Brazil in order to write, because people crowd into his house seeking advice. Mario Vargas-Llosa directs the opposition to Alan Garcia's government in Peru. García Márquez is a frequent middleman for Central American presidents. In Venezuela, Arturo Uslar Pietri is consulted on issues like corruption and oil. These writers have interpreted their reality and told it to the world. Some of them even have the gift of foretelling the future and put in words the hidden thoughts of their people, which of course include social and political problems, because it is impossible to write in a crystal bubble, disregarding the conditions of their continent.

No wonder Latin American novels are so often accused of being political.

For whom do I write, finally? Certainly for myself. But mainly for others, even if there are only a few. For those who have no voice and for those who are kept in silence. For my children and my future grandchildren. For Alexandra Jorquera and others like her. I write for you.

And why do I write? García Márquez once said that he writes so that his friends will love him more. I think I write so that people will love each other more. Working with words is a beautiful craft, and in my continent, where we still have to name all things one by one, it has a rich and profound meaning.

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