<<Biblioteca Digital del Portal<<Revista Interamericana de Bibliografía (RIB)<<Revista Interamericana de Bibliografía (RIB) 1998, No. II<<Artículo
Colección: Revista Interamericana de Bibliografía (RIB)
1. Patricia Hart has applied the label magical feminism to the novel, defining it as magical realism in a femino-centric work (Hart, 29-30). Rivero sees Allendes protagonist as a figure of Scheherazade, the woman storyteller from Tales from the Arabian Nights, who uses her art to save her life from abjection, poverty and anonymity (Rivero, 145).
2. For a survey of the various currents of feminism thought, see Rosemarie Tongs Feminist Thought: A Comprehensive Introduction.
3. The authors feminist posture, and especially her affirmation of life in the face of its limitations, is also consistent with some of the general trends that have emerged in the post-Boom era in Latin American literature. For a discussion of post-Boom developments see Donald Shaw, Towards a Description of the Post-Boom. Bulletin of Hispanic Studies 66 (1989): 1-12.
4. Isabel Allende, Eva Luna (Barcelona: Plaza & Janes, 1987), 7. Further references are to this edition and will be included in parentheses in the body of the essay.
5. Another celebration of the mother-daughter bond is the effect of the relationship that develops between Eva and Elvira, the black servant woman who acts as her mentor and grandmother-substitute. In the writing of other Third World women the troubled nature of the relationship between mother and daughter is a more common theme. One of the best examples of this is Annie John by Antiguan writer Jamaica Kincaid.