The House of the Spirits by Allende

In fact, one of the things he is finding is the different mien the feminist uses the vocabulary of magical realism and creates a truly powder-puff legendal voice, structure on the prevailing male voice in the fiction of her time.

In The hold of the Spirits, Isabel Allende portrays three strong women set against the fib of Chile from the 1920s to the 1970s. The country in the novel is non named, just the work is thought to be autobiographical in some measure and to reflect the social, cultural, and political realities of Chilean manners during the period covered. The story concerned one powerful family, the Trueba family, and flesh out their tale from the relative peace of the 1920s to the politically mercurial 1970s. thither is no doubt that this is a male-dominated family, with the patriarch, Esteban, being the military group around which the women arrange themselves in a more or less accepting manner, depending on their personal attitudes and the tenor of the times. Esteban is a powerful figure, a man dedicated to success and to his physique of family life and national life, both dominated by a sense of machismo and by a view of women as having their exceptional place in society. He is destined to be a success except in his one great commit to marry Rosa, for she dies before this laughingstock come to pass. Her death is foretold by her younger sister, Clara, a young w

Sanoff, Alvin P. "Modern Politics, Modern Fables." U.S. News & World Report (November 21, 1988), 67.

There is a big platform of reality in everything that I write. I am not inventing anything that is a fairy tale, a total fantasy. The form becomes fantastical, what is called magical realism. The choice of adjectives, the poetic twists yield the writing magical. The realism is just like life (Foehr 14).

This hypothesis passage also indicates that Clara's granddaughter is narrating this novel, a girl some l years later who is looking back to a an preliminary time and trying to recapture some sense of the aside and of the struggle of her grandmother.

The "I" is unnamed, as Antoni notes, and when the "I" disappears and leave the third-person-omniscient point-of-view, the language is that of magical realism and is described as hyperbolic, crowded with metaphor, oxymoron, synesthesia, and personification. This is the "feminine" voice in the text, a voice that is internal and varying and that belongs at one and the comparable time to Clara (in her notebooks) and to Clara's granddaughter, Alba (reading those notebooks). Antoni finds that the novel has a "feminine collective" voice that is focused through Alba but that comes from the three heroines separately and collectively at one and the same time (Antoni 17-18).

Some people can sing; others can run; I can tell stories. Storytelling is a way of preserving the memory of the past and keeping alive legends, myths, superstitions and history that ar not in the textbooks-the real stories of people and countries. I brook tried desperately to do that in all my novels. The House of the Spirits is an attempt to rewrite 70 years of the history of Chile, my native land. That was a very pretentious goal, but I was naive at the time (Sanoff 67).

Women think in foothold of process. For them the journey is more important than the place you get to. I think men are more motivated by their goals. That is the greatest differ
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