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The Stories of Eva Luna centers around a recurring motif of Eva Luna as a modern-day Scheherazade. Scheherazade is the talented storyteller and narrator of the classic frame story, One Thousand and One Nights. In that story, Scheherazade tells stories to a cruel king to save her life. In the process, she saves the lives of other women who might be forced to marry the king if he puts her to death. The king resists killing Scheherazade one day at a time because he is so enthralled by her storytelling. Thus her skilled use of language saves her life.
Eva Luna is not in imminent danger of dying in The Stories of Eva Luna, nor is Rolf a tyrant; in her case, Rolf has asked for stories because he wants the comfort of her words, to hear her speak. and to see her in her element. This collection of tales is also a frame story, like One Thousand and One Nights. The Prologue provides the opening for the frame, told from Rolf’s perspective as he asks Eva to tell a story. The final story, which is about Rolf, closes the frame and reinforces Eva’s role as Scheherazade: “I was present when she taught Rolf to pray, and when he distracted her with the stories I had told him in a thousand and one nights beneath the white mosquito netting of our bed” (266). This motif underscores the concept of Language and Storytelling as Tools for Survival; Eva’s stories provide solace and joy for her and Rolf. Then, Rolf shares her stories with Azucena while she is dying, comforting her in her last moments.
Music is a recurring motif throughout the collection. The love of music has a strong influence on the lives of a few notable characters, providing them solace and enabling them to deal with the harsh realities of the world. Maurizia in “Tosca” begins her lifelong devotion to music by playing piano as a child. She’s talented at the piano and disappoints her parents when she shifts to singing opera. Although Maurizia’s singing voice does not match her skill at the piano, it is her true passion. She builds her entire life around her love of opera, singing for her friends and later for the community in Agua Santa. Her investment in the stories told by her favorite opera provides her with the optimism to endure life in the remote oil camp, living in rough conditions far from the luxuries of the city. However, it also motivates her to pursue a romantic fantasy over life with her husband and child. This casts music as a primal force that rivals The Power of Sexuality and Desire in shaping fates, something that can be equally beautiful and destructive.
The “Interminable Life” features the motif of music through the character of Ana Blaum. Music brings Ana and her husband together when they meet in Europe before World War II: “Ana was a violinist in a chamber orchestra [...] she was playing with her eyes closed, and he had fallen in love at first sight” (188). Later, once they move to Latin America and Ana has given up her career, she plays at home each night. The “familiar melodies” comfort them both through a demanding life. Ana’s music parallels her beauty and generosity; it draws her husband to her and sustains them as he dedicates his career to caring for the sick in underserved communities. Ana’s music is a mechanism for resilience, emphasizing the way her strength and support make her husband’s work possible and help to create a good life for them both.
Miracles happen in The Stories of Eva Luna. This motif, a component of Allende’s magical realism, highlights Language and Storytelling as Tools for Survival while also emphasizing the characters’ resilience in the face of adversity.
In “Ester Lucero,” an “absurd miracle” occurs when a doctor from a remote Indigenous tribe heals a man who has been sliced open with “a deep slash that began in the middle of his back and ended at mid-chest" (116), using only herbs, dancing, and words. Years later, Angel Sánchez repeats that same ritual to save the life of Ester Lucero. This story highlights the complexities of using a word like “miracle.” In this case, the word is used by Sánchez himself; likely, the Indigenous doctor would not call his healing a miracle. “Miracle” is often used to describe wondrous events that one doesn’t understand or can’t fully explain; they might have divine or magical roots, or they may not. Allende leaves this question open in “Ester Lucero.” She allows for the concept of a miracle to be a kind of storytelling, a narrative used to explain or understand something fantastic. This use of language allows characters like Angel to access the power of the miracle to survive.
“A Discreet Miracle” features another healing miracle, but this time, it is brought about through the aid of a local Christian saint. Although the Vatican has not yet acknowledged her sainthood, the local community appeals to Juana of the Lilies for aid. Again, Allende does not answer explicitly whether Juana is a saint who can bring about divine miracles. However, Allende describes a faithful community that believes strongly in Juana’s story. Juana’s reputation grows as her story is repeated, thus bringing more people to her grotto to ask for aid. The miracle of her healing powers is a narrative that is shared from person to person until it grows into something larger. Miguel’s eyesight miraculously returns after he and his siblings beseech Juana of the Lilies for her intervention; whatever the root of her powers, a story brings them to her, and healing results.
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By Isabel Allende
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