49 pages • 1 hour read
Isabel Allende, Transl. Margaret Sayers PedenA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Rolf returns to South America to cover the escalating guerilla warfare. Señor Aravena asks him to re-establish contact with Naranjo, now known as Comandante Rogelio. Naranjo oversees the guerilla camp in the mountains, earning the respect and loyalty of his recruits. Rolf tracks down Naranjo through El Negro, and Naranjo agrees to let him film the guerillas. Rolf is blindfolded and taken to the guerilla camp in the mountains, where he lives with Naranjo and his men. Rolf shoots “the only existing [. . . ] film on the guerilla movement of the period before defeat ended the revolutionary dream” (271). He grows to respect Naranjo’s steadfast and courageous leadership. The two emerge from the experience as true friends.
Knowing that his film could endanger the guerillas by exposing their location and plans, Rolf places it in a locked suitcase, which he delivers to La Colonia. Uncle Rupert hides the suitcase under his floorboards.
Eva continues to work at the uniform factory, which is regularly visited by Colonel Tolomeo Rodríguez. Rodríguez notices Eva during one of his inspections and passes her a note asking her to dinner. Eva ignores him, torn between fear and attraction to the man, whose brutal reputation precedes him. Three weeks later, he shows up at her house to invite her in person. This time, Eva accepts. Over dinner, he propositions her despite being married. When Eva turns him down, he furiously vows that he will make her come to him, implying that he could force her if he wanted to.
Eva leaves her factory job, hoping to avoid the Colonel. Mimí buys her a typewriter, and she begins writing a script for a television drama, populated by characters from Consuelo’s stories and from her own life. Mimí arranges an interview with the Director of National Television, Señor Aravena. Aravena is distracted and inattentive to Eva, but infatuated with Mimí, who invites him to a dinner party at their home.
Aravena brings Rolf along to the party. Eva is drawn to him, feeling as though she knows him from the past. The two talk for hours, and Rolf informs her that he will be leaving soon on another assignment. The following week, Aravena agrees to produce Eva’s script despite calling it “a mess.”
Several days of heavy rains flood the city, causing widespread destruction. After the rain stops, the news reports an elderly woman found floating peacefully in a wooden coffin. Eva recognizes the woman as Elvira and rushes to meet her at the flood shelter. They reunite joyfully, and Elvira moves in with Eva and Mimí.
Rolf returns from his assignment to take Eva out for a date. They exchange life stories. Eva is the first person to whom Rolf has revealed the tragedies of his life. He tells her that Katharina died alone in a hospital, and his mother lives by herself in Austria. Eva suggests inventing a happy ending instead. She tells Rolf an alternate story in which Katharina died content and loved, and his mother has found happiness “cultivating her garden and her memories” (295).
A week after the flooding, the army massacres a group of rebelling political prisoners in an Army Operations Center. The government publishes a false account of the massacre, claiming that the death toll resulted from the prisoners fighting among themselves. Rolf obtains the real story from the guards themselves and puts pressure on the government, leading them to publicly denounce the massacre and transfer several guerillas previously held at Fort El Tucán to Santa María.
Eva is contacted by El Negro, who brings her to Naranjo. Naranjo explains that he and the guerillas have formulated a plan to break their comrades out of Santa María. They will steal uniforms from Eva’s former employer and disguise themselves as Army officers to sneak into Santa María. Mimí discourages Eva from participating, cautioning her not to throw away the comfortable lifestyle they have worked so hard for. She believes that “men like Naranjo can’t ever change” (303) and will become corrupt as soon as they gain power. When Eva cannot be swayed, however, Mimí joins the conspirators, drawing Naranjo a map of Santa María from memory.
When Naranjo debates how to get the prisoners out of their cells and into the yard where they can be rescued, Eva remembers the Universal Matter invented by her former patrona.
El Negro drives Eva to the camp of a local Indigenous tribe who have agreed to assist the guerillas. They do not believe in the guerrillas’ lofty promises but want retaliation for the brutality visited on them by the army. They expect retaliation for their role in the escape and have already planned to move deeper into the jungle, hoping the dense flora will shield them. Along the way, they stop in Agua Santa so Eva can visit The Pearl of the Orient. Riad does not recognize Eva—he has remarried to a young teenaged girl. Eva leaves satisfied that he is happy.
At the camp, Eva meets up with arriving guerrillas and is surprised to see Rolf among them. He is there to document the escape at the request of Naranjo.
Together with Rolf and the guerillas, Eva mixes a quantity of Universal Matter to the consistency of bread dough. The plan is to send the “dough” to the prisoners, who will mold it into fake grenades used as leverage to get out of their cells.
After a sleepless night, Eva says goodbye to Naranjo, who warns her that he will have to go into hiding after the escape. She realizes she is no longer in love with him but loves him like a brother. Eva takes a bus back to the city, where she frets about the outcome of the escape attempt and worries that Naranjo and Rolf might be dead. Two days later, Rolf arrives with good news: The fake grenades worked, and the nine guerillas were rescued. He brings Eva to La Colonia to hide out until the uproar has passed.
When news of the escape breaks, the story is heavily altered to frame the guerillas as violent instigators. In truth, the guerillas used the fake grenades to orchestrate their escape without a single drop of bloodshed. Rolf recorded the entire rescue, so he asks Eva to write the real story into her upcoming telenovela and use some of his film. Eva agrees to do so.
Another round of presidential elections takes place, and the opposition candidate defeats the incumbent President. Eva’s telenovela, Bolero, airs, confusing and delighting audiences with its cast of unbelievable characters. Shortly afterward, Eva is called to the office of General Tolomeo Rodriguez. She is afraid, but Rodriguez tells her that he has read the entire Bolero script and is a fan. His only request is that she remove the detail about the grenades made from Universal Matter, because it is “totally unrealistic” (341).
Rodriguez tells Eva that the guerilla movement has been defeated, but the new President is willing to offer amnesty to the remaining fighters if they re-integrate into society. Additionally, he will legally recognize the Communist Party. Rodriguez asks Eva to persuade Naranjo to accept the offer. Eva has a vision of Naranjo working in Congress, “fighting [. . .] the same battles he was now fighting with a rifle” (343) and smiles. Rodriguez asks her if there is still hope for their relationship, but Eva responds that her love for Rolf will last forever.
Rolf returns to the capital for a time to cover the fallout from the escape. His reporting stirs up so much controversy that he is sent back to La Colonia. Upon seeing Eva writing under a eucalyptus tree, he takes her into his arms and kisses her, realizing his love for her. They announce their relationship to the family and are soon married. Eva leaves the outcome of their love story open, writing two different endings: One sad ending in which their love wears out, and one happy ending, in which the pair lives happily ever after.
In this section of the novel, Eva matures as a character. No longer swayed by naïve romantic fantasies, she ends her affair with Naranjo because he cannot see her as a true equal. Her eventual involvement in the plan to rescue the guerrillas defies Naranjo’s assertion that women have no place in war, as the grenades made of Universal Matter are the centerpiece of the successful rescue. Though she has proved her capabilities, Eva knows that the fight for equality “is a war with no end in view.” She resolves to “fight it cheerfully,” rather than spend her days waiting for circumstances to change (264). This resolution encapsulates Eva’s resilient and optimistic character, while also signaling her political awakening after years of indifference.
The guerrillas’ interactions with the Indigenous tribe who helps them enter Santa María reinforce the idea that the revolution’s philosophy of “power to the people” is disingenuous, speaking to Power and the Inevitability of Corruption. The tribe knows that the guerrillas can and will do little to help them; they have experienced “persecution and extermination” (321) for centuries and are resigned to the pattern of being forced off their own land. They have already resolved to retreat deeper into the jungle when the inevitable retribution comes. This measured acceptance of cruelty and determination to continue surviving mirrors Eva’s philosophy.
In these chapters, Allende spotlights the strength of the bonds between Eva Luna’s female characters, creating a thread of female solidarity in The Role of Women in South American Patriarchy. Eva, Elvira and Mimí each care for one another deeply, doing all they can to support one another. Despite differences in their individual circumstances, their shared experience of womanhood forges a deep connection. The ways they uplift one another highlights the importance of community ties and offers a contrast to the idea that womanhood is defined by suffering.
Several key moments in this section demonstrate the theme of Reality and the Power of Storytelling. One is Eva’s conversation with Rolf. When Rolf reveals the tragedy of his sister and mother’s fates, Eva uses her words to create an alternate reality in which Katharina and Frau Carlé are safe, happy, and loved. In doing so, she gives Rolf the happy memories that he has been deprived of.
In the wake of the Santa María rescue, Rolf and Eva recognize the importance of preventing the government from controlling the narrative. Whatever story is told to the public will become their reality and affect the future of their country’s politics. Obfuscating the truth allows the government to maintain the status quo, so it is imperative that they publicize the truth. Eva’s decision to incorporate real events and footage into her telenovela symbolizes the way the entire narrative blends fact with fiction.
Allende again utilizes magical realism in the chapters where Eva writes Bolero, describing a storm of spirits stirred up by Eva’s typewriter. The characters she writes enter reality and leave a mess, which Elvira laments having to clean up. Elvira’s acknowledgement of Eva’s characters proves definitively that there is no longer a clear divide between fiction and reality—at certain moments, they are one and the same.
With the ending of Eva Luna, Allende plays with this idea, acknowledging the irony of a novel about the nature of storytelling. Just as Eva’s writing shapes reality within the narrative, the words Allende writes become her reader’s reality. In telling the story of her marriage to Rolf, Eva directly addresses the fact that the words on the page create the reality of the narrative. She presents two endings, one happy and one sad.
The reader is left uncertain which version of Rolf and Eva’s love story is real. Allende hints at an answer when Eva says that “we can construct reality in the image of our desires” (347). By writing out her happy ending, she brings it into reality.
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