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Eva Luna is the narrator of The Stories of Eva Luna. She is also the protagonist of Allende’s 1987 novel, Eva Luna. In this follow-up to that novel, Eva tells stories to her romantic partner, Rolf. Eva is a talented storyteller, a skill that she develops to help her cope after she witnesses cruelty and poverty early in life.
The Stories of Eva Luna does not include many details about Eva’s past. In some of the stories (like “Clarisa,” “Simple María,” and “Interminable Life”), Eva infuses herself actively into the narrative, describing how she knows the characters and is sometimes involved directly with the events. Through these interjections, it is shared that Eva spent some time as a child being raised by La Señora and the other women at her brothel. We also discover that Eva fostered relationships with adults like the Blaums, searching for a parental relationship that she was otherwise lacking.
Eva’s characterization is furthered by the types of stories that she chooses to tell. Her stories often feature strong women who value their independence and are stubbornly loyal to their loved ones or their visions for their lives. Eva’s stories are also infused with magic and miracles. She is a dreamer who likes stories that reflect not only hard truths about the world but also speak to hope for the future. The observations that Eva makes about couples like the Blaums and Rolf reveal her romantic side; she believes in love and celebrates it when she sees it in others.
Eva’s skill as a storyteller, her love for Rolf, and her addition of magical details are evidence that she is an unreliable narrator. She is not unreliable because she is attempting to lie or deceive, but rather because she uses stories as tools to offer comfort, deliver messages, or celebrate people she cares about. Eva’s perspective and her view of storytelling as a tool mean that her stories aren’t always realistic.
In the Prologue, the reader sees Eva through Rolf’s eyes. He uses words like “invincible” and “urgent” to describe her and is depicted in a long skirt and sandals, which she kicks off joyfully. Her demeanor, clothing, and loose ponytail all characterize her as a woman who enjoys sensory pleasures and is unfussy about her appearance. Rolf sees her as warm, loving, and energetic, full of joie de vivre.
Rolf Carlé is Eva Luna’s romantic interest and the narrator of the Prologue. Rolf asks Eva to tell him stories, inspiring her to tell the tales collected in The Stories of Eva Luna. Rolf’s life is detailed in Eva Luna; the novel features alternating chapters describing Eva’s experiences and then Rolf’s. He is a photographer and works as a TV reporter. Rolf is originally from Austria and was abused by his father before his father was killed. During World War II, Rolf was taken to a concentration camp and forced to bury the dead. The horrors that he witnessed there inspired him to become a journalist so he could share important truths with the world. His resilience and capability in tough situations can be seen in the final story, “And of Clay We Are Created,” where tries to pull Azucena from the mud and then stays with her for days, comforting her as she dies. Rolf is characterized as a deeply empathetic man who is guided by a strong sense of right and wrong.
Rolf’s long-suppressed memories and trauma also resurface during “And of Clay We Are Created,” revealing his ongoing need to process his experiences to find closure. Here, Allende asserts that forgetting or burying trauma is not enough; through Rolf, she shows that healing comes through community and loving relationships. Eva Luna’s commitment to comforting and nurturing him at the end of the book underlines this point.
Riad Halabí is another character who plays an important role in Allende’s previous novel, Eva Luna, and who then reappears in a few of the stories in The Stories of Eva Luna. Halabí lives in the small town of Agua Santa, where Stories 5, 6, 8, and 16 are set. Halabí emigrated from Turkey and runs the main store in Agua Santa. He is a central figure in the community and is characterized by his trustworthiness. When people in town—like Inés in “The Schoolteacher’s Guest”—need help, they turn to Halabí. The townspeople, even disreputable characters like Tomas Vargas in “The Gold of Tomas Vargas” trust Halabí:
In fact, the only person Vargas respected was Riad Halabí, the storekeeper. That is why the neighbors came to him when they suspected that Vargas was drunk and out of control, and was beating his wife of his children. When that happened, the Turk left his counter so fast he forgot to close the shop but raced, choked with righteous wrath, to set things right in the Vargas household (51).
In the way he supports his neighbors and is trusted to do what is right, Halabí is characterized as a stalwart, reliable person. He is also a central figure in Allende’s explorations of justice and the legal system’s failings; he adheres to a moral code and always does what he thinks is right, even when that doesn’t align with the law.
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By Isabel Allende
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Power
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