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NEW YORK TIMES BESTSELLER

In one of the most important and beloved Latin American works of the twentieth century, Isabel Allende weaves a luminous tapestry of three generations of the Trueba family, revealing both triumphs and tragedies. Here is patriarch Esteban, whose wild desires and political machinations are tempered only by his love for his ethereal wife, Clara, a woman touched by an otherworldly hand. Their daughter, Blanca, whose forbidden love for a man Esteban has deemed unworthy infuriates her father, yet will produce his greatest joy: his granddaughter Alba, a beautiful, ambitious girl who will lead the family and their country into a revolutionary future.

The House of the Spirits is an enthralling saga that spans decades and lives, twining the personal and the political into an epic novel of love, magic, and fate.

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Chapter One Rosa the Beautiful Barrabás came to us by sea, the child Clara wrote in her delicate calligraphy. She was already in the habit of writing down important matters, and afterward, when she was mute, she also recorded trivialities, never suspecting that fifty years later I would use her notebooks to reclaim the past and overcome terrors of my own. Barrabás arrived on a Holy Thursday. He was in a despicable cage, caked with his own excrement and urine, and had the lost look of a hapless, utterly defenseless prisoner; but the regal carriage of his head and the size of his frame bespoke the legendary giant he would become. It was a bland, autumnal day that gave no hint of the events that the child would record, which took place during the noon mass in the parish of San Sebastián, with her whole family in attendance. As a sign of mourning, the statues of the saints were shrouded in purple robes that the pious ladies of the congregation unpacked and dusted off once a year from a cupboard of sacristy. Beneath these funereal sheets the celestial retinue resembled nothing so much as a roomful of furniture awaiting movers, an impression that the candles, the incense, and the soft moans of the organ were powerless to counteract. Terrifying dark bundles loomed where the life-size saints had stood, each with its influenza-pale expression, its elaborate wig woven from the hair of someone long dead, its rubies, pearls and emeralds of painted glass, and the rich gown of a Florentine aristocrat. The only one whose appearance was enhanced by mourning was the church's patron saint, Sebastián, for during Holy Week the faithful were spared the sight of that body twisted in the most indecent posture, pierced by arrows, and dripping with blood and tears like a suffering homosexual, whose wounds, kept miraculously fresh by Father Restrepo's brush, made Clara tremble with disgust. It was a long week of penitence and fasting, during which there were no card games and no music that might lead to lust or abandon; and within the limits of possibility, the strictest sadness and chastity were observed, even though it was precisely at this time that the forked tail of the devil pricked most insistently at Catholic flesh. The fast consisted of soft puff pastries, delicious vegetarian dishes, spongy tortillas, and enormous cheeses from the countryside, with which each family commemorated the Passion of the Lord, taking every precaution not to touch the least morsel of meat or fish on pain of excommunication, as Father Restrepo had repeatedly made clear. No one had ever dared to disobey him. The priest was blessed with a long, incriminating finger, which he used to point out sinners in public, and a tongue well schooled in arousing emotions. "There's the thief who steals from the collection box!" he shouted from the pulpit as he pointed to a gentleman who was busying himself with the lint on his lapel so as not to show his face. "And there's the shameless hussy who prostitutes herself down by the docks!" he accused Doña Ester Trueba, disabled by arthritis and a devotee of the Virgin del Carmen, who opened her eyes wide, not knowing the meaning of the word or where the docks were. "Repent, sinners, foul carrion, unworthy of our Lord's great sacrifice! Fast! Do penance!" Carried away by vocational zeal, the priest had all he could do to avoid openly disobeying the instructions of his ecclesiastic superiors, who, shaken by the winds of modernism, were opposed to hair shirts and flagellation. He himself was a firm believer in the value of a good thrashing to vanquish the weaknesses of the soul and was famous for his unrestrained oratory. The faithful followed him from parish to parish, sweating as he described the torments of the damned in hell, the bodies ripped apart by various ingenious torture apparatuses, the eternal flames, the hooks that pierced the male member, the disgusting reptiles that crept up female orificies, and the myriad other sufferings that he wove into his sermons to strike the fear of God into the hearts of his parishioners. Even Satan was described in his most intimate perversions in the Galician accents of this priest whose mission in this world was to rouse the conscience of his indolent Creole flock. Severo del Valle was an atheist and a Mason, but he had political ambitions and could not allow himself the luxury of missing the most heavily attended mass on Sundays and feast days, when everyone would have a chance to see him. His wife, Nívea, preferred to deal with God without benefit of intermediaries. She had a deep distrust of cassocks and was bored by descriptions of heaven, purgatory and hell, but she shared her husband's parliamentary ambitions, hoping that if he won a seat in Congress she would finally secure the vote for women, for which she had fought for the past ten years, permitting none of her numerous pregnancies to get in her way. On this Holy Thursday, Father Restrepo had led his audience to the limits of their endurance with his apocalyptic visions, and Nívea was beginning to feel dizzy. She wondered if she was pregnant again. Despite cleansings with vinegar and spongings with gall, she had given birth to fifteen children, of whom eleven were still alive, but she had good reason to suppose that she was settling into maturity, because her daughter Clara, the youngest of her children, was now ten. It seemed that the force of her astonishing fertility had finally begun to ebb. She was able to attribute her present discomfort to Father Restrepo when he pointed at her to illustrate a point about the Pharisees, who had tried to legalize bastards and civil marriage, thereby dismembering the family, the fatherland, private property, and the Church, and putting women on an equal footing with men--this in open defiance of the law of God, which was most explicit on the issue. Along with their children, Nívea and Severo took up the entire third row of benches. Clara was seated beside her mother, who squeezed her hand impatiently whenever the priest lingered too long on the sins of the flesh, for she knew that this would only lead the child to visualize with even greater accuracy aberrations that transcended reality. Clara was extremely precocious and had inherited the runaway imagination of all the women in her family on her mother's side. This was evident from the questions she asked, to which no one knew the answers. The temperature inside the church had risen, and the penetrating odor of the candles, the incense, and the tightly packed crowd all contributed to Nívea's fatigue. She wished the ceremony would end at once so she could return to her cool house, sit down among the ferns, and taste the pitcher of barley water flavored with almonds that Nana always made on holidays. She looked around at her children. The younger ones were tired and rigid in their Sunday best, and the older ones were beginning to squirm. Her gaze rested on Rosa, the oldest of her living daughters, and, as always, she was surprised. The girl's strange beauty had a disturbing quality that even she could not help noticing, for this child of hers seemed to have been made of a different material from the rest of the human race. Even before she was born, Nívea had known she was not of this world, because she had already seen her in dreams. This was why she had not been surprised when the midwife screamed as the child emerged. At birth Rosa was white and smooth, without a wrinkle, like a porcelain doll, with green hair and yellow eyes--the most beautiful creature to be born on earth since the days of original sin, as the midwife put it, making the sign of the cross. From her very first bath, Nana had washed her hair with camomile, which softened its color, giving it the hue of old bronze, and put her out in the sun with nothing on, to strengthen her skin, which was translucent in the most delicate parts of her chest and armpits, where the veins and secret texture of the muscles could be seen. Nana's gypsy tricks did not suffice, however, and rumors quickly spread that Nívea had borne an angel. Nívea hoped that the successive and unpleasant stages of growth would bring her daughter a few imperfections, but nothing of the sort occurred. On the contrary, at eighteen Rosa was still slender and remained unblemished; her maritime grace had, if anything, increased. The tone of her skin, with its soft bluish lights, and of her hair, as well as her slow movements and silent character, all made one think of some inhabitant of the sea. There was something of the fish to her (if she had had a scaly tail, she would have been a mermaid), but her two legs placed her squarely on the tenuous line between a human being and a creature of myth. Despite everything, the young woman had led a nearly normal life. She had a fiancé and would one day marry, on which occasion the responsibility of her beauty would become her husband's. Rosa bowed her head and a ray of sunlight pierced the Gothic stained-glass windows of the church, outlining her face in a halo of light. A few people turned to look at her and whispered among themselves, as often happened as she passed, but Rosa seemed oblivious. She was immune to vanity and that day she was more absent than usual, dreaming of new beasts to embroider on her tablecloth, creatures that were half bird and half mammal, covered with iridescent feathers and endowed with horns and hooves, and so fat and with such stubby wings that they defied the laws of biology and aerodynamics. She rarely thought about her fiancé, Esteban Trueba, not because she did not love him but because of her forgetful nature and because two years' absence is a long time. He was working in the mines in the North. He wrote to her regularly and Rosa sometimes replied, sending him lines of poetry and drawings of flowers she had copied out on sheets of parchment paper. Through this correspondence, which Nívea violated with impunity at regular intervals, she learned about the hazards of a miner's life, always dreading avalanches, pursuing elusive veins, asking for credit against good luck that was still to come, and trusting that someday he would strike a marvelous seam of gold that would allow him to become a rich man overnight and return to lead Rosa by the arm to the altar, thus becoming the happiest man in the universe, as he always wrote at the end of his letters. Rosa, however, was in no rush to marry and had all but forgotten the only kiss they had exchanged when they said goodbye; nor could she recall the color of her tenacious suitor's eyes. Because of the romantic novels that were her only reading matter, she liked to picture him in thick-soled boots, his skin tanned from the desert winds, clawing the earth in search of pirates' treasure, Spanish doubloons, and Incan jewels. It was useless for Nívea to attempt to convince her that the wealth of mines lay in rocks, because to Rosa it was inconceivable that Esteban Trueba would spend years piling up boulders in the hope that by subjecting them to God only knew what wicked incinerating processes, they would eventually spit out a gram of gold. Meanwhile she awaited him without boredom, unperturbed by the enormous task she had taken upon herself: to embroider the largest tablecloth in the world. She had begun with dogs, cats, and butterflies, but soon her imagination had taken over, and her needle had given birth to a whole paradise filled with impossible creatures that took shape beneath her father's worried eyes. Severo felt that it was time for his daughter to shake off her lethargy, stand firmly in reality, and learn the domestic skills that would prepare her for marriage, but Nívea thought differently. She preferred not to torment her daughter with earthly demands, for she had a premonition that her daughter was a heavenly being, and that she was not destined to last very long in the vulgar traffic of this world. For this reason she left her alone with her embroidery threads and said nothing about Rosa's nightmarish zoology. A bone in Nívea's corset snapped and the point jabbed her in the ribs. She felt she was choking in her blue velvet dress, with its high lace collar, its narrow sleeves, and a waist so tight that when she removed her belt her stomach jumped and twisted for half an hour while her organs fell back in place. She had often discussed this with her suffragette friends and they had all agreed that until women shortened their dresses and their hair and stopped wearing corsets, it made no difference if they studied medicine or had the right to vote, because they would not have the strength to do it, but she herself was not brave enough to be among the first to give up the fashion. She noticed that the voice from Galicia had ceased hammering at her brain. They were in one of those long breaks in the sermon that the priest, a connoisseur of unbearable silences, used with frequency and to great effect. His burning eyes glanced over the parishioners one by one. Nívea dropped Clara's hand and pulled a handkerchief from her sleeve to blot the drop of sweat that was rolling down her neck. The silence grew thick, and time seemed to stop within the church, but no one dared to cough or shift position, so as not to attract Father Restrepo's attention. His final sentences were still ringing between the columns. Just at that moment, as Nívea would recall years later, in the midst of all that anxiety and silence, the voice of little Clara was heard in all its purity. "Psst! Father Restrepo! If that story about hell is a lie, we're all fucked, aren't we. . . ." The Jesuit's index finger, which was already raised to illustrate additional tortures, remained suspended like a lightning rod above his head. People stopped breathing, and those whose heads had been nodding suddenly woke up. Señor and Señora del Valle were the first to react. They were swept by panic as they saw their children fidget nervously. Severo understood that he must act before collective laughter broke out around them or some divine cataclysm occurred. He grabbed his wife by the arm and Clara by the neck and walked out dragging them behind him with enormous strides, followed by his other children, who stampeded toward the door. They managed to escape before the priest could summon a ray of lightning to turn them all into pillars of salt, but from the threshold they could hear his dreadful voice of offended archangel. Excerpted from The House of the Spirits by Isabel Allende All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

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Booklist Review

Just as Morrison's novel uses a family's multigenerational history to evoke the inextricable melding of pain and joy that is black culture, so Allende looks at the dramatic sweep of Latin American history through the context of one vibrant but troubled family.

Notas de autor provistas por Syndetics

Isabel Allende was born in 1942 in Lima, Peru, the daughter of a Chilean diplomat. When her parents separated, young Isabel moved with her mother to Chile, where she spent the rest of her childhood. She married at the age of 19 and had two children, Paula and Nicolas. Her uncle was Salvador Allende, the president of Chile. When he was overthrown in the coup of 1973, she fled Chile, moving to Caracas, Venezuela.

While living in Venezuela, Allende began writing her novels, many of them exploring the close family bonds between women. Her first novel, The House of the Spirits, has been translated into 27 languages, and was later made into a film. She then wrote Of Love and Shadows, Eva Luna, and The Stories of Eva Luna, all set in Latin America. The Infinite Plan was her first novel to take place in the United States. She explores the issues of human rights and the plight of immigrants and refugees in her novel, In The Midst of Winter. In Paula, Allende wrote her memoirs in connection with her daughter's illness and death. She delved into the erotic connections between food and love in Aphrodite: A Memoir of the Senses.

In addition to writing books, Allende has worked as a TV interviewer, magazine writer, school administrator, and a secretary at a U.N. office in Chile. She received the 1996 Harold Washington Literacy Award. She lives in California. Her title Maya's Notebook made The New York Times Best Seller List in 2013.

(Bowker Author Biography)