Rómulo Gallegos (1884–1969)

Hay novelas que, a pesar del paso del tiempo, no pierden su vigencia, historias que resultan inolvidables porque, a fin de cuentas, nos hablan del ser humano, de sus avatares, sus deseos, de su grandeza y también de sus miserias. A esta estirpe literaria pertenece Doña Bárbara (1929-1930), obra maestra de la narrativa hispanoamericana, retrato en el que, más allá de maniqueísmos, tienen cabida todos los matices de una vida. Doña Bárbara, la protagonista, es espejo del llano show more venezolano, es rica y poderosa, bella y hostil. Es una heroína rencorosa, imprevisible y caprichosa. Es una mujer independiente llena de vicios y pasiones, una fuerza ciega de la naturaleza que, a su paso, es capaz de dañar a su hija y al hombre que busca seducir show less

As his inheritance diminishes due to corrupt judges settling disputes against him, Santos Luzardo returns from Caracas to his estate near the Arauca river where he decides to fight against Doña Bárbara, who has gained possession of the neighbouring estate by seducing Santos's alcoholic cousin.

Any attempt to summarise the plot makes it sound like a Mills & Boon or soap opera (in fact the book has been turned into a telenovela), but there's actually some quite meaty stuff here about how show more adverse circumstances can mar a person's character, how we are the result of the choices we've made, and reflections on how and whether a good man can survive in a society where might makes right.

The book may be a jewel of Spanish prose for all I know, but the translation does seem rather clunky and over-literal at first, but I got used to it and am glad I persevered. show less

3.5***

This classic of South American literature was first published in 1929 and virtually forgotten by US readers. It first came to my attention through Public Broadcasting System’s Great American Read program in 2019.

It is an epic tale of two cousins who are fighting for control of a vast estate / ranch in Venezuela. Doña Barbara is beautiful and powerful. At her core she hates men for the way she was used and abused as a young girl. She has earned a reputation as a witch and is widely show more known for using, abusing and tossing aside her lovers as whim and her needs dictate. She fits perfectly into the wild, untamed landscape of the llano (prairie) and the surrounding swamps, bogs and jungles.

In contrast, we have Santos Luzardo, who, while born on the plains has long left for an education in the city. Now he returns to reclaim his inheritance – land and cattle. But he retains the manners and customs of his city education. Their battle is both cerebral (who can outwit the other?), and physical, involving seduction, chicanery, violence, gamesmanship, cunning and some magic as well.

The novel is an early example of magical realism and Gallegos weaves together adventure, fantasy, and romance. He uses vivid description and outlandish storytelling (I loved the one-eyed monster alligator!) to bring this era to life. The various outdoor scenes were particularly exciting – I could practically taste the grit, feel the dust in my nostrils, hear the roar of stampeding herd, and smell the smoke of an uncontrolled wildfire.

If there was an element that made me downgrade my rating it was the story of Marisela, and the way that Doña Barbara came to terms with that character. It was rather melodramatic and very soap-opera-ish.

In the introduction, Larry McMurtry writes: “[Doña Barbara] is, in her way, a tragic heroine, seeking to attract a decent lover, while giving herself day and night to very coarse lovers indeed. She is, however very vividly drawn, a Bovary of the llano.” show less

The blurb on the cover says "a Madame Bovary of the llano", but really it feels much more akin to Steinbeck's East of Eden, both in setting - ranching and farming - and in content: generational family story centered on a scion of the family returning to the family ranch and trying to do good; and the contrast between love and lust and hate; and the good that good and love eventually works. Some of the comments by the narrative voice and the characters regarding women, indigenous, and show more racialized peoples are bothersome, but they are product of a time and a place and we cannot deny that these ideas or attitudes did not exist. There is a term in the original that has been translated as "tiger" and I just cannot fathom tigers being out on the plains of Venezuela. show less