Portrait in Sepia
(Questions)
1. Allende opens her novel with a striking image: a large, ornate bed which Paulina del Valle orders to be paraded through the streets of San Francisco in an attempt to humiliate her husband and his mistress. When and how does the image of this bed recur throughout the story? What do you think it symbolizes?
2. How does Allende contrast the cultures of San Francisco, Chinatown and Chile? How do the strict religious and cultural traditions of Chile contrast with the chaotic, vibrant life of a growing American city? Which seems a better place to raise a child?
3. In Paulina del Valle, Allende has created a richly complex character, as despised as she is loved, as self-absorbed as she is generous. What do you think of Paulina? Do you think she provided Aurora with a better environment than Eliza could have? How does she serve as a model for modern women, and how does she represent the traditional world of 19th century Chile?
4. Aurora is raised in a wealthy Chilean household surrounded by people who love and care for her. Yet her past -- and therefore her true identity -- remain a secret. Do you feel sorry for Aurora? Do you think she would have been shocked to know the details of her birth? How important is it to know where we came from, and who our parents are?
5. Aurora del Valle is three-quarters Chilean and one-eighth Chinese and one- eighth English. How do these multi-cultural origins emerge in her personality? What effect does your own ethnic background have on your life today? In a country that prides itself on its multi-culturalism, how important is it for us to preserve the traditions and beliefs of our heritage?
6. Aurora remarks of her engagement to Diego, "The danger signs were evident to anyone with two eyes in his head, except for my grandmother -- blinded by fear
of leaving me alone -- and me, madly in love." Just like her mother Lynn, Aurora's desire leads her to a disastrous choice. But how much choice did Aurora -- or her mother, for that matter -- really have? Do you think either woman could have avoided the forces that led them to sacrifice so much to unworthy men?
7. Why do you think Aurora is drawn to the art of photography? What can a picture reveal that the naked eye cannot see? Do you think Aurora's portraits of Diego and Susana were a subconscious attempt to reveal a fact she already knew?
8. Aurora's life is filled with powerful women: her two grandmothers, Nivea, her tutor Senorita Pineta, her mother-in-law Dona Elvira. How do these women shape her life? What elements of each of them do you detect in Aurora as a mature woman?
9. Aurora is surrounded by equally impressive men: her grandfather, Tao Ch'ien, her uncle Severo; Williams, her grandmother's second husband; and Ivan Redovic, the man who becomes her lifelong companion. What qualities do these men share? How do they contrast with the less admirable men she encounters? Do you think Allende provides balanced portraits of the men in this novel? Why or why not?
10. Why do you think Allende waited until the end of the novel to tell the story behind Tao's death? What does the incident represent to Aurora's life and to the novel? What is the effect of having Eliza tell the story to Aurora, as opposed to Aurora telling the story to the reader?
https://www.readinggroupguides.com/reviews/portrait-in-sepia/guide
Portrait in Sepia
(About the Author)
• Birth—August 2, 1942
• Where—Lima, Peru
• Education—private schools in Bolivia and Lebanon
• Awards—Dorothy and Lillian Gish Prize, 1998; Sara Lee
Foundation Award, 1998; WILLA Literary Award, 2000
• Currently—lives in San Rafael, California, USA
Isabel Allende is a Chilean writer whose works sometimes contain aspects of the "magic realist" tradition. Author of more than 20 books—essay collections, memoirs, and novels, she is perhaps best known for her novels The House of the Spirits (1982), Daughter of Fortune (1999), and Ines of My Soul (2006). She has been called "the world's most widely read Spanish-language author." All told her novels have been translated from Spanish into over 30 languages and have sold more than 55 million copies.
Her novels are often based upon her personal experience and pay homage to the lives of women, while weaving together elements of myth and realism. She has lectured and toured many American colleges to teach literature. Fluent in English as a second language, Allende was granted American citizenship in 2003, having lived in California with her American husband since 1989.
Early background
Allende was born Isabel Allende Llona in Lima, Peru, the daughter of Francisca Llona Barros and Tomas Allende, who was at the time the Chilean ambassador to Peru. Her father was a first cousin of Salvador Allende, President of Chile from
1970 to 1973, making Salvador her first cousin once removed (not her uncle as he is sometimes referred to).
In 1945, after her father had disappeared, Isabel's mother relocated with her three children to Santiago, Chile, where they lived until 1953. Allende's mother married diplomat Ramon Huidobro, and from 1953-1958 the family moved often, including to Bolivia and Beirut. In Bolivia, Allende attended a North American private school; in Beirut, she attended an English private school. The family returned to Chile in 1958, where Allende was briefly home-schooled. In her youth, she read widely, particularly the works of William Shakespeare.
From 1959 to 1965, while living in Chile, Allende finished her secondary studies. She married Miguel Frias in 1962; the couple's daughter Paula was born in 1963 and their son Nicholas in 1966. During that time Allende worked with the United Nations Food and Agriculture Organization in Santiago, Chile, then in Brussels, Belgium, and elsewhere in Europe.
Returning to Chile in 1996, Allende translated romance novels (including those of Barbara Cartland) from English to Spanish but was fired for making unauthorized changes to the dialogue in order to make the heroines sound more intelligent. She also altered the Cinderella endings, letting the heroines find more independence.
In 1967 Allende joined the editorial staff for Paula magazine and in 1969 the children's magazine Mampato, where she later became editor. She published two children's stories, Grandmother Panchita and Lauchas y Lauchones, as well as a collection of articles, Civilice a Su Troglodita.
She also worked in Chilean television from 1970-1974. As a journalist, she interviewed famed Chilean poet Pablo Neruda. Neruda told Allende that she had too much imagination to be a journalist and that she should become a novelist. He also advised her to compile her satirical columns in book form—which she did and which became her first published book. In 1973, Allende's play El Embajador played in Santiago, a few months before she was forced to flee the country due to the coup.
The military coup in September 1973 brought Augusto Pinochet to power and changed everything for Allende. Her mother and diplomat stepfather narrowly escaped assassination, and she herself began receiving death threats. In 1973 Allende fled to Venezuela.
Life after Chile
Allende remained in exile in Venezuela for 13 years, working as a columnist for El Nacional, a major newspaper. On a 1988 visit to California, she met her second husband, attorney Willie Gordon, with whom she now lives in San Rafael, California. Her son Nicolas and his children live nearby.
In 1992 Allende's daughter Paula died at the age of 28, the result of an error in medication while hospitalized for porphyria (a rarely fatal metabolic disease). To honor her daughter, Allende started the Isabel Allende Foundation in 1996. The foundation is "dedicated to supporting programs that promote and preserve the fundamental rights of women and children to be empowered and protected."
In 1994, Allende was awarded the Gabriela Mistral Order of Merit—the first woman to receive this honor.
She was granted U.S. citizenship in 2003 and inducted into the American Academy of Arts and Letters in 2004. She was one of the eight flag bearers at the Opening Ceremony of the 2006 Winter Olympics in Turin, Italy.
In 2008 Allende received an honorary Doctor of Humane Letters from San Francisco State University for her "distinguished contributions as a literary artist and humanitarian." In 2010 she received Chile's National Literature Prize.
Writing
In 1981, during her exile, Allende received a phone call that her 99-year-old grandfather was near death. She sat down to write him a letter wishing to "keep him alive, at least in spirit." Her letter evolved into The House of the Spirits—the intent of which was to exorcise the ghosts of the Pinochet dictatorship. Although rejected by numerous Latin American publishers, the novel was finally published
in Spain, running more than two dozen editions in Spanish and a score of translations. It was an immense success.
Allende has since become known for her vivid storytelling. As a writer, she holds to a methodical literary routine, working Monday through Saturday, 9:00 A.M. to 7:00 P.M. "I always start on 8 January," Allende once said, a tradition that began with the letter to her dying grandfather.
Her 1995 book Paula recalls Allende's own childhood in Santiago, Chile, and the following years she spent in exile. It is written as an anguished letter to her daughter. The memoir is as much a celebration of Allende's turbulent life as it is the chronicle of Paula's death.
Her 2008 memoir The Sum of Our Days centers on her recent life with her immediate family—her son, second husband, and grandchildren. The Island Beneath the Sea, set in New Orleans, was published in 2010. Maya's Notebook, a novel alternating between Berkeley, California, and Chiloe, an island in Chile, was published in 2011 (2013 in the U.S.). Three movies have been based on her novels—Aphrodite, Eva Luna, and Gift for a Sweetheart. (Adapted from Wikipedia. Retrieved 5/23/2013.)
https://www.litlovers.com/reading-guides/fiction/250-daughter-of-fortune-allende?start=1
Portrait in Sepia
(Reviews)
This is trademark Allende - a family saga crowded with brilliant personalities, outlined then colored in with such artistic care that we can't help but imagine them as drawn from life, even when they are as bizarre as the transported convict turned Jeeves-type butler. As ever, her leading female characters are, to a woman, streets ahead of their time - like the sex-obsessed revolutionary wife with 15 children, powered by pure lust and uncrushable willpower in an era when mere females are barely supposed to be seen, let alone heard.
The Guardian
As Aurora slowly uncovers the tales of her family's sordid past, we witness her own unhappy marriage and eventual self-discovery. Allende doesn't probe the inner life of every character to its deepest layer, but she musters enough grace and poise to give us complex histories in the simplest lines. It adds up to a book about transformation -- of people and nations and of the rights of women.
New York Times
Like her other novels, Portrait in Sepia spans nearly 50 years and covers wars, love affairs, births, weddings and funerals. Rich and complex, this international, turn- of-the-century saga does not disappoint.
Publishers Weekly
Complex, intriguing, ambitious, and uneven sequel to Oprah selection Daughter of Fortune (1999), continuing the story of Eliza Sommers, as told by her granddaughter, Aurora del Valle.
Kirkus Reviews
https://www.theguardian.com/books/2001/nov/17/fiction.isabelallende https://www.nytimes.com/2001/11/04/books/books-in-brief-fiction-poetry-a-woman-s-reconstruction.html https://www.publishersweekly.com/978-0-06-621161-9 https://www.kirkusreviews.com/book-reviews/isabel-allende/portrait-in-sepia/
Portrait in Sepia
(Enhancement)
The following is a summary of the War of the Pacific, a conflict in which Severo del Valle is involved as a soldier.
War of the Pacific, Spanish Guerra del Pacífico, (1879–83), conflict involving Chile, Bolivia, and Peru, which resulted in Chilean annexation of valuable disputed territory on the Pacific coast. It grew out of a dispute between Chile and Bolivia over control of a part of the Atacama Desert that lies between the 23rd and 26th parallels on the Pacific coast of South America. The territory contained valuable mineral resources, particularly sodium nitrate.
National borders in the region had never been definitively established; the two countries negotiated a treaty that recognized the 24th parallel as their boundary and that gave Chile the right to share the export taxes on the mineral resources of Bolivia’s territory between the 23rd and 24th parallels. But Bolivia subsequently became dissatisfied at having to share its taxes with Chile and feared Chilean seizure of its coastal region where Chilean interests already controlled the mining industry.
Peru’s interest in the conflict stemmed from its traditional rivalry with Chile for hegemony on the Pacific coast. In 1873 Peru agreed secretly with Bolivia to a mutual guarantee of their territories and independence. In 1874 Chilean-Bolivian relations were ameliorated by a revised treaty under which Chile relinquished its share of export taxes on minerals shipped from Bolivia, and Bolivia agreed not to raise taxes on Chilean enterprises in Bolivia for 25 years. Amity was broken in 1878 when Bolivia tried to increase the taxes of the Chilean Antofagasta Nitrate Company over the protests of the Chilean government. When Bolivia threatened to confiscate the company’s property, Chilean armed forces occupied the port city of Antofagasta on Feb. 14, 1879. Bolivia then declared war on Chile and called upon Peru for help. Chile declared war on both Peru and Bolivia (April 5, 1879).
Chile easily occupied the Bolivian coastal region (Antofagasta province) and then took the offensive against more powerful Peru. Naval victories at Iquique (May 21, 1879) and Angamos (Oct. 8, 1879) enabled Chile to control the sea approaches to Peru. A Chilean army then invaded Peru. An attempt at mediation by the United States failed in October 1880, and Chilean forces occupied the Peruvian capital of Lima the following January. Peruvian resistance continued for three more years, with U.S. encouragement. Finally, on Oct. 20, 1883, Peru and Chile signed the Treaty of Ancón, by which Tarapacá province was ceded to the latter.
Chile was also to occupy the provinces of Tacna and Arica for 10 years, after which a plebiscite was to be held to determine their nationality. But the two countries failed for decades to agree on what terms the plebiscite was to be conducted. This diplomatic dispute over Tacna and Arica was known as the Question of the Pacific. Finally, in 1929, through the mediation of the United States, an accord was reached by which Chile kept Arica; Peru reacquired Tacna and received $6 million indemnity and other concessions.
During the war Peru suffered the loss of thousands of people and much property, and, at the war’s end, a seven-month civil war ensued; the nation foundered economically for decades thereafter. In 1884 a truce between Bolivia and Chile gave the latter control of the entire Bolivian coast (Antofagasta province), with its nitrate, copper, and other mineral industries; a treaty in 1904 made this arrangement permanent. In return Chile agreed to build a railroad connecting the Bolivian capital of La Paz with the port of Arica and guaranteed freedom of transit for Bolivian commerce through Chilean ports and territory. But Bolivia continued its attempt to break out of its landlocked situation through the Paraná-Paraguay river system to the Atlantic coast, an effort that led ultimately to the Chaco War (1932–35) between Bolivia and Paraguay.
Portrait in Sepia tells the story of Aurora del Valle, who is filled with questions about the mysterious beginnings of her life. When she is five years old, she is sent to live with her grandmother, Paulina, who previously appeared in Daughter of Fortune. Paulina, who is wealthy and powerful, provides for her every material need but refuses to answer her questions about the past. Her confusion lingers until adulthood, and perhaps drives her to art: she is a talented photographer. After Paulina dies, Aurora feels more free to explore her own and her family's past, examining her memories as well as those of relatives. At the end of the novel, Allende reveals that one of Aurora's cousins is Clara del Valle, a character from The House of the Spirits. Thus, as Teresa R. Arrington noted in World Literature Today, "Allende has produced two prequels years after the original novel, thus forming a chronologically out-of-sequence trilogy. The three novels represent a transnational saga that shows us how major historical events across the world can affect the lives of several generations of an extended Chilean family." In Book, Beth Kephart observed: "Allende's imagination is a spectacle unto itself--she infects her readers with her own colossal dreams."
https://www.britannica.com/event/War-of-the-Pacific
"Isabel Allende." Gale Literature: Contemporary Authors, Gale, 2018. Gale Literature Resource Center, https://link- gale-com.ezproxy.lapl.org/apps/doc/H1000001581/LitRC?u=lapl&sid=LitRC&xid=162d0e6a