Stream of consciousness and indirect speech bring life and layers to a sharp evocation of women caught up in civil war

Salvadorian writer Claudia Hernández’s immersive novel, superbly translated by Julia Sanches, explores war and its aftermath from a female perspective. Hernández never states the setting is El Salvador, places are referred to as “the farm named after a horse” or “that place named after insects”, and her characters are unnamed. During the conflict, “not knowing a person’s real name or where they were from was a safety measure”. Instead, they are referred to as “mothers”, “daughters” and “sisters”. This lends a universality to the text, reminding us that the brutalities of war are the same the world over.

As a young girl, Hernández’s main narrator follows her beloved father into the hills and becomes a guerrilla, fighting for the rights of the poor. There, she conceives her first daughter with a fellow combatant, but is forced to give her up for safe keeping. When the war ends, she discovers the nuns have sold her baby to a childless couple in France, “to help fund the cause”.

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