Criticism about Allende’s works has focused on the novels, especially on The House of the Spirits, her first novel, usually considered to be her best. Although most critics admired the magical realism and the passion of The House of the Spirits and found a new authentic voice in Allende’s writing, some complained that the novel was an inferior imitation of the work of Gabriel García Márquez, the Colombian winner of the 1982 Nobel Prize for literature. The debate over García Márquez’s influence and Allende’s talent continued through the discussion of her next two novels, Of Love and Shadows and Eva Luna.
Another issue for critics has been Allende’s feminism. She has been heralded for her strong feminine voice, but criticized for turning her male characters into stereotypes of traditional machismo and for creating women characters who desire dangerous or otherwise inappropriate men. The third major issue for Allende critics has been her status as a Latin-American writer, the label she prefers for herself. Although there is no formal criticism of ‘‘And of Clay Are We Created’’ other than mentions in reviews of The Stories of Eva Luna, these critical issues all surface repeatedly.
The foremost American critic of Allende’s work is Patricia Hart, author of Narrative Magic in the Fiction of Isabel Allende (1989). In a review of the short stories, which she deems less successful than the novels, Hart finds three key elements: ‘‘lush, hyperbolic reality, a female sensibility and some none-too-subtle parodying of male stars of the Boom.’’ Hart insists that Allende does not imitate Boom writers, but mocks them, turning their style to her own purposes. On the other hand, Suzanne Ruta’s review reveals genuine irritation with Allende’s echoes of the Boom, stating, ‘‘It’s Allende’s glib, sentimental treatment . . . and her cutesy allusions to other writers’ inventions, that I dislike.’’
Critics have also divided over how well Allende handles the short story form. Louise Bernikow praises Allende’s unique voice, drawing special attention to the stories’ sense of place and...
(The entire section is 670 words.)