Isabel Allende addresses media portrayal of human tragedy in her short story “And of Clay We Are Created.” For many, it is human nature to identify with tragic events, and often, the media is the “window” to human suffering.

The protagonist, Rolf Carlé, a newscaster, arrives at the scene of the mud slides with a reputation as a reporter who delivers news of human tragedy with a detached attitude. While transmitting images of the aftermath of the volcanic eruption, camera crews focus on the little girl who is buried neck deep in clay. For those who watch the news, her image becomes an iconic symbol for the tragedy, and Rolf is the man at her side.

As Rolf begs for assistance to save the girl’s life, the news coverage gets clearer and sharper as the crews bring in more sophisticated broadcasting equipment. Those who watch the images are drawn in closer and closer, yet Azucena receives little assistance to help her survive. Instead of rushing in with lifesaving equipment, the news crews deliver a better picture for those watching at home.

With a flourish, the President of the Republic arrives at the catastrophic scene to bolster the spirits of the rescue workers, to warn marauders, and to visit the little girl buried in the clay. He is followed closely by news personnel who dangle microphones in his face to capture his every word even though his visit is primarily ceremonial. His visit does nothing to improve the child's situation.

Media plays into the human characteristic of needing to identify with tragic events, while the reporters remain aloof. In this story, that changes as Rolf is moved to reach deep into his past as he identifies with the little girl’s plight. Is Allende making the point that there is a place for humanistic acts in social reporting?