Gabriela, Clove and Cinnamon is a complex novel that marks an important change in the direction of Jorge Amado’s writing. The new direction represents a fresh, invigorating movement in twentieth century fiction in general. Earlier in his career, Amado favored novels in a political vein written in the mode of gritty realism. Starting with Gabriela, Clove and Cinnamon, however, Amado’s fictive canvases become brighter in tone, his plots more wildly imaginative (including frequent use of the supernatural), and his characters more varied and colorful. The development of the novel of realism, from Miguel de Cervantes through the great nineteenth century realists such as Leo Tolstoy and Gustave Flaubert, seems to have reached a climax with the modernists—Marcel Proust, James Joyce, and William Faulkner prominent among them. Thereafter, in the eyes of many readers and critics, a stagnation set in, not relieved until the appearance of the great Latin American Magical Realists such as Jorge Luis Borges and Gabriel García Márquez. Amado has earned a place among this latter group.
Although Gabriela, Clove and Cinnamon is a complex novel, it is not difficult reading. In contrast to many of the modernists, who often seem to design deliberately inaccessible fictive structures, most Magical Realists seem to take as a primary goal the ancient one of delighting and entertaining the reader. One senses that Amado is writing in much the same spirit as the authors of the chivalric romances that Cervantes so entertainingly parodies. Rather than Magical Realism—a term borrowed from art criticism and often misleading when applied to literature—the term “romance” better prepares readers for the style and technical strategies of Amado’s later novels.
Gabriela is within the Romantic tradition; she would be out of place in a novel of traditional realism, which would emphasize her ordinariness. Amado’s...
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