María Luisa Bombal, though not prolific, is celebrated as a significant figure in 20th-century Latin American literature. Her pioneering use of Magical Realism and exploration of women's sexual liberation in a male-dominated society set her apart from contemporaries like Borges and García Márquez. Bombal's narrative technique draws inspiration from European gothic traditions, resulting in stories where women trapped by societal norms find solace in dreams and fantasies.

Exploration of Fantasy and Reality

Bombal's works exhibit a profound blend of fantasy and reality, a hallmark of Magical Realism. Her narratives often feature female protagonists constrained by societal expectations, yearning for escape through dreams. These women, forced into roles as submissive wives or mere objects, find themselves in worlds where fantasy becomes a refuge. This theme is prevalent across her stories, highlighting a gothic romanticism where reality and dreams blur, often leading to poignant realizations.

“The Final Mist”

"La última niebla" ("The Final Mist") is a quintessential example of Bombal's melding of gothic romance with Magical Realism. The protagonist, trapped in a marriage devoid of passion, lives in a world shrouded in mist, a metaphor for her internal confusion and desire for something more. Her encounter with a mysterious young man, who embodies her ultimate romantic fantasy, provides a temporary escape from her mundane reality. Yet, the story unfolds to reveal that the man of her dreams is a ghost, underscoring the illusory nature of her desires. The narrative concludes with a haunting acceptance of reality, as the mist envelops her life once more.

“The Tree”

In "El árbol" ("The Tree"), Bombal uses music and memory to explore the duality of perception. The protagonist, Brigida, reflects on her past through the lens of a concert, where each musical piece evokes memories of her life. The rubber tree outside her window symbolizes her internal world, a place where she finds solace away from the harsh light of reality. When the tree is cut down, the resulting exposure to light reveals the starkness of her life, prompting her to finally break free from her oppressive marriage. This story emphasizes the value of romantic idealism as a legitimate lens through which to perceive life, rather than an escapist fantasy.

“Braids” and Folkloric Elements

Bombal’s shorter stories like "Trenzas" ("Braids") and "Lo secreto" ("The Unknown") delve into folkloric and essayistic elements. "Braids" opens with a reflection on modern women's loss of mystical power following the abandonment of traditional symbols like long hair. Bombal intertwines these reflections with a tale of two sisters, using their braids as a metaphor for connection to nature and lost magic. "The Unknown" unfolds as a fable about pirates trapped beneath the sea, a narrative highlighting themes of loss and yearning for the unattainable.

“New Islands”

The title story "Las islas nuevas" ("New Islands") presents Yolanda as an embodiment of desire, set against a backdrop of dreamlike imagery. She is depicted as both a mysterious, ageless figure and the central object of men's aspirations, particularly that of the hunter Juan Manuel. Bombal conveys Yolanda's mythical quality through vivid metaphors, such as an island emerging from the lake, symbolizing uncharted desire. Her portrayal is enriched by elements of surrealism, as Yolanda transcends human confines yet remains tethered to earthly constraints, much like a mermaid with remnants of her former freedom.

Bombal’s work collectively examines themes of liberation and constraint, fantasy and reality, often through the lens of women's experiences within a patriarchal society. Her stories challenge the boundaries of perception and reality, offering a unique insight into the human condition through the interplay of imagination and truth.