Zorro Unmasked: a review of Zorro, by Isabel Allende

October 6, 2:00 PMLatino Books ExaminerMayra Calvani

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Zorro, The Novel
By Isabel Allende
Harper Collins
ISBN: 0-00-720196-6
Hardcover, 390 pages

Since its creation in 1919 by pulp writer Johnston McCulley, the character of Zorro has captured the hearts and imaginations of young and old alike. The infamous, romantic hero has been played by numerous actors through the decades, from Douglas Fairbanks Jr. in the 1920’s to Antonio Banderas in the late 1990’s. Now, Isabel Allende, born in Peru and raised in Chile, bestselling author of highly acclaimed literary works such as The House of the Spirits (1985), adds intricate texture and a new dimension to the legend by blending the two things she is best known for, magic realism and historical fiction. 

Born to Alegandro de la Vega, a Spanish aristocrat, and Toypurnia, a Shoshone Indian warrior, Diego de la Vega (a.k.a. Zorro, or “fox” in Spanish) is a product of his mixed heritage. His grandmother, White Owl, a healer and shaman, plays an enormous role in the formation of his character. At an early age, while witnessing the injustice committed against Indians, his alter ego begins to show as he becomes increasingly obsessed with justice. Together with his inseparable, mute friend and “milk” brother Bernardo, Diego is initiated into manhood in the Indian tradition and it is during this experience that he comes into contact with his spirit totem, the fox. 

At sixteen, Diego is sent to Barcelona for a classical education and, while perfecting the art of fencing with Manuel Escalante, becomes a member of the secret society La Justicia, where he pledges “To seek justice, nourish the hungry, clothe the naked, protect widows and orphans, give shelter to the stranger, and never spill innocent blood.” During this time, Zorro falls hopelessly in love with Juliana de Romeu, becomes best friends with her sister Isabel, has a duel with Rafael Moncada, and organizes several rescue missions in the midst of political upheaval. Eventually, together with Juliana and Isabel, he’s forced to leave Barcelona in disguise. They walk across Spain, live with Gypsies and are captured by pirates. To Diego’s chagrin, Juliana succumbs to pirate Jean Latiffee’s charms. Eventually Diego and Isabel make it back to California, where Diego’s father has been imprisoned on charges of treason. As if this isn’t enough, his mortal enemy Rafael Moncada has followed him here seeking revenge. 

There’s no doubt Allende is a gifted, consummate teller of tales. Under her pen, Alta California and Napoleonic Spain come alive in their most vivid, historical detail. From the modest adobe houses and exotic war paint on Indian faces to the filthy, excrement-filled dungeons and the black eyes of Gypsies to the sparkling diamonds against the plump, white décolleté of Spanish belles, Allende offers us a vibrant saga dripping with adventure, romance, history, politics and a touch of magic. 

It’s a pity, though, that Allende spends a large part of the book in the trivial, Barbara Cartland-style romance between Juliana and Jean Latiffe, while Zorro assumes a secondary, nearly silent role, to the point where one has to wonder whose story is being told. 

Like many other Latin American writers, Gabriel Garcia Marquez among them, Allende uses the omniscient point of view and her paragraphs are long and almost entirely devoid of dialogue. This evokes a magical quality, the sensation of sitting in front of a bonfire while listening to an old and wise storyteller, but at the same time causes a lack in dramatization. One can’t help thinking that Allende has so many stories to tell that if she added dialogue, the book would easily turned into a one-thousand page manuscript. Of course, the lack in dialogue, and so much “telling” rather than “showing” pertains to style and not to a lack of literary skill. Another interesting aspect of Allende’s writing is the power she gives to most of her female characters. Damsels in distress? Not in this novel! The women here are wilful, intelligent individuals to be reckoned with. Allende also keeps the identity of the narrator a mystery until the last chapter. 

Though Allende ultimately fails in lifting Zorro from his place as a two-dimensional, comical character, her remarkable prose and action-packed story make this book a pleasure to read.