I do like Rodoreda’s writing and this analysis struck me as interesting:
“In Writing Beyond the Ending Rachel Blau DuPlessis points out that displacing attention to the other side of the story is one of the strategies frequently used by twentieth-century women poets when they rewrite classical or Judeo-Christian myths. This narrative displacement ‘offers the possibility of speech to the female in the case, giving voice to the muted’ (108). Such a change in perspective radically alters the nature of the story and its underlying assumptions. Eurydice’s or Penelope’s values, after all, are not those of Orpheus or Ulysses. Although DuPlessis’s analysis focuses on the revisionary mythopoesis of poets whose language is English, the concept of the other side of the story is relevant to the writing of Catalan novelist Mercè Rodoreda and her 1962 novel, La Plaza del Diamante, in particular. The protagonist is a woman whose life, like that of Goethe’s Makarie, would appear to be without external events, ‘a life whose story cannot be told as there is no story’ (Eichner 620). Rodoreda, however, is well aware that female experience is not minor and that women writers can, in the words of Virginia Woolf, choose ‘to make serious what appears insignificant to a man, and trivial what is to him important’.
The protagonist of Diamante is a simple, unlettered, working-class woman who recounts her courtship, marriage, the birth of her two children, her widowhood, and her remarriage, the birth of her two children, her widowhood, and her remarriage. Natalia’s narrative spans a period of some twenty-five years, running from shortly before the advent of the Second Republic into the post-Civil War period. Chapters 1-17 portray her daily life and its ‘small headaches.’ In chapters 18-32, political events assume increasing importance and the headaches become big ones. In chapters 33-49, Natalia gradually rebuilds her life in postwar Barcelona. A series of binary oppositions structure the narrative: story/lack of story, speech/silence, presence/[-p.61]absence, power/powerlessness, open/closed spaces, male/female. The movement is from oppression and dispossession to repossession and partial liberation in the final section of the novel.
Much of the impact of Diamante derives from the use of an innocent as the center of consciousness. There is an air of bewilderment about Natalia. She tends to take people at face value, and their actions and words are often incomprehensible to her. Rodoreda creates the impression of oral communication, and as we listen to Natalia speak we are struck by the judgments she does not render, the protests she does not voice, the feelings she either does not articulate or does not examine. Wolfgang Iser has called attention to the importance of the empty spaces of a text, describing gaps as the pivots on which the text-reader relationship revolves and blanks of Natalia’s narrative that stimulate our interaction with the text. They lead us to establish the connections she does not make and to listen to the implications of what she does not say. When we examine the pattern of incidents, important symbols, and stylistic devices, the submerged text comes into focus. The other side of the story stands out in bold relief.” (pp.60-61)
“In Diamante the political turmoil of the 1930s is presented indirectly and in the contest of Natalia’s life. She makes no comment on the significance of events, because public affairs are remote from her privatized existence as a woman. The Second Republic is for her simply the time when her small problems turn into big ones.” (p.64)
Ref: (italics in original) Kathleen M. Glenn (1986) La Plaza del Diamante: The Other Side of the Story. pp.60-68 Letras femeninas – Voces femeninas en la literatura de la guerra civil española; una valoración crítica al medio siglo de historia 1936-1986. Vol XII, num 1-2