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The Volcano Daughters

A Novel

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$30.00 US
| $39.99 CAN
On sale Aug 27, 2024 | 544 Pages | 9780593915295

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A saucy, searingly original debut about two sisters raised in the shadow of El Salvador’s brutal dictator, El Gran Pendejo, and their flight from genocide, which takes them from Hollywood to Paris to cannery row, each followed by a chorus of furies, the ghosts of their murdered friends, who aren’t yet done telling their stories.

El Salvador, 1923. Graciela grows up on a volcano in a community of indigenous women indentured to coffee plantations owned by the country’s wealthiest, until a messenger from the Capital comes to claim her: at nine years old she’s been chosen to be an oracle for a rising dictator—a sinister, violent man wedded to the occult. She’ll help foresee the future of the country.
      In the Capital she meets Consuelo, the sister she’s never known, stolen away from their home before Graciela was born. The two are a small fortress within the dictator’s regime, but they’re no match for El Gran Pendejo’s cruelty. Years pass and terror rises as the economy flatlines, and Graciela comes to understand the horrific vision that she’s unwittingly helped shape just as genocide strikes the community that raised her. She and Consuelo barely escape, each believing the other to be dead. They run, crossing the globe, reinventing their lives, and ultimately reconnecting at the least likely moment.
      Endlessly surprising, vividly imaginative, bursting with lush life, The Volcano Daughters charts, through the stories of these sisters and the ghosts they carry with them, a new history and mythology of El Salvador, fiercely bringing forth voices that have been calling out for generations.
1

Our mothers carried us on their backs until we kicked in the noontime heat. In the afternoons, they untied us, babies all born in the same season, and let us crawl beneath the ceiba tree as they worked. In those early days, before we could walk, before María was born, las faldas of the ceiba were high and wide enough to contain us. We ate earthworms and licked the ceiba’s bark. We waved at the birds and sprouted teeth while our mothers took turns running over from the coffee fields to count that we were all still there, quickly pointing at each of us as they did. Lourdes, Cora, Lucía, Graciela. They took turns making sure that none of us were choking or hungry or covered in shit. They took turns nursing us, two at once to save time. They took turns, patting all of our little bellies, rubbing our backs, wiping caca from our fat little butts with a rag, rocking us to sleep and setting us down again between the skirts of the roots. We were safe.

During the rainy months, in the late afternoons, our mothers piled us together like sacks of yucca inside the sorting room. We napped as rain soaked the roof, awakened the smell of the building’s history—­the sharp stink of last year’s cherry harvest, the bitterness of indigo. In that room we crawled over one another’s baby legs and patted one another’s cheeks, not knowing where one of us began and another ended. In that room, we took our first tumbling steps. María was born in the rainy season, and then we were five: Lourdes, María, Cora, Lucía, and Graciela.

Later, when we were older, we went to the nuns, who dressed us, who taught us to read and write, who cared for us during the day while our mothers worked. The nuns dressed us from bins that arrived from abroad. We had our own clothes, refajos that our grandmothers had made, long woven skirts, tops with the smallest embroidered starflowers lining an open collar, but these became nightgowns in favor of the pastel dresses from the nuns, ruffled dresses that rapidly grew too short for our growing legs, too tight around our bellies, dresses with puffed sleeves made of tulle, lace, and starched cotton. On our feet we wore soft leather sandals like our mothers—­we called them caites—­but María always kicked hers off, said she ran so fast they burned her heels.

Somewhere on the volcano there were men, driving carts, working beside our mothers, guiding animals uphill, but we rarely spoke with them, nor did we sense or mourn their absence from our daily lives. We took turns imagining our fathers because we thought an understanding of who they were might unravel the mystery of who we were. It didn’t. We were of our mothers.

Our mothers talked to us about the fathers of our friends, but never about our own. But from their chambre, we pieced together some stories. Graciela’s father was much older and had once lived here. His name was Germán and he was a colono—­he’d risen in the ranks at the finca until he’d owned his own plot of land. At the time he had chosen Socorrito, Graciela’s mother, Germán was the most powerful man on the finca after the old patrón. He pursued her, leaving her gifts that were entirely impractical for the life that she lived, but told a story about who he was becoming, and the kind of life that he might offer her—­silk stockings, a perfume oil that smelled of lavender, a velvet hat with a little net, a purse made of glittering beads.

As a boy, he’d met a gringo railroad man who drank special water—­water in all sorts of colors—­that he said made him more powerful, allowed him to listen to the dead and control the future. This crazy gringo was rich and promised Germán he’d purify his soul with that special water, with his potions of color and light. He swore that he could raise Germán out of the circumstances he was living in, out of the colo­nato, the system that bound him to labor on the coffee finca on the mountain. Germán, fatherless, poor, had listened to the gringo, who promised him a future in the railroad he was building to bring the coffee crop to the coast, and sent him abroad to study economics in Switzerland. His coursework and experience in the shadow of the Alps eventually proved irrelevant to his later position as the General’s oracle, but afforded him a refined sense and understanding of the improbable.

The gringo, Brannon was his name, was obsessed with colors—­thought some healed, some gave vitality. And when he saw Socorrito, whom he knew Germán liked, he encouraged the match, for, as we understand now, the color of her skin, fairer than any of our mothers’, was exactly what he was after.

Transmission. Stories all have masters who control how they’re told and to whom. Thanks to the rich gringo, Germán had become a master. And as a teenager, he transmitted the gringo’s stories to his best friend, a man we came to know as el genera­lísimo, El Gran Pendejo. They were boys together, you see. El Gran Pendejo was from the volcanoes too, though later he did everything he could to erase that history, believed this bullshit from the gringo could help him do it, could help him erase any trace of where he came from, to separate our stories from his own.

By the time that Socorrito’s first pregnancy, with Graciela’s older sister, Consuelo, had begun to show, Germán had already left the finca to live in the capital. The General was rising in the ranks there and found Germán a post as his spiritual adviser. Soon, Germán married in the capital as well. Socorrito hoped that even though Germán had left her, she might still have rights to his land, but while he had been freed from el colonato, she was fixed in place.

Then, when Consuelo was four, a man, a thug from the capital, came to our village and took Consuelo from her mother’s arms, after knocking Socorrito unconscious.

He left a note on the ground, which Socorrito discovered when she awoke, and considered destroying its fine seal, its delicate paper, its blot of indigo ink, in the fury of her rage and grief. Instead, reasoning that this was perhaps the only way she might find her daughter, she brought the paper directly to the gringa nuns to decipher for her, moving through her thick pain like a sleepwalker, because Socorrito could not read the lavish penstrokes of her child’s father.

Germán had Consuelo and he intended to keep her in the capital. You see, this new wife of Germán’s was barren and Consuelo was to be a gift for this barren woman, who yearned to be a mother. She would be una consolación; she would live up to her name.

In the capital, Consuelo would receive an education. She would live there not as a servant, but as a daughter. She would not be made to work; she’d already been removed from el colonato, which we’d all been born into, which our mothers and grandmothers had been born into. El colo­nato, which tethered us to the finca, where we would work until we died. Instead, Consuelo would become “civilized”—­that was the word Germán used in the letter. And when she was an adult, she could choose to leave the capital and return to the volcano, if she so wanted.

This was all written on the piece of paper that Socorrito had received. Sister Iris had slowed over the word “civilized” as she read.

After that Socorrito slept with the paper—­the promise, she called it—­under her head. This small scrap may have been the only thing tethering her to the earth, now that her daughter was gone.

Our mothers comforted her with laughter, when it became clear that their anger and sorrow would not return Socorrito’s daughter to her. Civilized, they scoffed. “With that pelo colocho, nearly as colocho as mine?” Rosario made this same joke every time, gesturing at her own curly hair. Colocho, pero colocho. Rosario was Black, tiny, and striking, with golden-­brown eyes. She was delicately vain about her beauty, reminding us of a small lioness. She strutted before the other women when they gathered to bathe in the river on hot days, her short feet wide and soft as paws, gems of water dripping from her hair as she stretched her arms in the sun. We, her daughters María and Lourdes, our skin went lighter on a gradient—­Lourdes’s a deep, warm brown, and then María de piel canela.

We imagined Consuelo more pale still, como una chelita, but with pelo colocho that some indita in the capital was forced to press flat every day with an iron, or else shove under a hat. She’d be like the characters in those books that the nuns had given us, about orphans in ruffly pinafores in old-­timey England—­a girl who would never want to return to the volcano.

Even after Consuelo was taken, Germán returned to the volcanoes now and then, but Socorrito was never again invited to stay on his land. Still, he found time to impregnate her, this time with Graciela, and this time without love, without tenderness, without gifts. Socorrito had hoped that by offering herself to him again, she could convince him to bring Consuelo home and stay. But at the end of each visit he returned to the capital and left her behind.

Over and over, throughout our childhoods, our mothers let slip that Graciela’s father was not only still alive, but living in the capital, as the General’s second-­in-­command. According to our mothers, Germán was his most trusted adviser. The General made no decisions without consulting him first. But on the radio, the General, baboso that he was, announced that he alone was the one who ruled the tides, who told Izalco when to erupt, who shaped the moon. He talked about the coffee harvest as if he’d picked every last cherry himself, as if he’d invented the railroad that carried the beans to port and out of the country, where they were transformed into fantastic amounts of money that we never saw. He spoke of the great ships at port from Los Yunais as his Very Good Friends. (“My Very Good Friend Los Estados Unidos enters the harbor of La Libertad on this blessed day!”) We thought he was a clown. He really believed these things—­that he had the power to control our whole universe; it was the same tontería that the gringo Brannon had talked about, that if he surrounded himself with red curtains and bathed in turquoise water, he’d be invincible. He may have heard the stories secondhand from Germán, but the General had swallowed more of this gringo’s crazy water than his friend. When he came on the radio to announce a new victory—­how he manipulated the weather, how he could perceive the world’s radiant vibrations by pissing and shitting, which he deemed sensory activities, like seeing and hearing, how he used that wisdom to shape the price of an automobile—­our laughter smothered his rejoicing.

Men. They made us laugh then.

Cora’s father, meanwhile, was a mystery to us for many years; we thought maybe he was a stranger we sometimes saw driving a cart through town. But then María heard her mother, Rosario, talking about el patrón as though it were him. We howled at that idea. Corita was too sweet, too smart, to have that bolo for a father.

Lucía’s father, light as she was, must have been visiting on business from Los Estados, but we never heard much about him.

And unlike the rest of us, Lourdes and María had been claimed, in a slight way at least, by their father. He was a rich and ordinary man whose parents owned the finca and the land that we worked on, a coffee man who lived in the north, in some place called California, with a chele wife and twin daughters a couple of years younger than us. He came to the village twice a year, in October and April, before the harvest and after. With his shoes sinking into the mud. With his long black car’s nose pointed always away from the volcano. Las hermanas had been told never to call him Papá—­always El Señor Domínguez—­but when they were alone, they couldn’t help themselves.

The closest we came to him was María’s christening. He brought blankets and a stuffed rabbit for María and a porcelain doll with blue glass eyes that opened and shut for Lourdes, and he stood in the back of the church while the visiting priest anointed María’s little head before dipping it into the fount. After the ceremony, while everyone slowly filed out of the church, he slipped out too, and drove back to the capital without saying goodbye. Their mami said, “He paid for everything, the lace dress, the tiny shoes. I’m not going to make him pretend.” After that he grew distant again; even when he was in the village, his eyes looked through us. He and his brother owned the point that our world turned on, but he didn’t change the shape of our lives. We were distant moons to him.

In those years, though, we were safe. Our mothers protected us. What had happened to Consuelo was a distant past before our births, and since then, our mothers had encircled us with joyful ferocity. What had happened to Consuelo could never happen again.
Named a Best Book of the Year by The Washington Independent Review of Books

A Most Anticipated Book from Goodreads, Vulture, Seattle Times, Book Riot, Electric Literature, Debutiful, Yahoo, and Nerd Daily


"[A] lush, imaginative debut, with hints of magic."
People

The Volcano Daughters spits fire from its very first page…This is an epic story, a remarkable achievement for a writer making her first foray into the literary landscape. Balibrera demonstrates a fearlessness that is rare…The hazards Graciela and Consuelo face, all of them hallucinatory, hair-raising, altogether Dickensian, are spunkily reported by their dead compañeras, spirited ghosts whose personalities we come to know along with the living’s…We have seen dead narrators before: William Faulkner’s As I Lay Dying, for instance, and Alice Sebold’s The Lovely Bones. But seldom a whole chorus of dead women with their own quirks and eccentricities, kicking the plot through these pages as if it were dynamite with a lit wick…What emerges triumphantly from Balibrera’s pages is a gifted new storyteller with a nose for history and a prodigious imagination.”
The New York Times

“A gripping and spellbinding novel about a sisterhood ripped apart by violence, narrated by a ghostly chorus. An unforgettable debut.”
Brit Bennett, author of The Vanishing Half

“A beautiful and ambitious novel. I highly recommend.”
Ann Patchett on Instagram

“Stunning: original, magical, brutal, beautiful. A sweeping yet intimate look at love, sisterhood, and resistance in the face of devastation.”
Charmaine Wilkerson, author of Black Cake


“A new heir to the magical-realism throne.”
Seattle Times

“A bilingual, mythological, and original debut about resistance and survival.”
Vulture

“Women and their power to save their own lives—and the lives of others—form the foundation of this globe-trotting novel that upends readers’ expectations of who has the power to tell a story. Riveting, surprising and a bit spooky…A great book.”
San Francisco Chronicle

“A fiery, pacey novel that knits together political history, magical realism and vivacious storytelling…An unyielding plot revealing the resilience of sisterhood.”
Dua Lipa’s Service95

“Thought-provoking…Balibrera deftly melds Latin American myth with El Salvadoran history, fashioning an imaginative tale told with attitude, a fresh view of real-life events, and a pacing that enlivens every page. It’s also magical realism at its best…Renowned authors like Gabriel García Márquez and Isabel Allende helped popularize the magical-realism genre, and Balibrera serves it well here…Rich and lyrical…Immersive, highly visual, sometimes humorous, and often provocative. The women portrayed in these pages are strong and resourceful, conflicted and authentic.”
Washington Independent Review of Books

“Defiant, engrossing and haunting…With palatable love and unchecked reckoning, Balibrera accomplishes the feat of rendering these spirits alive—and these animas become the driving force of this page-turner…The Volcano Daughters opens with such a strong narrative voice, it seduces, it is a voice that captivates…An epic story of women who represent the overlooked, the forgotten, the disappeared but somehow by tooth, nail, grit, spit and fire were relentless in their will to live…Balibrera writes, ‘the word makes the world,’ and she certainly achieves this, balancing the historical and the intimate. She applies care to the depiction of violence, masterfully creating reprieve when there’s pressure on the prose; she subverts exploitation of pain on the page while demanding the reader witness. The novel tackles head-on colorism, discrimination, class disparity, gender violence in a nuanced manner…It’s this seductive, lyrical prose, and her embrace of those from the diaspora, that invites us to recognize that this is our people’s story. Balibrera delivers. And everyone needs to listen.”
Pittsburgh Post-Gazette

“Lyrical…Full of magical realism…Wonderful.”
Daily Mail

“It’s hard to do justice to Gina María Balibrera’s extraordinary debut The Volcano Daughters…The blistering heart and humor that define this book…The concept is original—and the writing itself is astoundingly good...May be the most evocative, least forgettable thing I’ve read all year.”
Same Page SF

“A new book to be entered into the historical magical realism canon…A staggering tome of sisterhood, disaster, and myth. Readers can expect an imaginative roller coaster of emotion as the sisters do everything they can do to reconnect.”
Debutiful

“This debut is colourful and inventive; a magical realist treat.”
The Times

“A lyrical, evocative ride through the history and mythology of El Salvador…This is a sweeping, epic tale…An immersive experience, one steeped in the sights, sounds, language, and legends of El Salvador…Well worth a read.”
Irish Sunday Independent


“Riveting…With rich storytelling and vivid imagery, this searing narrative redefines history and mythology.”
Denizen


“This novel is astonishing: layered, lush, lyrical, and marvelously transporting. Gina María Balibrera has woven a gorgeous and painful tapestry, rich with history, memory, and the troubling voices of the dead who will not be silenced. The Volcano Daughters is a dazzling accomplishment.”
Kirstin Valdez Quade, author of The Five Wounds

“Gina María Balibrera is a tremendous new talent. The Volcano Daughters is a towering achievement at the intersection of ancient myth, political history, and vibrant storytelling. A fierce and pulsating novel, this book will capture your heart and enrich your mind.”
Kali Fajardo-Anstine, bestselling author of Woman of Light and Sabrina & Corina

The Volcano Daughters is a beautiful novel, weaving together magic and humor with tragedy and the unflinching documentary of injustice in a way that is so skillful and surprising.”
Eleanor Shearer, author of River Sing Me Home

“Every character comes vibrantly to life in The Volcano Daughters. Every scene surprises with unexpected tremors of questions about the legacy of political violence, how social upheaval shapes sibling dynamics and haunts the psyches of children for the rest of their lives. Gina María Balibrera is a writer of tremendous imagination who draws on her knowledge of two languages to craft a first novel unlike any other I've read.”
—Idra Novey, author of Take What You Need

“Inventive, surprising, and potent, I fell under Gina Balibrera's spell from the first line and could not look away. To write a book with this much heart, where each sentence feels like it plumbs the darkest depths and soars to the brightest of skies, you have to be some sort of savant of the human heart. The Volcano Daughters blew my mind with its rich humor, its beautiful portrayal of women's lives, and its unstoppable plot, all wrapped up in a narrative voice I'd follow anywhere. How lucky we are to have Balibrera spinning tales for us this good. I'll be her reader for life.”
Chelsea Bieker, author of Madwoman


“Epic and intimate, alive and mournful, The Volcano Daughters is an exquisite novel teeming with life, ghosts, pain, and hope. I was swept away by its lyrical, generous storytelling. What a gorgeous, moving work.”
Ayşegül Savaş, author of The Anthropologists

“My mind and heart were blown open by Gina María Balibrera’s astonishing debut. The Volcano Daughters is a work of fierce ambition and blazing emotion, narrated by an unforgettable chorus of ghosts who trace the story of their friends, sisters Graciela and Consuelo, through a journey that spans continents and generations. As the chorus says: ‘The word makes the world,’ and with this novel, her first, Balibrera has done nothing less. Her invocation of the voices of a group of women whose lives were distorted and cut short by El Salvador’s violent dictator El Gran Pendejo left me breathless—and is one of the most powerful stories of motherhood, sisterhood, and survival I’ve ever read. A colossal achievement.”
Julie Buntin, author of Marlena

“A haunting (and haunted) debut, The Volcano Daughters is a dark marvel of a book, at once lush and stark, mythic and earthy. Balibrera's fusion of history and legend, puts me in mind of a young Isabel Allende.”
Peter Ho Davies, author of A Lie Someone Told You About Yourself

“Haunting…Spanish words and phrases are interwoven throughout the novel, challenging readers to sink into Balibrera’s lushly described world, where meaning is found through experience rather than translation. A devastating story of sisterhood, community, and memory, quietly magical and utterly unforgettable.”
Library Journal, starred review

“Captivating…Vibrant…Their visions of Graciela and Consuelo are riveting… Striking characters…Balibrera eulogizes the lives lost in La Matanza, the real-life 1932 massacre of the Pipil people by the Salvadoran government, and underscores the value of holding one’s culture close, even when it threatens to disrupt just-scarring wounds…The resilience of sisterly bonds forms the backbone of this swirling, heart-wrenching debut.”
Kirkus
 
“Wrenching…With keen psychological insight, Balibrera portrays how the women, each of whom doesn’t know the other has survived, make hard choices in search of fulfillment. It adds up to a powerful story of finding the strength to chart one’s own course.”
Publishers Weekly

“Lush… The young narrators provide irreverent commentary alongside dramatic storytelling depicting the hardscrabble lives of determined sisters yearning for better lives.”
Booklist

“Balibrera brings a bravura, magical-realist style to this story of resilience and love…An imaginative retelling of a difficult piece of Central American history.”
BookPage
© Charles Amyx
GINA MARÍA BALIBRERA earned an MFA in Prose from the University of Michigan’s Helen Zell Writers' Program. She’s been awarded grants from Aspen Words, Tin House, the Rackham Foundation, and the Periplus Collective, as well as a Tyson Award, the Aura Estrada Prize, and the Under the Volcano Sandra Cisneros Fellowship. View titles by Gina María Balibrera

About

A saucy, searingly original debut about two sisters raised in the shadow of El Salvador’s brutal dictator, El Gran Pendejo, and their flight from genocide, which takes them from Hollywood to Paris to cannery row, each followed by a chorus of furies, the ghosts of their murdered friends, who aren’t yet done telling their stories.

El Salvador, 1923. Graciela grows up on a volcano in a community of indigenous women indentured to coffee plantations owned by the country’s wealthiest, until a messenger from the Capital comes to claim her: at nine years old she’s been chosen to be an oracle for a rising dictator—a sinister, violent man wedded to the occult. She’ll help foresee the future of the country.
      In the Capital she meets Consuelo, the sister she’s never known, stolen away from their home before Graciela was born. The two are a small fortress within the dictator’s regime, but they’re no match for El Gran Pendejo’s cruelty. Years pass and terror rises as the economy flatlines, and Graciela comes to understand the horrific vision that she’s unwittingly helped shape just as genocide strikes the community that raised her. She and Consuelo barely escape, each believing the other to be dead. They run, crossing the globe, reinventing their lives, and ultimately reconnecting at the least likely moment.
      Endlessly surprising, vividly imaginative, bursting with lush life, The Volcano Daughters charts, through the stories of these sisters and the ghosts they carry with them, a new history and mythology of El Salvador, fiercely bringing forth voices that have been calling out for generations.

Excerpt

1

Our mothers carried us on their backs until we kicked in the noontime heat. In the afternoons, they untied us, babies all born in the same season, and let us crawl beneath the ceiba tree as they worked. In those early days, before we could walk, before María was born, las faldas of the ceiba were high and wide enough to contain us. We ate earthworms and licked the ceiba’s bark. We waved at the birds and sprouted teeth while our mothers took turns running over from the coffee fields to count that we were all still there, quickly pointing at each of us as they did. Lourdes, Cora, Lucía, Graciela. They took turns making sure that none of us were choking or hungry or covered in shit. They took turns nursing us, two at once to save time. They took turns, patting all of our little bellies, rubbing our backs, wiping caca from our fat little butts with a rag, rocking us to sleep and setting us down again between the skirts of the roots. We were safe.

During the rainy months, in the late afternoons, our mothers piled us together like sacks of yucca inside the sorting room. We napped as rain soaked the roof, awakened the smell of the building’s history—­the sharp stink of last year’s cherry harvest, the bitterness of indigo. In that room we crawled over one another’s baby legs and patted one another’s cheeks, not knowing where one of us began and another ended. In that room, we took our first tumbling steps. María was born in the rainy season, and then we were five: Lourdes, María, Cora, Lucía, and Graciela.

Later, when we were older, we went to the nuns, who dressed us, who taught us to read and write, who cared for us during the day while our mothers worked. The nuns dressed us from bins that arrived from abroad. We had our own clothes, refajos that our grandmothers had made, long woven skirts, tops with the smallest embroidered starflowers lining an open collar, but these became nightgowns in favor of the pastel dresses from the nuns, ruffled dresses that rapidly grew too short for our growing legs, too tight around our bellies, dresses with puffed sleeves made of tulle, lace, and starched cotton. On our feet we wore soft leather sandals like our mothers—­we called them caites—­but María always kicked hers off, said she ran so fast they burned her heels.

Somewhere on the volcano there were men, driving carts, working beside our mothers, guiding animals uphill, but we rarely spoke with them, nor did we sense or mourn their absence from our daily lives. We took turns imagining our fathers because we thought an understanding of who they were might unravel the mystery of who we were. It didn’t. We were of our mothers.

Our mothers talked to us about the fathers of our friends, but never about our own. But from their chambre, we pieced together some stories. Graciela’s father was much older and had once lived here. His name was Germán and he was a colono—­he’d risen in the ranks at the finca until he’d owned his own plot of land. At the time he had chosen Socorrito, Graciela’s mother, Germán was the most powerful man on the finca after the old patrón. He pursued her, leaving her gifts that were entirely impractical for the life that she lived, but told a story about who he was becoming, and the kind of life that he might offer her—­silk stockings, a perfume oil that smelled of lavender, a velvet hat with a little net, a purse made of glittering beads.

As a boy, he’d met a gringo railroad man who drank special water—­water in all sorts of colors—­that he said made him more powerful, allowed him to listen to the dead and control the future. This crazy gringo was rich and promised Germán he’d purify his soul with that special water, with his potions of color and light. He swore that he could raise Germán out of the circumstances he was living in, out of the colo­nato, the system that bound him to labor on the coffee finca on the mountain. Germán, fatherless, poor, had listened to the gringo, who promised him a future in the railroad he was building to bring the coffee crop to the coast, and sent him abroad to study economics in Switzerland. His coursework and experience in the shadow of the Alps eventually proved irrelevant to his later position as the General’s oracle, but afforded him a refined sense and understanding of the improbable.

The gringo, Brannon was his name, was obsessed with colors—­thought some healed, some gave vitality. And when he saw Socorrito, whom he knew Germán liked, he encouraged the match, for, as we understand now, the color of her skin, fairer than any of our mothers’, was exactly what he was after.

Transmission. Stories all have masters who control how they’re told and to whom. Thanks to the rich gringo, Germán had become a master. And as a teenager, he transmitted the gringo’s stories to his best friend, a man we came to know as el genera­lísimo, El Gran Pendejo. They were boys together, you see. El Gran Pendejo was from the volcanoes too, though later he did everything he could to erase that history, believed this bullshit from the gringo could help him do it, could help him erase any trace of where he came from, to separate our stories from his own.

By the time that Socorrito’s first pregnancy, with Graciela’s older sister, Consuelo, had begun to show, Germán had already left the finca to live in the capital. The General was rising in the ranks there and found Germán a post as his spiritual adviser. Soon, Germán married in the capital as well. Socorrito hoped that even though Germán had left her, she might still have rights to his land, but while he had been freed from el colonato, she was fixed in place.

Then, when Consuelo was four, a man, a thug from the capital, came to our village and took Consuelo from her mother’s arms, after knocking Socorrito unconscious.

He left a note on the ground, which Socorrito discovered when she awoke, and considered destroying its fine seal, its delicate paper, its blot of indigo ink, in the fury of her rage and grief. Instead, reasoning that this was perhaps the only way she might find her daughter, she brought the paper directly to the gringa nuns to decipher for her, moving through her thick pain like a sleepwalker, because Socorrito could not read the lavish penstrokes of her child’s father.

Germán had Consuelo and he intended to keep her in the capital. You see, this new wife of Germán’s was barren and Consuelo was to be a gift for this barren woman, who yearned to be a mother. She would be una consolación; she would live up to her name.

In the capital, Consuelo would receive an education. She would live there not as a servant, but as a daughter. She would not be made to work; she’d already been removed from el colonato, which we’d all been born into, which our mothers and grandmothers had been born into. El colo­nato, which tethered us to the finca, where we would work until we died. Instead, Consuelo would become “civilized”—­that was the word Germán used in the letter. And when she was an adult, she could choose to leave the capital and return to the volcano, if she so wanted.

This was all written on the piece of paper that Socorrito had received. Sister Iris had slowed over the word “civilized” as she read.

After that Socorrito slept with the paper—­the promise, she called it—­under her head. This small scrap may have been the only thing tethering her to the earth, now that her daughter was gone.

Our mothers comforted her with laughter, when it became clear that their anger and sorrow would not return Socorrito’s daughter to her. Civilized, they scoffed. “With that pelo colocho, nearly as colocho as mine?” Rosario made this same joke every time, gesturing at her own curly hair. Colocho, pero colocho. Rosario was Black, tiny, and striking, with golden-­brown eyes. She was delicately vain about her beauty, reminding us of a small lioness. She strutted before the other women when they gathered to bathe in the river on hot days, her short feet wide and soft as paws, gems of water dripping from her hair as she stretched her arms in the sun. We, her daughters María and Lourdes, our skin went lighter on a gradient—­Lourdes’s a deep, warm brown, and then María de piel canela.

We imagined Consuelo more pale still, como una chelita, but with pelo colocho that some indita in the capital was forced to press flat every day with an iron, or else shove under a hat. She’d be like the characters in those books that the nuns had given us, about orphans in ruffly pinafores in old-­timey England—­a girl who would never want to return to the volcano.

Even after Consuelo was taken, Germán returned to the volcanoes now and then, but Socorrito was never again invited to stay on his land. Still, he found time to impregnate her, this time with Graciela, and this time without love, without tenderness, without gifts. Socorrito had hoped that by offering herself to him again, she could convince him to bring Consuelo home and stay. But at the end of each visit he returned to the capital and left her behind.

Over and over, throughout our childhoods, our mothers let slip that Graciela’s father was not only still alive, but living in the capital, as the General’s second-­in-­command. According to our mothers, Germán was his most trusted adviser. The General made no decisions without consulting him first. But on the radio, the General, baboso that he was, announced that he alone was the one who ruled the tides, who told Izalco when to erupt, who shaped the moon. He talked about the coffee harvest as if he’d picked every last cherry himself, as if he’d invented the railroad that carried the beans to port and out of the country, where they were transformed into fantastic amounts of money that we never saw. He spoke of the great ships at port from Los Yunais as his Very Good Friends. (“My Very Good Friend Los Estados Unidos enters the harbor of La Libertad on this blessed day!”) We thought he was a clown. He really believed these things—­that he had the power to control our whole universe; it was the same tontería that the gringo Brannon had talked about, that if he surrounded himself with red curtains and bathed in turquoise water, he’d be invincible. He may have heard the stories secondhand from Germán, but the General had swallowed more of this gringo’s crazy water than his friend. When he came on the radio to announce a new victory—­how he manipulated the weather, how he could perceive the world’s radiant vibrations by pissing and shitting, which he deemed sensory activities, like seeing and hearing, how he used that wisdom to shape the price of an automobile—­our laughter smothered his rejoicing.

Men. They made us laugh then.

Cora’s father, meanwhile, was a mystery to us for many years; we thought maybe he was a stranger we sometimes saw driving a cart through town. But then María heard her mother, Rosario, talking about el patrón as though it were him. We howled at that idea. Corita was too sweet, too smart, to have that bolo for a father.

Lucía’s father, light as she was, must have been visiting on business from Los Estados, but we never heard much about him.

And unlike the rest of us, Lourdes and María had been claimed, in a slight way at least, by their father. He was a rich and ordinary man whose parents owned the finca and the land that we worked on, a coffee man who lived in the north, in some place called California, with a chele wife and twin daughters a couple of years younger than us. He came to the village twice a year, in October and April, before the harvest and after. With his shoes sinking into the mud. With his long black car’s nose pointed always away from the volcano. Las hermanas had been told never to call him Papá—­always El Señor Domínguez—­but when they were alone, they couldn’t help themselves.

The closest we came to him was María’s christening. He brought blankets and a stuffed rabbit for María and a porcelain doll with blue glass eyes that opened and shut for Lourdes, and he stood in the back of the church while the visiting priest anointed María’s little head before dipping it into the fount. After the ceremony, while everyone slowly filed out of the church, he slipped out too, and drove back to the capital without saying goodbye. Their mami said, “He paid for everything, the lace dress, the tiny shoes. I’m not going to make him pretend.” After that he grew distant again; even when he was in the village, his eyes looked through us. He and his brother owned the point that our world turned on, but he didn’t change the shape of our lives. We were distant moons to him.

In those years, though, we were safe. Our mothers protected us. What had happened to Consuelo was a distant past before our births, and since then, our mothers had encircled us with joyful ferocity. What had happened to Consuelo could never happen again.

Reviews

Named a Best Book of the Year by The Washington Independent Review of Books

A Most Anticipated Book from Goodreads, Vulture, Seattle Times, Book Riot, Electric Literature, Debutiful, Yahoo, and Nerd Daily


"[A] lush, imaginative debut, with hints of magic."
People

The Volcano Daughters spits fire from its very first page…This is an epic story, a remarkable achievement for a writer making her first foray into the literary landscape. Balibrera demonstrates a fearlessness that is rare…The hazards Graciela and Consuelo face, all of them hallucinatory, hair-raising, altogether Dickensian, are spunkily reported by their dead compañeras, spirited ghosts whose personalities we come to know along with the living’s…We have seen dead narrators before: William Faulkner’s As I Lay Dying, for instance, and Alice Sebold’s The Lovely Bones. But seldom a whole chorus of dead women with their own quirks and eccentricities, kicking the plot through these pages as if it were dynamite with a lit wick…What emerges triumphantly from Balibrera’s pages is a gifted new storyteller with a nose for history and a prodigious imagination.”
The New York Times

“A gripping and spellbinding novel about a sisterhood ripped apart by violence, narrated by a ghostly chorus. An unforgettable debut.”
Brit Bennett, author of The Vanishing Half

“A beautiful and ambitious novel. I highly recommend.”
Ann Patchett on Instagram

“Stunning: original, magical, brutal, beautiful. A sweeping yet intimate look at love, sisterhood, and resistance in the face of devastation.”
Charmaine Wilkerson, author of Black Cake


“A new heir to the magical-realism throne.”
Seattle Times

“A bilingual, mythological, and original debut about resistance and survival.”
Vulture

“Women and their power to save their own lives—and the lives of others—form the foundation of this globe-trotting novel that upends readers’ expectations of who has the power to tell a story. Riveting, surprising and a bit spooky…A great book.”
San Francisco Chronicle

“A fiery, pacey novel that knits together political history, magical realism and vivacious storytelling…An unyielding plot revealing the resilience of sisterhood.”
Dua Lipa’s Service95

“Thought-provoking…Balibrera deftly melds Latin American myth with El Salvadoran history, fashioning an imaginative tale told with attitude, a fresh view of real-life events, and a pacing that enlivens every page. It’s also magical realism at its best…Renowned authors like Gabriel García Márquez and Isabel Allende helped popularize the magical-realism genre, and Balibrera serves it well here…Rich and lyrical…Immersive, highly visual, sometimes humorous, and often provocative. The women portrayed in these pages are strong and resourceful, conflicted and authentic.”
Washington Independent Review of Books

“Defiant, engrossing and haunting…With palatable love and unchecked reckoning, Balibrera accomplishes the feat of rendering these spirits alive—and these animas become the driving force of this page-turner…The Volcano Daughters opens with such a strong narrative voice, it seduces, it is a voice that captivates…An epic story of women who represent the overlooked, the forgotten, the disappeared but somehow by tooth, nail, grit, spit and fire were relentless in their will to live…Balibrera writes, ‘the word makes the world,’ and she certainly achieves this, balancing the historical and the intimate. She applies care to the depiction of violence, masterfully creating reprieve when there’s pressure on the prose; she subverts exploitation of pain on the page while demanding the reader witness. The novel tackles head-on colorism, discrimination, class disparity, gender violence in a nuanced manner…It’s this seductive, lyrical prose, and her embrace of those from the diaspora, that invites us to recognize that this is our people’s story. Balibrera delivers. And everyone needs to listen.”
Pittsburgh Post-Gazette

“Lyrical…Full of magical realism…Wonderful.”
Daily Mail

“It’s hard to do justice to Gina María Balibrera’s extraordinary debut The Volcano Daughters…The blistering heart and humor that define this book…The concept is original—and the writing itself is astoundingly good...May be the most evocative, least forgettable thing I’ve read all year.”
Same Page SF

“A new book to be entered into the historical magical realism canon…A staggering tome of sisterhood, disaster, and myth. Readers can expect an imaginative roller coaster of emotion as the sisters do everything they can do to reconnect.”
Debutiful

“This debut is colourful and inventive; a magical realist treat.”
The Times

“A lyrical, evocative ride through the history and mythology of El Salvador…This is a sweeping, epic tale…An immersive experience, one steeped in the sights, sounds, language, and legends of El Salvador…Well worth a read.”
Irish Sunday Independent


“Riveting…With rich storytelling and vivid imagery, this searing narrative redefines history and mythology.”
Denizen


“This novel is astonishing: layered, lush, lyrical, and marvelously transporting. Gina María Balibrera has woven a gorgeous and painful tapestry, rich with history, memory, and the troubling voices of the dead who will not be silenced. The Volcano Daughters is a dazzling accomplishment.”
Kirstin Valdez Quade, author of The Five Wounds

“Gina María Balibrera is a tremendous new talent. The Volcano Daughters is a towering achievement at the intersection of ancient myth, political history, and vibrant storytelling. A fierce and pulsating novel, this book will capture your heart and enrich your mind.”
Kali Fajardo-Anstine, bestselling author of Woman of Light and Sabrina & Corina

The Volcano Daughters is a beautiful novel, weaving together magic and humor with tragedy and the unflinching documentary of injustice in a way that is so skillful and surprising.”
Eleanor Shearer, author of River Sing Me Home

“Every character comes vibrantly to life in The Volcano Daughters. Every scene surprises with unexpected tremors of questions about the legacy of political violence, how social upheaval shapes sibling dynamics and haunts the psyches of children for the rest of their lives. Gina María Balibrera is a writer of tremendous imagination who draws on her knowledge of two languages to craft a first novel unlike any other I've read.”
—Idra Novey, author of Take What You Need

“Inventive, surprising, and potent, I fell under Gina Balibrera's spell from the first line and could not look away. To write a book with this much heart, where each sentence feels like it plumbs the darkest depths and soars to the brightest of skies, you have to be some sort of savant of the human heart. The Volcano Daughters blew my mind with its rich humor, its beautiful portrayal of women's lives, and its unstoppable plot, all wrapped up in a narrative voice I'd follow anywhere. How lucky we are to have Balibrera spinning tales for us this good. I'll be her reader for life.”
Chelsea Bieker, author of Madwoman


“Epic and intimate, alive and mournful, The Volcano Daughters is an exquisite novel teeming with life, ghosts, pain, and hope. I was swept away by its lyrical, generous storytelling. What a gorgeous, moving work.”
Ayşegül Savaş, author of The Anthropologists

“My mind and heart were blown open by Gina María Balibrera’s astonishing debut. The Volcano Daughters is a work of fierce ambition and blazing emotion, narrated by an unforgettable chorus of ghosts who trace the story of their friends, sisters Graciela and Consuelo, through a journey that spans continents and generations. As the chorus says: ‘The word makes the world,’ and with this novel, her first, Balibrera has done nothing less. Her invocation of the voices of a group of women whose lives were distorted and cut short by El Salvador’s violent dictator El Gran Pendejo left me breathless—and is one of the most powerful stories of motherhood, sisterhood, and survival I’ve ever read. A colossal achievement.”
Julie Buntin, author of Marlena

“A haunting (and haunted) debut, The Volcano Daughters is a dark marvel of a book, at once lush and stark, mythic and earthy. Balibrera's fusion of history and legend, puts me in mind of a young Isabel Allende.”
Peter Ho Davies, author of A Lie Someone Told You About Yourself

“Haunting…Spanish words and phrases are interwoven throughout the novel, challenging readers to sink into Balibrera’s lushly described world, where meaning is found through experience rather than translation. A devastating story of sisterhood, community, and memory, quietly magical and utterly unforgettable.”
Library Journal, starred review

“Captivating…Vibrant…Their visions of Graciela and Consuelo are riveting… Striking characters…Balibrera eulogizes the lives lost in La Matanza, the real-life 1932 massacre of the Pipil people by the Salvadoran government, and underscores the value of holding one’s culture close, even when it threatens to disrupt just-scarring wounds…The resilience of sisterly bonds forms the backbone of this swirling, heart-wrenching debut.”
Kirkus
 
“Wrenching…With keen psychological insight, Balibrera portrays how the women, each of whom doesn’t know the other has survived, make hard choices in search of fulfillment. It adds up to a powerful story of finding the strength to chart one’s own course.”
Publishers Weekly

“Lush… The young narrators provide irreverent commentary alongside dramatic storytelling depicting the hardscrabble lives of determined sisters yearning for better lives.”
Booklist

“Balibrera brings a bravura, magical-realist style to this story of resilience and love…An imaginative retelling of a difficult piece of Central American history.”
BookPage

Author

© Charles Amyx
GINA MARÍA BALIBRERA earned an MFA in Prose from the University of Michigan’s Helen Zell Writers' Program. She’s been awarded grants from Aspen Words, Tin House, the Rackham Foundation, and the Periplus Collective, as well as a Tyson Award, the Aura Estrada Prize, and the Under the Volcano Sandra Cisneros Fellowship. View titles by Gina María Balibrera
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