The Two Elenas by Carlos Fuentes
"The Two Elenas" by Carlos Fuentes is a nuanced exploration of the complexities of love, identity, and societal expectations through the lens of two women sharing the same name but differing in their backgrounds and perspectives. The narrative unfolds during a Sunday dinner where familial tensions surface, particularly between a father and daughter, revealing deeper themes of race and cultural discourse. Central to the story is Victor, the husband of one Elena, who reflects on their relationship during a dinner conversation about the film "Jules and Jim," which sparks discussions about love, desire, and companionship.
Throughout the story, Victor grapples with his feelings and the implications of sharing his life with both Elenas, who represent contrasting worldviews shaped by their distinct origins. The character dynamics highlight issues of misogyny and the nature of love, as Victor contemplates what each woman adds to his life. The narrative also captures intimate moments, such as the physicality of love and the emotional distance that sometimes exists between partners. Ultimately, Fuentes crafts a tale that invites readers to reflect on the interplay of personal relationships within broader societal contexts, making it a rich subject for further exploration.
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The Two Elenas by Carlos Fuentes
First published: "Las dos Elenas," 1964 (English translation, 1973)
Type of plot: Domestic realism
Time of work: The 1960's
Locale: Mexico City
Principal Characters:
Victor , the narrator-protagonist, an architect in Mexico CityElena , his wifeDona Elena , Elena's motherDon Jose , Elena's father
The Story
Dona Elena's complaint regarding the conduct of her daughter, Elena, the previous Sunday (she defended the idea that a woman can live with two men) causes Victor, an architect, to recall the night that he and Elena, his wife, saw the film Jules and Jim (1962). That night over dinner, as he recalls, they discussed the film and Elena arrived at certain conclusions—for example, that misogyny is the condition of love, that one day Victor would want another man to share their lives, and that she wanted an outfit like the one worn by Jeanne Moreau in the film. As he pondered the likelihood of the second proposition, he watched Elena among their men friends, imagining how each of them would supplement what he himself might be incapable of offering her. Later, they walked home through cobblestone streets ("a meeting ground for their common inclinations toward assimilation") and made love to the music of Brother Lateef.
At Sunday dinner with her parents, Elena and her father begin to argue about blacks when Dona Elena saves the day by changing the subject to her own activities during the past week. While she speaks, Victor observes her gestures and appearance, especially her caressing fingers, slim wrist, full arms, and taut breasts. After dinner, Don Jose excuses himself to reminisce over some old boleros. In another room, Elena falls asleep on her husband's lap while he and his mother-in-law carry on a conversation about Veracruz, which is in fact a description of the fundamental difference between the two Elenas: their origins and, consequently, their attitudes.
The following morning, Victor prepares to leave for work, and Elena outlines her schedule for that day, which includes a film, a class, some appointments, readings, and other activities, and mentions some plans for later on that week. On the way to work, Victor attempts to sort out that barrage of information, wondering if perhaps a vacation might not bring their lives closer together again. Suddenly, he finds himself steering his car not in the direction of his work, but toward Lomas, the house of Elena's parents, where his other Elena awaits him.