Jose Donoso - World Literature

World Literature

Jose Donoso


BORN: 1924, Santiago, Chile

DIED: 1996, Santiago, Chile


GENRE: Fiction


Summertime and Other Stories (1955)

Coronation (1957)

Hell Has No Limits (1966)

The Obscene Bird of Night (1970)

A House in the Country (1978)



Jose Donoso. Donoso, Jose, photograph. © Jerry Bauer. Reproduced by permission.



Jose Donoso is the most prominent Chilean novelist of the twentieth century and one of a select group of Latin American writers who achieved international notoriety in the 1960s. This was the decade of the Latin American novel’s modernization by cosmopolitan writers well versed in the most significant experiments of modernist fiction in Europe and the United States.


Works in Biographical and Historical Context

Rich Cultural Background. Jose Donoso Yanez was born in Santiago on October 5, 1924, into a family belonging to the professional middle class but with strong ties to Chilean aristocratic culture. His father, Jose Donoso, and both of his grandfathers were physicians, and his two brothers became lawyers. His mother was the former Alicia Yanez. His genealogy includes politicians, historians, writers, and literary critics, and he himself holds a university degree, thus continuing a family tradition lasting four generations.

Though Donoso’s parents were not themselves wealthy, his father in particular had a literary culture he shared with his son, who spent the first ten years of his schooling in the Grange—a prestigious private school in Santiago— and who at seven years of age had a private English teacher at home. Donoso’s school years were significant in ways not having to do with actually going to classes. In a 1973 article for Review, Donoso links his remembrance of that period of his life (1932-1942) to several themes that later were to play major roles in his fiction. Donoso emphasizes the many times he feigned stomach illness to play hooky and the way in which this deception, which fooled even his father, in time became a real ulcer, intimately linked to the creative process, either slowing or nourishing it. He remembers collapsing from a hemorrhage upon completing the manuscript of his first novel, Coronation (1957), and he recounts the emergency surgery performed during the long process of writing one of his later works, The Obscene Bird of Night (1973), which actually includes a heightened version of the incident.

Donoso’s autobiographical recollections also recount how in 1929 his family moved downtown, into a large house owned by three great-aunts ‘‘who were rich, bedridden, widowed, and ‘alone in the world’ although each was surrounded by her own court of relatives and servants.’’ The year 1929 was the year of Black Tuesday and the stock market crash in the United States and elsewhere around the world. The ensuing Great Depression, which contributed to hyperinflation in Germany and, ultimately, to the Second World War, also led to the rise of fascist regimes throughout much of Latin America. When in 1938 the family moved back to their earlier home, its garden was to become a major symbol for Donoso—not only of renewal and growth, but strongly linked to family sentiments and fears, especially in The Garden Next Door (1981).

Limited Early Recognition. Donoso’s first book, a collection of short stories titled Summertime and Other Stories (1955) was a vanity publication, published at his expense and with the collaboration of friends, family, and subscribers. The book nonetheless made an impression on the Chilean literary scene and won the 1956 Municipal Prize for Short Stories. The following year Donoso moved away from the bustle of the city and the workaday world and lived with a fisherman friend’s family in Isla Negra, the fishing village in southern Chile popularized by Pablo Neruda, who had begun to use it as a retreat in the early 1950s. When Coronation was published in 1957, once again Donoso had to display creative energy and muster the support of family and friends to ensure distribution.

Mexico, the United States, and Spain. In 1963 Coronation was selected by the Faulkner Foundation as the best Chilean novel published in the postwar period. Shortly afterward, in 1964, Donoso and his wife—Maria del Pilar Serrano, whom he had met in Buenos Aires and married in 1961—accepted an invitation by the InterAmerican Foundation to participate in a writers’ congress in Mexico. They planned to be gone for only a few weeks, but they did not return to Chile until 1980. In Mexico, Donoso made a living writing literary criticism for Always and, more importantly, wrote his next two novels, Hell Has No Limits (1966)—written between December of 1964 and February of the following year—and This Sunday (1966). Hell Has No Limits was the first novel published by Donoso outside of Chile—though the book is still set in Donoso’s native country—and This Sunday was his last novel to be originally published in his native country.

After leaving Mexico, Donoso divided his time for a while between the United States (where he taught writing at the University of Iowa and at Colorado State University) and Spain, where he eventually settled in Calaceite, in the Teruel region, until 1980. He spent the years between 1965 and 1969 trying to finish a project he had started in 1963, which was to become his greatest novel to date and one of the most recognized novels of the Latin American literary boom: The Obscene Bird of Night (1973). One of the key elements of the book is the myth of the Imbunche, a creature taken from the folktales of the people of Chiloe Island. This island lies just off the coast of southern Chile, not far from where Donoso stayed in the 1950s.

After 1970 Donoso shifted gears in the direction of the postmodern novel, with Sacred Families: Three Novellas (1973). The trilogy may be considered a minor work, but Donoso’s next novel, A House in the Country (1978), proved a major effort comparable in scope to The Obscene Bird of Night. In 1980 Donoso was to make his definitive return to Chile, writing in the meantime two vastly different novels—a brief, mock-erotic novel, The Mysterious Disappearance of the Marchioness of Loria (1981), and The Garden Next Door (1981), a somber and bitter semiautobiographical narrative.

Father of the Modern Chilean Novel. In 1986 Donoso published Curfew, a sober and disenchanted novel dealing with the contemporary Chilean politics Donoso witnessed firsthand. The dictatorship of Augusto Pinochet had left its mark on Donoso personally, and his response to the evils perpetrated by Pinochet’s military junta earned him public recognition when Pinochet fell from power in 1990. That year, Donoso was awarded the Chilean Premio Nacional de Literatura. His break with nativism—the movement concerned with social conditions—and with the social novel of an earlier generation, shortly before he died six years later, powerfully ushered in the modern Chilean novel.



Donoso's famous contemporaries include:

Carlos Fuentes (1928—): Mexican author whose bestselling works include Old Gringo and Christopher Unborn.

Augusto Pinochet (1915-2006): Chilean military leader who led a coup of the Chilean government and who served as the dictatorial president of Chile from 1973 until 1990.

Gabriel Garcia Marquez (1927—): Colombian author who achieved popularity during the Latin American boom and whose works One Hundred Years of Solitude and Love in the Time of Cholera are among the best- known examples of magic realism.

John Updike (1932—): Award-winning novelist, essayist, and literary critic who is often appreciated for his indepth chronicling of American psychological, social, and political cultures.

Richard Nixon (1913-1994): The thirty-seventh president of the United States, Nixon remains infamous for his criminality while in office, and is widely suspected of having supported dictator Augusto Pinochet's coup and deposing of Marxist Chilean president Salvador Allende.


Works in Literary Context

Influences on Content and Style. Donoso’s earliest influences were childhood games that later played major roles in his fiction. For example, he remembers a fascination with dressing up and the games he and his brothers used to stage—until parental authority intervened and brought them to a halt. This early display of costume and playacting is evoked in the later fiction and is a model for the narration process of Donoso’s most important novels.

Donoso also looked back and saw that his experiences in school, and especially of organized sports, brought out in him an incapacity to belong to any group whatsoever: political, social, or literary. As he grew older, this outsider began to make the acquaintance of the hobos and prostitutes who made their living on the outskirts of the city. These characters populate some of Donoso’s novels.

Other works by Donoso show influences of the social movements of the time. Donoso’s portrayal of Andres Abalos in Coronation, for instance, betrays the influence of the philosophy focused on existence: existentialism. Still other earlier works show the impact of the author’s interest in the well-being of the cultures—the movement called nativism during the period in literature known as the modern era, or modernism. Here Donoso’s style often functions as a sort of verbal mask for the workings of historical reality. Often the narrative offers a kind of coded rendering of contemporary Chilean history, complete with veiled references and actual speeches.

The Well-Being of Society. Donoso’s themes align with the literary movements in which he played a part: Some of his work, such as Curfew (1988), for example, expresses the effort to retrieve one’s origins yet to create a new identity with the materials of one’s history (memories and past experiences). This theme involves the human in particular and the nation as a whole, which the author calls on to take steps in favor of society’s well-being and to not become mired in fantasy and cut off from present-day reality. Curfew and earlier works also highlight the despair of humans—whether on individual levels or on the collective level. There is an effort to believe in the promise of freedom from social codes, yet a feeling of the inescapability of some radical nothingness—of looming anarchy or lawlessness.

The Body as Symbol. Figuratively, Donoso often used some form of the body to represent his themes. In The Obscene Bird of Night (1973), the body of the author becomes a metaphoric equivalent for the body of the text. This body is one of voluntary action or ability and is involved in degrees of power—social, political, or economic. It reappears as the body of a house, a physical body, or part of a body of work (such as a painting), and runs through much of Donoso’s fiction—whether emphasizing the body politic, the human body, or a body of people.


Works in Critical Context

From the publication of his first novel, Coronation, Donoso was embraced by intellectuals and critics throughout Chile and other parts of the Spanish-speaking world. Although his reputation was sometimes uneven— he was criticized by some for his sympathetic portrayal of prostitutes and homosexuals in Hell Has No Limits, for example—and he spent many years in self-imposed exile, he was always considered one of the most important writers to ever emerge from Chile. Donoso dreaded simplicity and aimed to convey the complexities of society in his own often complex way, gaining criticism that revered his efforts: Walter Clemons of Newsweek exclaims, ‘‘He is an extraordinarily sophisticated writer in perfect control of time dissolves, contradictory voices, gritty realism and hallucinatory fugues.’’

The Obscene Bird of Night. When The Obscene Bird of Night was published in 1970, reviewers were both impressed and confounded. Wolfgang Luchtig, in Books Abroad, asks rhetorically, ‘‘How do you review a dream?’’ and John J. Hassett, writing for Review, argues that this is not ‘‘a novel simply to read, but one to experience in which we are continuously called upon to give the text some order by discovering its unities and its repetitions.’’ Robert Coover, writing for the New York Times Book Review, praised the work as ‘‘a dense and energetic book, full of terrible risk-taking.’’ In the years since its publication, The Obscene Bird of Night has come to be viewed as one of Donoso’s most important and masterful works.



Donoso's ongoing focus on the social good and on principles of communal well-being was both striking and admirable. Here are a few works by writers who have also concerned themselves with the social welfare of people in communities:

The Birthday of the World (2003), a short-story collection by Ursula K. LeGuin. This collection explores themes such as gender segregation, marriage between four people, and the disruption of a society whose rulers are ''God.''

The Human Condition (1958), a nonfiction book by Hannah Arendt. This work, which is central to the writer's philosophy, concerns activities in realms most important to her—labor, work, and action—in the context of society, politics, and the public and private sectors.

Homo Sacer: Sovereign Power and Bare Life (1998), a nonfiction book by Giorgio Agamben. This work is an exhaustive social study by the Italian philosopher of the how the ''near-sacrificial'' human functions politically.

The Polish Revolution (2002), a nonfiction book by Timothy Ash. In this factual narrative, the author tells of the 1980 Polish shipyard workers who defied the oppression of their communist rulers.

Sovereign Bones (2007), a book of short stories edited by Eric Gansworth. In this short-story collection, contributing Native American authors write on the imperative of keeping a homogenous identity.


Responses to Literature

1. In general terms, Donoso’s nativism involved a concern for society’s well-being. More specifically, dictionary definitions describe nativism as a kind of ‘‘policy of favoring native inhabitants as opposed to immigrants.’’ Discuss how Donoso’s many moves and experiences abroad contribute to his focus on natives versus immigrants. What is his attitude or thesis concerning this general topic, precisely? Support your argument with detailed analysis of one or more of Donoso’s texts.

2. Like many writers throughout history, Donoso wrote about his impressions of family. Consider Donoso’s comments in Sacred Families. To what extent do you agree with his view of the family? What is the strongest argument in favor of the perspective he offers? Against that perspective?

3. In Donoso’s early works, such as Coronation, he was credited with offering a realistic portrayal of upper-class Chilean society. Find some examples in Coronation that describe upper-class life or characters. Based on these, how do you think Donoso viewed the upper class? Why?

4. On encountering The Obscene Bird of Night, many readers are perplexed, even confounded. What two to three aspects of the book do you find most difficult, challenging, or simply annoying? Why are these aspects challenging? In what ways do such difficulties rub up against you and ask you to revise your own perspectives? What does the fact that you find these things disturbing or irritating suggest about the expectations you bring to the text? Is there a way for you and Donoso to come to an agreement of sorts? If so, how? If not, why not?




Contemporary Authors Online. Farmington Hills, Mich.: Gale, 2008.

Meyer, Doris, ed. Lives on the Line: The Testimony of Contemporary Latin American Authors. Berkeley: University of California Press, 1988.

Schwartz, Ronald. Nomads, Exiles, and Emigres: The Rebirth of the Latin American Narrative, 1960-80. Metuchen, N.J.: Scarecrow Press, 1980.


Barth, John. ‘‘Postmodernism Revisited.’’ Review of Contemporary Fiction 8 (Fall 1988): 16-24.

Clemons, Walter. Review. Newsweek, June 4, 1973.

Mouat, Ricardo Gutierrez. ‘‘Aesthetics, Ethics, and Politics in Donoso’s El jardin de al lado.’’ PMLA 106 (January 1991): 60-70.

Web sites

Latina/o Literature and Literature of the Americas at the University of Northern Colorado. Jose Donoso. Retrieved April 25, 2008, from

Memoria Chilena. Jose Donoso (in Spanish). Retrieved April 25, 2008, from ut=josedonoso.

Princeton University Libraries. Jose Donoso Papers. Retrieved April 25, 2008, from