Margarida is trapped in Mas Clavell, a farmhouse in the Catalonian mountains, with Bernadeta. Bernadeta is dying in an annoying way, with “deep, raspy snores”. Margarida herself has been dead for some time. Rather than ascend to heaven, she has been “dragged downstairs by the ghastly, insufferable women of the house”. Irene Solà’s teeming third novel, I Gave You Eyes and You Looked Toward Darkness, follows these women, both dead and alive, as they prepare for a party. They cook and scrub, tell stories and make fart jokes. The novel begins at dawn and ends at night, but the historical era jumps around without warning. Now the viceroy’s men are arriving on horseback. Now a teenager is calling everyone a “dumbass”. Now local women are fleeing from Nazi soldiers. Characters shape-shift as much as the timeline. A he-goat becomes a bull, then a cat, then “an unusually long, skinny man with the toes of a rooster”. Now the viceroy’s men are demons, dragging Margarida into a “sea of blood”.
I Gave You Eyes and You Looked Toward Darkness references Mrs Dalloway, and shares the modernist interest in formal experimentation and action that unfolds over a single day. Instead of tracking interior sensation, Solà presents a seemingly inexhaustible slew of bodily description, held together by the opaque, vindictive logic of a folk tale. There are wonderful lists: of the different kinds of shit on the mountain, of cheese-making equipment, of body parts fondled by hands in the dark. I read the book twice in quick succession and every time I opened it, I found something to savour. The prose has the demonic excess of a Hieronymus Bosch painting.
