The House on the Lagoon

Although I could not finish The House on the Lagoon a year ago when I attempted to read it, this time it was a breezy and entertaining read. Telling the story of 20th century Puerto Rico through the wealthy San Juan-based Mendizabal family, the novel is ostensibly the manuscript of Isabel, describing the origins of the her and her husband's families from the Spanish-American War to the turbulent 1970s of independentist radicalism. As the daughter of a Puerto Rican governor and with somewhat of a similar background as Isabel, one assumes Rosario Ferre based some of the characters on people in her own life, while fictionalizing historical events in Puerto Rican history (such as the Ponce Massacre). There is a strong feminist undertone to the novel, which illustrates across class and racial boundaries the role of sexism in limiting the fate of women in Puerto Rican society, although the class and racial politics of Isabel, a "liberal," usually leave more to be desired.

The most interesting aspect of the novel are the Afro-Puerto Rican servants, living in the cellar of the titular house on the lagoon. Led by Petra, the daughter of African slaves from Guayama, who is a devotee of Eleggua and healer, the black characters, who link the elite Mendizabal family with the slums of Las Minas, are often in the shadows but reveal the racial domination built into Puerto Rican society. Petra, who lives in the house for over 50 years, has a special influence on Buenaventura Mendizabal, the "alleged" descendant of Francisco Pizarro, and her presence is the stone upon which the house on the lagoon endures and, eventually, falls. 

Her devotion to Eleggua and observation of African-derived rites and beliefs ultimately has a major influence on Isabel, and Eleggua, the intermediary communicator and guardian of the crossroads, seems to appeal to her. She cannot decide which political path to take (independence, statehood, commonwealth) or personal (remain with Quintin, continue her novel, or leave), and Eleggua, via Petra, becomes the bedrock of support and eventual decision-making. There is no elaborate description of Santeria or Afro-Puerto Rican spirituality here (and Isabel conflates Angolan and West African traditions somewhat lazily in her manuscript), but there is an undeniable presence of the orisha and Black Puerto Rico throughout the narrative. Indeed, even the lagoon or swamp and the nearby Lucumi Beach or Las Minas slum hint at the ever-present black past. 

While reading this, I could not help but recall Du Bois's Quest of the Silver Fleece, which also uses a swamp and hints of non-Christian African-American religion through the character of Zora. Or, without the swamp but similar attention to water and the sea, the works of Jorge Amado. Yet Ferre creates far more appealing and complex women characters while bringing Puerto Rican history to life. One should read this novel alongside Puerto Rico in the American Century.