Asterisk denotes entries on real places.
Green House. Piura brothel around which the novel’s stories are interwoven in a nonlinear narrative. The novel’s title links the primal lusts of civilization in Piura, embodied by the whorehouse, with the primitive world of the lush, green jungle.
*Amazon basin. Rain forest region that extends from Brazil into eastern Peru. The novel opens on a tributary of the great Amazon River on which two nuns are being boated downstream by a rowdy crew of police and military men. The characters melt into a landscape of casual talk and flood of visual observation. No narrator sorts out which characters are important or what is going on. After thirteen pages without a single paragraph break, the novel suddenly cuts to a scene with different characters, who seem unrelated to what has gone before them. The entire book follows the pattern established in its opening pages. Past and present flow together. What happens first is never told first. Every beginning is instead the end of something begun earlier. In this way Vargas Llosa suggests that the jungle river, like the oddly constructed house painted green, is a metaphor for the world of Piura and for the Latin American experience in general. This experience involves struggles to separate what is real from what is fiction, what is indigenous from what is European culture, what is men’s life from what is women’s life, what is the modernity of urbanization and what is traditional culture as experienced through the magical landscapes of both city and jungle.
Vargas Llosa relies on a spiral, flowing narrative mode, characterized by a flood of text, unmarked by paragraph indentations, or quotation marks–much like that of the Maranon River with its “six violent miles of whirlpools, rocks, and torrents.”