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Before the beginning of the actual narrative, the author includes a dedication to an older gentleman whom he met accidentally and who told him how his books had positively influenced his life. He also includes two brief poems. One is a story from the Christian Bible (Luke 7:37-47) in which Jesus blesses a sinful woman for anointing him with oil. The other is the inscription to goddess Isis, describing her as both a “prostitute” and angelically pure.
Coelho begins and ends the book with the fairy tale phrase “Once upon a time,” implying a child-like fairy tale, the tone of which is belied by the second half of that sentence, “there was a prostitute named Maria” (1). The author considers the contradictory nature of the idea of a children’s story that discusses a sex worker but says that every good story is part fantasy and part real, so he keeps that beginning. He tells the story of 11-year-old Maria, who walks to school in the little Brazilian village where she lives every day. Walking along the way with her is an unnamed boy. She falls in love with this little boy and hopes he will speak to her. One day he does approach and asks her for a pencil. Mortified that he might realize she is in love with him, she fails to give him the pencil. She waits after that for him to speak to her again, but he never does.
Over summer vacation she begins to menstruate. She thinks this means she’s going to die and decides she will write the boy a love letter telling him he was the love of her life. Her mother explains to her what’s is happening and this only happens to girls. When summer vacation is over and she starts back to school, she’s terribly upset to discover the boy has moved somewhere very far away, and she will never see him again. Coelho writes, “At that moment, Maria learned that certain things are lost forever” (4). He concludes the chapter by writing, “It began to seem to Maria that the world was too large, that love was something very dangerous and that the Virgin was a saint who inhabited a distant heaven and didn’t listen to the prayers of children” (5).
Chapter two begins three years later. In addition to geography and mathematics, Maria has expanded her horizons to include erotic magazines. At 15, she falls in love with a boy she met during Holy Week. He kisses her and she kisses back to the best of her ability. For some reason, he decides to stop their adventure. She writes about it in her diary in very grown-up terms, saying, “Life moves very fast. It rushes us from heaven to hell in a matter of seconds” (9).
She talks to her girlfriends about the experience, and they tease her because she is so innocent in the way she kisses. Days later, she sees the boy at a party holding hands with a girl whom Maria told about their time walking together. She’s crushed by this. She toys with the idea that she is going to become a nun in a convent “and devoting the rest of her life to the kind of love that didn’t hurt and didn’t leave painful scars on the heart—love for Jesus” (10-11).
Coelho writes, “However, her fifteenth birthday brought with it not only the discovery that you were supposed to kiss with your mouth open, and that love is, above all, a cause of suffering. She discovered a third thing: masturbation” (11). Ever curious, Maria begins to study the experience of orgasm and masturbation. Talking about it with her friends, she discusses the different ways a person can pleasure oneself and heard many myths from her girlfriends about the whole process. She also learns “the church seemed to imply that sex was the greatest of sins” (13).
Maria fell in love a third time and a fourth time and got close to them sometimes physically:
but something always went wrong, and the relationship would end precisely at the moment when she was sure this was the person with whom she wanted to spend the rest of her life […] One afternoon, watching a mother play with her two-year-old son, she decided that she could still think about a husband, children and a house with a sea view, but that she would never fall in love again, because love spoiled everything (13).
This brief chapter is devoted to Maria’s experience with having sex with a boy for the first time. To her, the experience is not at all like masturbation, which she finds completely pleasurable. The author writes, “She couldn’t understand it; masturbation was much less trouble and far more rewarding” (15). Because she is not enjoying sex with a boy, she begins to think she must have something wrong with her sexually. She writes in her diary, “Love is a terrible thing: I’ve seen my girlfriend suffer and I don’t want the same thing to happen to me” (16).
By age 19, Maria has graduated from secondary school and taken a job at a drapery store, where the manager falls in love with her. She has developed into a real beauty who has become extremely cynical about the notion of true love. Maria is quite able to maneuver men so they think she might be interested in them and might become sexually available while holding them at arms’ length. She has also become quite independent, continuing to live with her parents while also paying them for the privilege. About her relationship to her mother, Coelho writes, “She knew how attractive she was, and although she rarely listened to her mother, there was one thing her mother said that she never forgot: ‘Beauty, my dear, doesn’t last’” (17).
Eager to escape her boring little hometown, Maria saves up enough money to take her first trip, a one-week vacation, to the wider world, to the “city of her dreams” (18), Rio de Janeiro. She is 22 years old when she accomplishes this. Her boss wants to go with her, offering to pay her way. She talks him out of it, realizing his plan is to ask her to marry him when she returns.
Her first action, after the 48-hour bus trip to Rio, is to check into her hotel, put on her bikini, and head to the beach. She attracts a lot of attention, including that of a Swiss businessman, who gives her coconut water. He summons an interpreter, a security officer from the hotel named Maílson, who explains to Maria he wants to buy her supper that evening. The Swiss man conveys that he wants to talk to her about coming to Europe and working for him. Maria believes this is divine intervention on her behalf by the Virgin Mary. Though the interpreter does not accompany her to the meal, he gives her some advice, including telling her that if she decides to sell her body to the Swiss man, “the normal price is three hundred dollars a night. Don’t accept any less” (24).
Maria eats and drinks with the businessman, who manages to convey to her that he wants to offer her a job dancing the samba in Switzerland. Vaguely aware she is likely making a mistake, Maria finds herself inclined to accept his offer and writes down both her misgivings and her joyful dreams in her diary.
Maria, with the help of Maílson, signs a contract with the Swiss club owner, whose name is Roger. They apply to the Swiss consulate for a work permit and a passport. Maria will earn $500 a week. She is given $350 in advance with Maílson, now her agent, receiving the other $150 for his help. Even after signing the contract, Maria is uncertain about going to Switzerland. She wants to discuss it with her family, so the club owner flies with her to her home, where she explains the situation to her parents. Her mother counsels her to fly to Europe, saying, “My dear, it’s better to be unhappy with rich man that happy with the poor man, and over there you’ll have far more chance of becoming an unhappy rich woman. Besides, if it doesn’t work out, you can just get on the bus and come home” (32).
Flying back to Rio, Maria finds everything is ready for her trip. She goes to a nightclub with her new boss, who is delighted when he sees her dancing the samba. The next day, they fly to Switzerland.
Readers who open any copy of Eleven Minutes will notice immediately that there are no numbered chapters. Coelho makes clear, however, where chapter breaks should occur by creating a page break. There are 33 of these, and this summary has numbered each of those to make it simpler to summarize and discuss the narrative.
The author begins with a heartfelt dedication to a loyal reader who introduces himself, his wife, and his granddaughter to Coelho not long after he had put the finishing touches on Eleven Minutes. Implied is the realization that man and likely the two women with him will read this book. The devotion of his readers conveys to Coelho a sense of responsibility to write what is true, meaningful, and helpful. To this end, before the narrative begins, he includes holy text from the Christian Bible and the cult of Isis that addresses sex workers.
In most ways, Maria is most like all little girls who fantasize about falling in love with the one true love of their lives. She does this with three boys, each of whom turns out not to be her true love for one reason or another. Maria’s heart is broken, and she turns against the notion of romantic love only to fall in love again. There are two major changes that attack this routine. One is that Maria is exceptionally bright and inquisitive. Rather than disappearing into her emotions and accepting them, she investigates what is going on with her and compares it with the experiences of her girlfriends, often to their chagrin. The second is her discovery of sexual self-satisfaction and the realization of the distinction between sexual gratification and love. This opens a path she will explore for the remainder of the narrative. When she does not understand the results of the causes of her body’s responses, she intentionally investigates them, such as when, in Chapter 3, she has intercourse for the first time and is confounded that it is so unpleasant; in an effort to understand why the experience did not measure up to the conventional wisdom about intercourse, she blackmails the young man into repeating the experience several times.
By the time she carries off her individual vacation to Rio de Janeiro, she has a fair degree of expertise in matters of sexuality and relationships with men. She knows she has not found her true love and that she can use her beauty to open doors. The instant this country girl shows up alone, she becomes a target, attracting the attention of many men on the beach. Maria seems to know this as well. Instead of being wary, her attitude is one of excitement, as if she is saying to herself, “I cannot wait to see where it is going.”
Regarding the possibility of Maria traveling to Europe and starting a new life, Coelho editorializes,
Up until then, travel and the idea of going far away had just been a dream, and dreaming is very pleasant as long as you’re not forced to put your dreams into practice. That way, we avoid all the risk, frustrations and difficulties, and when we are old, we can always blame other people—preferably our parents, our spouses or children—for failure to realize our dreams (27).
This passage is an example of the author taking his readers into his confidence and also sharing proverbial wisdom with them. He shares his insight into the common human practice of blaming others for the failure of our hopes and dreams to bear fruit. Coelho wants his readers to understand that Maria’s follies do not exceed what might be expected of other young people. Over the course of the novel, this can be seen as a reference to his notion that, throughout life, human beings are on a pilgrimage of learning and growing in sexual understanding is a major part of that journey.
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By Paulo Coelho