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thus, the epic of the voyage of aeneas becomes a novel where a strong shift from storytelling to storytelling means to substitute the heros and oracles for the heros and oracles of the aeneid (162). but although vallejo does not intend to replace the aeneids characters with new characters, her novel has the effect of turning the characters into heroes of their own, a skillful use of language, and a novel that has its own voice, one that, despite being about a specific historical event, is novelistic. for el silbido del arquero, vallejo provides an alternative, moving perspective of the story. this is part of her overall strategy, which is to counter the tendency of using the aeneid as a historical template and become an integral part of the epic itself, an attempt that can be seen in, for instance, la tejedora de sueos, la gran patria and los jardines de babel.
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the importance of the question of gender in el silbido del arquero is not limited to the tension between gender and genre, but becomes a major concern of the novel itself. vallejo wants to open the gates of the narrative to a feminine perspective, and, in a sense, find a way to reconcile the long shadow cast by virgils epic, despite its male perspective. the aeneid is a tale of a man, and its cultural context in rome is a male, aristocratic, imperial, patriarchal structure, which makes the heros of vallejos narrative all the more engaging. elisa is a woman, she writes in spanish, and she is a bibliophile, a book lover, someone who, in the ultimate act of love, can devote her entire life to books. she is a dreamer and a dreamer of dreams: the reason for her travelling to the east is to find her family, while her real quest is to discover who she is, finding her own voice, the voice of a dream, a voice that is buried in the aeneid or perhaps already lived in ancient carthage.
