Helena's Dreams

Eduardo Galeano


«Helena humbles me every morning, at breakfast time, by telling me her prodigious dreams. She enters the night like a movie theater, and every night a new dream awaits her. While she tells, I drink my coffee in silence. I'd better be quiet. The few dreams of mine that I manage to remember are of embarrassing stupidity. To avenge myself, I write down the dreams she flies.»

Throughout his narrative, Eduardo Galeano transcribed the dreams of Helena, his wife. Thus, this book brings together for the first time in the form of a great story those dreams that so often, as the author himself acknowledges, have helped to improve his own literature.

Friends, strangers, travels, exile and reunions are interwoven in an itinerary of adventures illuminated by the admirable compositions of the National Illustration Prize winner Isidro Ferrer.

Through his usual mix of techniques, materials and remarkable wood sculptures, the artist who is considered one of the greatest graphic artists in Spain creates dreamlike, suggestive and hermetic collages, with which to interpret all the beauty of stories dreamed up for dreamers of any age.


«More than a book to be read from cover to cover, this is an object to revisit every so often, opening a page at random, and allowing oneself to be suggested by Galeano's prose at the service of unreal moments and recurring themes in his bibliography, and by Isidro's atmosphere, which takes us by the hand into that mysterious world of dreams, from which writers and artists in general have drunk so much.»

Babar Magazine

«Illustrated with passion and beauty by the Madrid graphic artist Isidro Ferrer, the texts compiled here tell us of a land of dreams, of exile and dis-exile, of ports and doors, of fear, courage, death and a whole range of life experiences and human sensations, all too human.»
Canal Lector


«Isidro Ferrer's creativity and captivating aesthetics give wonderful relief to Galeano's texts. Los sueños de Helena pairs the work of both artists to the point that, if we were unaware of the date of the writings, we would not know clearly whether these are illustrations for which texts were created or texts for which illustrations were created.»
Alva Sueiras, El Observador




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