Tuesday, March 26

Carmen Mola blood stain the mafia of the wombs for rent


Jorge Díaz, Agustín Martínez and Antonio Mercero sign ‘Las madres’. / JORDI GERMANY

The trio of writers returns after winning the Planet with ‘Las madres’, a noir novel that recreates situations of extreme violence

Antonio Paniagua

Aware that gore exerts an irresistible fascination on the reader, Carmen Mola once again treats her readers to macabre and hair-raising scenes. In ‘Las madres’ (Alfaguara), the fourth installment of the series starring inspector Elena Blanco, the three writers who hide behind the pseudonym –Antonio Mercero, Agustín Martínez and Jorge Díaz– deal with the phenomenon of wombs for hire and the police corruption. “All our novels deal with extreme violence and when it comes to portraying it we don’t want to be prudish,” they explain.

The irrational beast that is sometimes the human being can carry out terrifying plans. The trio of narrators and screenwriters know this well, and in this fourth installment of the series ‘The Gypsy Bride’ they offer an attractive bait that leaves the reader magnetized to the pages. “The bloodiness induces an abyss in which one feels so panicked that he becomes a ‘voyeur’, contemplates what can happen to him and never wants it to happen. The images of the concentration camps are so powerful that one is horrified”, argues that triple voice that is Carmen Mola.

In this new story, Inspector Blanco faces a disturbing crime. A van expels a nauseating smell. Inside, a man is tied to a chair with a crude seam running from the pubis to the abdomen. The first results of the autopsy reveal that the victim had some organs removed and a fetus of almost seven months was placed in her womb. With these wickers, Mercero, Martínez and Díaz weave a story that delves into the mafia of rented wombs, a whole frieze of horrors in which Santería, a terrible avenging angel and a police group dedicated to extortion break. «Everything related to surrogacy generated a moral doubt in us. We did not want to make a novel that would set a chair. We have tried to teach something that perhaps is not close to the Spanish, but that does happen further away».

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Carmen Mola introduces the figure of the infiltrator into the plot, in this case a woman who renounces her identity and pretends to be another, which ultimately turns her into a traitor. The novel is a kind of parable in which the woman’s body becomes merchandise and the object of harassment, beatings, kidnappings, forced pregnancies and murders. Do the members of the Carmen Mola collective set limits when it comes to undertaking the most atrocious situations? «We do not want to set limits, but it is true that sometimes we repress ourselves. We have cut some chapter that seemed excessive. Carmen Mola does not explore violence, she explores evil. At the same time, we took the opportunity to pose certain dilemmas: would I be capable of doing something horrible to save my son?

early works

After winning the Planeta Prize with ‘The Beast’, a milestone that revealed who was hiding under the pseudonym, the writers return to the publishing house that saw the birth of their first collective works, Alfaguara, which will publish at least one more criminal novel in the saga, composed of ‘The gypsy bride’, ‘The purple network’ and ‘La Nena’.

A few days after the premiere on Atresplayer of the television series ‘La novia gitana’, a production directed by Paco Cabezas and with Nerea Barros in the lead role, the team of novelists is satisfied with the result and assures that they “like it a lot” . However, there are decisions with which they are not entirely in agreement, and that Antonio Mercero has been one of the script co-directors. They believe that Nerea Barros does a “fantastic job”, despite the fact that the inspector is fifty years old in the novel and carries some wounds from the past, which confers some additional wrinkles, while in the series the actress is forty years old. . «There is a director who is the one in charge, he does very well in ordering and changes what he thinks is necessary to change», they say to abide by the autonomy of the director.

The three function as a well-matched team of writers. Each one has their strengths._Mercero stands out for the brilliance of the phrases and Martínez for the plot twists. They live with their backs to the criticism of some feminists who attacked an alleged female “usurpation of identity” when they won the Planet. “We have been in half the world and half Spain and nobody has put a bad face on us,” they say.


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