Wednesday, January 19

FIL de Guadalajara: Reaching the writing with the marked body

“Trans visibility is a trap,” warned Camila Sosa Villada. “We have been so visible that we have had to hide during the day.” The Argentine writer (Córdoba, 1982) grew up in one of the most conservative territories of her country and flourished in her trans identity. His words echoed through the auditorium. On The evil ones, the great publishing phenomenon of 2020 that earned him the Sor Juana Inés de la Cruz award, Sosa Villada traces the chronicle of that rebirth as painful as a party. “I have been working since I was eight years old. I sold ice cream and slices. Then I had to cross-dress ”, he recalled. “Perhaps it is a very obvious relationship that of prostituting oneself and putting on the body. But I also put the body around love, alcohol, and drugs. I needed everything I wrote to have a place for me, and my way of doing it was to put the body. I have not broken with my origins, I drag them with me ”.

Sosa Villada spoke at the Guadalajara Book Fair, which was convened this Tuesday together with Tamara Tenembaum (Buenos Aires, 1989) and Julián Herbert (Acapulco, 1971) about a label that they broke as soon as the talk began. In the table Black sheep? The uncomfortable in literature the theme should be those writers who break with the origin, the incorrectness of the authors who speak from a dark place to be reborn as writers. Perhaps the verb is not to break, but to betray. In that sense, I think I have betrayed everyone, ”said Sosa Villada, and all three agreed. They had been called black sheep and the table seemed set. Nothing is further from what they proposed.

A moment of the talk 'Black sheep?  The uncomfortable in literature ', this Tuesday at the FIL in Guadalajara.
A moment of the talk ‘Black sheep? The uncomfortable in literature ‘, this Tuesday at the FIL in Guadalajara.Hector Guerrero

“The ruptures have to do with the experience of the crisis, to be in it constantly,” added Herbert, whose Tomb Song he consecrated it in 2011. He wrote the novel sitting next to his mother, who was dying of leukemia at the time. In the hospital, the writer and poet wicks a fictionalized autobiography as he goes through the life of his mother, who worked as a prostitute. “My reconciliation with that meant breaking with my institutional education, structured by an established order. My strongest break was with drugs and alcohol. I have been living only on water for three years, “said the Mexican, who later paraphrased the French philosopher Simone Weil:” Obedience is as important a value as freedom. But freedom is the choice of what to obey ”.

Tenembaum achieved international recognition earlier this year with The End of Love: Wanting and Fucking in the 21st Century, essays around the end of the couple as the center of life and love as a forever. “I broke with a life that I thought was waiting for me, that inertia was going to impose it on me if I did nothing,” recalled the author, who this year published All our curses came true a memory about growing up in the Jewish orthodoxy of Buenos Aires, where his country assumes the founding myth of “getting off the boats” as long as he can choose which ones. “The other day I found out that a girl I went to high school with just became a grandmother,” he recalled. “With that I broke up. My breakup meant posing my relationship with my family on my own terms. A fight, but it always comes back ”.

“I have not been able to go through emotional pain without it being separated from physical pain,” Herbert admitted, and Tenembaum recalled that since she was a child, when scoliosis deformed her spine, she was fascinated by bruises. “They were marks of something, of having lived. I’ve always wanted to live like this. With bruises that I see, with nights that I do not remember and that I would like to live again ”. At the end of the talk, the three recalled authors who marked them. Among references to Philip Roth, Borges, Hemingway and Marguerite Duras, Sosa Villada declared: “How the writers we know have hidden our bodies, in pursuit of fiction, of an intellectuality. We have done the opposite job: put it to roll ”.

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