en
Between reality and fiction –or using fiction as the only way to narrate the reality– María Moreno transit throughout the 26 interviews featured in Vida de vivos –Life of the living– (Editorial Sudamericana), an agreement about gender; and also a presentation of the interviewers character that, still being relevant, never goes out of the margin.
Between reality and fiction –or using fiction as the only way to narrate the reality– María Moreno transit throughout the 26 interviews featured in Vida de vivos –Life of the living– (Editorial Sudamericana), an agreement about gender; and also a presentation of the interviewers character that, still being relevant, never goes out of the margin.
es
Entre la realidad y la ficción –o usando la ficción como la única manera de narrar la realidad– es que María Moreno transita a lo largo de las 26 entrevistas que componen la recopilación Vida de vivos (Editorial Sudamericana), un tratado sobre el género; y también una presentación del personaje de la entrevistadora que, aun cobrando relevancia propia, nunca deja de estar en el margen.
"
Una frontera difusa
entre el Once y el Abasto
"
"Boy, why don't
you get a job and
stop acting like
a clown!
One of these days
it will be over!"
One of these days
it will be over!"
en
The fear of failing, the obsession for being interesting, the concern of being faithful to oneself or the image already sold. These are issues that guides everybody's daily actions. In this scenes, this same issues demostrates its own kind capacity to reveal the intimate
The fear of failing, the obsession for being interesting, the concern of being faithful to oneself or the image already sold. These are issues that guides everybody's daily actions. In this scenes, this same issues demostrates its own kind capacity to reveal the intimate
…which is not the same as reveal intimacies.
es
El miedo a fallar, la obsesión por resultar interesante, la preocupación por ser fiel a uno mismo o a la imagen que ya está vendida, son cuestiones que guían las acciones cotidianas de todos. En estas escenas, estas mismas cuestiones demuestran su capacidad amable de revelar lo íntimo …que no es lo mismo que revelar intimidades.
—Professor! What happened to you? What…? …You have white hair?
—Yes, children, I have white hair since I was 26. But I've always hidden it. But now… I want to be myself. And I want to tell you two more things. I'm a lesbian and yesterday I killed a plant.
—Oh… I've never imagined you had white hair.
en
María Moreno is a storyteller and culture critic. In a prologue that she calls "entre nos" (between us), she shares scenes of her childhood as confident as the one that shows her résumé knowing that she fails to meet any requirement. Before the following chapters, first she had to be a vulgar young lady from the hood of San Luis street that watches her neighbours without asking them anything: the slut who teaches catechism, the boy who sleeps on a shelf, the dwarf who carries a basket on her head, the jew with the mortal number tattoed on her arm. And with this antecedents, another anguish adds up to what keeps us awake:
what is true and what is not.
María Moreno is a storyteller and culture critic. In a prologue that she calls "entre nos" (between us), she shares scenes of her childhood as confident as the one that shows her résumé knowing that she fails to meet any requirement. Before the following chapters, first she had to be a vulgar young lady from the hood of San Luis street that watches her neighbours without asking them anything: the slut who teaches catechism, the boy who sleeps on a shelf, the dwarf who carries a basket on her head, the jew with the mortal number tattoed on her arm. And with this antecedents, another anguish adds up to what keeps us awake:
what is true and what is not.
María Moreno es narradora y crítica cultural. En un prólogo que ella misma denomina “entre nos”, comparte escenas de su infancia como quien despliega muy seguro su currículum sabiendo que no cumple con ninguno de los requisitos. Para llegar a los capítulos que sigan, primero debió ser una chirusita de conventillo de la calle San Luis que observaba a sus vecinos sin atreverse a preguntarles nada: la puta que enseñaba catecismo, el niño que dormía en un cajón, la enana que llevaba una canasta sobre la cabeza, la judía del número mortal tatuado en el brazo. Y con estos antecedentes, suma otro tormento a aquello que nos desvela y que tanto nos rasga las vestiduras: qué es la verdad y qué no.
Text by Liliana Viola
Thanks for watching! ✊
