The women’s season is a mixture of reality and fiction Guenfelbein took characters that existed launch and invented new ways of speaking, thinking and feeling taking into account what had already been said about the known figures. One of them is Doris Dana, the couple and executor of Gabriela Mistral.
The others were born during boredom. The novel was developed in times of pauses. She was stuck in an emotional tunnel that later led her to remain motionless in the corner of some place to watch people while drinking coffee, getting off a bus or crying in a bar. From there the others came out: the center of this book are four women from different eras who, for some reason, ended up crossing.
The book contains 136 pages that protect the experiences of stuck women. One of them says launch “waiting is disappearing,” and she does it right after telling that although she exists, she doesn’t feel alive. Not for those who care. She, like the others, waits patiently and other times with a fury that, despite the intensity, does not move her. Although this book does not focus on machismo, racism or classism, these concepts do slip between the reasons why these women do not leave the twilight. “The most powerful weapon of the patriarchate is not its violence, but its universality, its persistence, its stubborn and effective ability to impersonate normalcy,” was the phrase Guenfelbein used to explain why he decided to rummage through the shadows that occur for the wait. He told El Cultural on August 12, 2019.
In addition to reflecting what can be experienced from hidden femininity, Guenfelbein accommodated a condition that transcends gender and race. He wrote about the desire to disappear because of, for example, living with the question of fatherhood or the dissatisfaction of dissatisfaction. In the station of the women the characters flee, they look for, they don’t know who they are or they want to forget it.
It was decided by Doris Dana and not by Gabriela Mistral, because a lot has been said about her genius about the second, but there has been a mantle of mystery around her humanity and, above all, her sexuality. Of the first, what is known is very little, so Guenfelbein had the opportunity to recreate it, to draw it again, to give her sentences and adopt a few that she really would have said. To imagine her “hunger for eternity that led her to approach great beings” and her distraction to not realize what “the moments contain until they have passed and it is too late to grab them.”
Carla Guenfelbein’s prose conveys freshness. He found a way to give voice to four beings who speak through letters, thoughts, conversations or silences. In his book there is also silence. About Doris Dana he wrote in the third person, and Margarita made her say: “I want to stop the first bipedal who passes by my side and ask if I find her attractive, if I am indeed a woman, a female …”.
“Perhaps people disappear for someone to see them,” one of these women asks – another – and that is the focus of this novel, which asks questions about the inability to move forward in a world that, for the most fragile , is designed for submission and pause.
Rachel Lott is a Reporter for Chroniclex After graduating from Cuyahoga Community College, Rachel got an internship at USA Evening and worked as a Reporter and Producer. Rachel has also worked as a Reporter for WKYC TV and Fox News Channel. Rachel Covers International Developments.