[...] Like the cavernous syllogisms with which North Americans feminists end up defending a divine convention, social and anti-Western
-but as sexist as any other, "the time a large group of Mexican feminist celebrity launches against the same as advocating is a hieroglyph in the end no one wants to unlock.
I'm part of it, however, like it or not. I did not consider with due attention signs that foreshadowed the rise of frauds with the radical feminism that end up working against my favor and creative independence as one of the wealthiest entrepreneurs writers Latin America and kitschy, Laura Esquivel, alleged plagiarist untested several arguments of a novel of mine, and tested pristine protected consabidamente writer Elena Poniatowska (who launched his editorial with a prologue, as usual do with those writers to accepting shelter under its "great parent who accepts and collects" as documented by journalist Veronica Ortiz involuntarily in interviews on his book on women writers Poniatowska1 protected). Simply unthinkable for me was the conclusion on which bolted at the time who now speak out on the side of the brave defenders of the rights of women; completion of ten years ago I could not speak under the same circumstances today also may penalize journalism in Mexico, any entrepreneur, whether pornographer or made-up romances, or self-help books, has more legal protection a writer if it is shown that it "ruined their business."
And Laura Esquivel, and no doubt, is a business. However, now that I spent ten years and the book-business sales Laura Esquivel gave all he had to sell, the only thing left on the ashes of gossip with which feminists and friends surrounded me like fundamentalists PAN apostolic against abortion is involved, is the memory of nonsense by now become his own words insecticides and their own political campaign.
but between naturalism and cabaret genres always intermediate that make them possible: here, too, between that principle and only disturbing moment when the phone laments and social gatherings with her friends Laura Esquivel would cause bizarre events, such as fact that I ran to where he worked as a writer, I ran out of money, no prospects of employment in my profession, friends running away from me for fear that would identify me, and even with my mother scared that the woman in the head of the Section Shows La Jornada was already spreading revised and expanded version of my life, according to which I myself had finished plotting the alleged plagiarism because "no doubt" that was filmmaker and former lover of Laura Esquivel's husband (a very famous director but that no photos or footer could I identify), decisions were made that were not due to chance. Long before the shrill and final chapter in which today's guardians of freedom of expression acted against a freelance writer who had lived eighteen years of writing, no scholarships, no husband or former husband, rented house alone and had not ever married or had children of feminist conviction, there are many middle rounds. And an initial
: that I did not take the trouble or the time to consider the full extent inconsistent because reality can be more vulgar than I would have liked to imagine in those days when you woke up healthy, young and happy, in the quarter-roof where he wrote novels and whose income paid my royalties as librettist of the bar smoking. As with other networks in land cover, it did not even start with who would go, much less the way end.
Amazingly, the writer began Carmen Boulton. Or, rather: me on my rooftop room reading the newspaper La Jornada an interview with Carmen Boullosa in which the author of Before reported from Germany to be writing, with a grant from the German authorities, a novel. What was noticeable was that the argument and it was wonderfully like the book I had just published, A God for Cordelia (the capital in "god" by the work of one of the few plot lines of history that nobody copied for being an atheist approach was always so intentional as the acts of my enemy). According to Boulton, his book also occurred in the future was played by a heroine named Cordelia and tells two parallel stories, one located in the sky and another on earth. The theme was the loss of collective memory, as in my novel.
I had submitted my manuscript for consideration by several publishers and even a novel contest did not win (I even remember that was awarded by Angeles Mastretta Lovesick, published by the entrepreneurial house Alfaguara in 1996). Who were the unscrupulous judges or adjudicators in whose hands had fallen my job? I know, but it was obvious that nobody had informed him that the story Carmen Boulton who knows how he got read and with which it had applied for a scholarship to go to Germany to be inspired (?) and write it was already in print, ready to be published under the imprint of the ocean.
At that time I worked for Jesusa Rodríguez writing his shows and thought I could recommend what to do because Carmen knew quite well: as was publicly known, had been girlfriends for many years and the romance had resulted in a close friendship. My then-director, who had read my novel A God for Cordelia , reviewed the interview in the newspaper, and he informed me, had no idea what had happened and how there had been such a coincidence of themes and characters, but he said he would talk to on the phone with the winner also received a Guggenheim Fellowship and asked about the matter.
never knew if they discussed long-distance or in person or when, but something happened, because what he did Carmen Boullosa in this novel called Heaven on earth (too! Alfaguara, but in 1997), was put to due to memory loss that his protagonist was renamed and now called Lear, and do not know whether to be on the safe or what, but got a preface saying that his book is not a book author, but author "and that" true ownership "did not belong to more than" the press of a destructive violence "that she" felt in the air. " The plot generated by such "destructive violence" continued to grow, as its name suggests, in two planes, one celestial and one terrestrial in the near future. Moreover, the book said Boulton "perceived in the air" in Mexico inaugurated a practice that until then only seep into the cultural journalism, of transforming the journalistic territory advertising for sponsors and friends. The Villaurrutia Prize winner also was the first with a novel, made this same to force a text by inserting commercials, beyond homage or the necessary words: put it in the literature of the future that was talking fiction history books would live their cuates2, who, perhaps only by coincidence, attended the presentation of his novel in Mexico City. And, significantly, at least in what concerns the issue of feminism, is also worth recalling that, after some years he wrote another book that appeared in The Habit with Jesusa Rodriguez and the controversial former head of government Rosario Robles, in a ceremony in which symbolically ended up throwing Rosario Robles as President of Mexico for being a woman. "
In 1996, however, none of this I knew that could arise in the publishing industry with the equally persecuted friend of Salman Rushdie and who would also founder of the Haunted House Author (why swindled their victims?) In the District Federal. However, the emergence of the disturbing interview was the first he had not only the potential of my manuscript, at least as an indirect source of inspiration for others for their futuristic approach with heroines who were observed from a heavenly realm, but also how feminist solidarity worked in such predicaments.
The second example is more familiar: for me the less really is whether the alleged Laura Esquivel (or whoever hides behind that signature) presumably had access to my alleged hypothetical manuscript of a virtual God for Cordelia unlikely that my editor speculatively gave course for allegedly promoting and allegedly ended up using as a reference for allegedly molested his book frame. This is because I believe that books, when published (ie, when no one intimidates or phone calls to interfere in the publication or gets jail for publishers and allows books to be published), each have their own readers and roads.
Instead, the facts began to take an interest for me when the novelist, who during the presidency of Carlos Salinas de Gortari was honored as Woman of the Year, "if you really did not have any responsibility for the suspicions aroused in the reader the similarities between my novel and a book released few months after mine, the truth is that it started to behave like the guiltiest of guilty, unleashing a campaign that the innocent do not bother to engage with gossip, with pressure, trying to get up false to my editor Rogelio Carvajal ( who no longer wanted to publish the second edition of my book when it was sold first), offering "production" (a fancy way bribery) to the different artists that I was a writer, sending them asking me to "please do not be me to do anything to the poor by Laura Esquivel, who was an idiot (sic their own friends) but not acted malicious intent and was very generous "because they had offered to produce his next album or video or work, etc.
I omit the obvious differences between a book critical of female submission and one that promotes the wiles and cooking for women, and why it is quite contradictory that a supposedly feminist artist involved in promoting both at the same time, I refer mainly to a question that gave me a good laugh: if my number phone seemed to move between so many people who bothered to call me to beg me not going to happen bring a lawsuit against "the poor fool of Laura Esquivel", why she did not mark the phone to clear up the mess, if really was a misunderstanding, "or to ask a simple, healthy apology, if the plain plagiarism is what had made to believe that my manuscript would never be published and that could take advantage of it? Instead, he kept acting like a delinquent discovered red-handed, overreacting outraged literary criticism and calling by telephone to my immediate unemployment. What person does not steal anything and that nothing works well hidden? She alone was the sign of guilty on the forehead every time he moved to the writer Lourdes Hernandez (married to the painter Felipe Ehrenberg, Mexico's cultural attache in Brazil during the Fox administration) in Argos Productions, or the writer Marcela Fuentes- Berain, Televisa, or the members of rock band Maldita Vecindad, or their assistants and pulled, to preach to anyone who would listen that it was I who had stolen his novel and not vice versa, and that label is putting increasing that, in feminist circles, the media and foreign publishers and the national press and foreign, dares to suggest, even if obliquely, that I have him jealous (of his talent and originality, it is understood, of her youth and beauty of the many men who have loved and to have called they do not marry for money, but for its great human value, and the many friends that say it's behind a stupid poor who frequent but not by his fortune, means, or to get free accommodation in New York, but by his intelligence and edifying conversation.)
But it intriguing that the reaction autoacusatoria, his disfigured not equate those deployed by the Mexican feminísimas when they began to telephone me to say that I should do what Laura Esquivel suited him, not me, that was the best thing "for my sake."
has never been nor will so many people concerned "about my welfare, and many writers, writers, singers, cartoonists, actors, journalists, directors, musicians, copyright lawyers, videographers and artists as interested in" protection " my literary career, not even agree that "my good" is what is best for a millionaire who give themselves the piranha every time he hears about me and I want to watch alone, in the black lists of all media publishers and theater: the progressive intelligentsia Mexican soon matched that in this was my destiny and was also very nice. Otherwise, anyone will agree that the person authorized by the force of the customs to pontificate on what is "good" one is the mom. But this time extraordinarily mine, always so scared and outraged at me suspiciously inventions heard my sister about my sexual bond with Alfonso Arau, the estranged husband of Laura Esquivel, and was silent, frowning ("Is .. .? "he asked.)
In this peculiar vein, Jesusa Rodríguez my director called me to try to persuade that "should not care that I copied my book gross." The most frequent argument in the mouth of the sudden my best experts in professional and financial interests (do not know if they agreed among themselves to say this) was that "my novel was so good that not suit me that people associated with that snafu. "Anyway, it was the first time he obeyed the instructions of my head or cut what she felt she" had plenty "to the show. Then I sent a fax that I can not post because I do not reveal the intimate letters: nothing more acts of harassment and retaliation against freedom of expression. As his words were unsuccessful his wife, Liliana Felipe, composer, spared my life to have a conversation with her, "provided they do not touch that subject that was so upset."
In the midst of a rather tense conversation we ate on the patio of his establishment dishes who were prescribed the poet Salvador Novo, delicious, but I choked me to anger Liliana content. I could not even look into my eyes. Just what had I done? With all his anger, she could not explain as per instructions from my lawyer (who later proved to be known by Laura Esquivel and who did not want my case), I had to tell the press that nobody had plagiarized and that nothing had happened, which I spent doing. In addition, questions about the similarities between the two novels I had not arisen, had arisen in the newspapers (although it should be noted that the former is not to discover the striking similarities but publishing it was the director of the Culture Section The Financial , Víctor Roura, who following his criticism of indifference law received a threatening letter and then Laura Esquivel Laura Esquivel also another saying that the former was apocryphal, all of which was very funny and raised even more suspicion, no only with respect to the alleged guilt of the business but on mental coefficient). Liliana Felipe I was offended because I wanted and could not blame me for anything outrageous and vile. I think that deep down I knew I was not "command to do" interviews so far each time I come into your heart, as many of his powerful friends, who think that of me is to underestimate my power and influence outside the media, and if anyone knew how weak I had always been my ability to economically and professionally defend myself regarding my salary and my credit as a writer, that was Liliana Felipe, in charge of the finances of the habit. So in that restaurant that I think was called The Refectory, like a angry nun with an oath, as I remember his own song I knelt down and followed the instructions of your letter ("because thinking is to stop his knees," sings the composer Argentina). Another
I forgave the entire existence was the videographer Ximena Cuevas, who called me to his house in Tlalpan, where along with actress Ursula Pruneda * I received informing me that both were my friends "despite everything" (how cute !), which "had been on the beach while all this happened (referring to the report published in the journal process on the matter), of which he said did not know much and it was one that neither wanted to talk, but that "the friendship continued." He was supposed to feel honored to such deference because Ximena Cuevas went to work in a video of Laura Esquivel and yet was still my friend. Through the work of the dialectic, for these friends there was no contradiction between working in the promotional products who launched his war of low intensity against me and continue to expect from me the confidence, affection and loyalty that they had professed to five years.
For its part, the actress and singer Regina Orozco was in charge of getting information from me to refer to Laura Esquivel, who I was, where I lived, who were my friends, who were my boyfriends, what secrets had to be able to display then in the name of the noble cause to discredit my path for now if I can not not to pay the quarter-roof, total fault was all mine for not letting them make money at home. Take long to understand that he was dealing with a corporate spy (but when I found out, I began to invent things in my life and I enjoyed). I lost my job not only with Regina Orozco, but evidently also the friendship, which in turn hurt me more than many shows together create hilarious.
this series of events also coincided with hiring me to stop Eugenia Leon (who got into the promotional album by Laura Esquivel last minute to take the place of a tenor for very personal reasons had to cancel his participation), and Betsy Pecanins (who told me the only mature and comprehensive reaction: its clever words put them in my heart).
in the habit, after five years of work (1991-1996) and about thirty-three shows written without Conaculta scholarships (the most active and productive playwrights of the National Artists, to grant three years, winning the triple what I got from royalties, writing on 2% of what I produced and premiered in the same amount of time, as I discovered after reading a report by Guadalupe Rivera Loy published in the Culture Section of El Financiero), I stopped calling and my place came Carlos Monsivais (Life Fellow of Fonca) immediately after my last show.
Malucita
-precious: I beg you to help me correct the dreadful, jokes mamonsísimos Carlos Monsivais, because we released next week and the script is crap, let me record one of the leading ladies on my answering machine.
This telephone recording itself which preserves the memory, but I lent such humiliation. Jokes "Mamonsísimos" best Ximena Cuevas and Jesusa Rodríguez and the show signed by the author of Bohemian For my mother got unprecedented publicity in the habit, with very positive reviews appeared in the newspaper La Jornada (which until then had been virtually blocked Jesusa Rodríguez, Eugenia Leon and I), every third day, at first, and with a regularity of about once a week at midseason. Neither
no doubt that when I left the bar the owners left the winning habit: since then the dissemination of their work in newspapers, especially the one led by his personal friend, is overwhelming and consistent, contrasting wonderfully with the little news that attracted before. No one will object when I was writing there was more people because it is not true: the room was filled as before and after my expulsion. The only thing to note is that Liliana and Jesusa heading out dual benefit: because the two powerful and influential writers that protected and not resent his screenwriter (and not me), and why take any news since of them in the newspaper of their preferences, sometimes even every third day and at least once a month.
I, for one, also came out ahead by not submitting to change a life of self-importance higadazo own mummified in full strength as they have been my enemy, or typing "jokes mamonsísimos" or leading a life mamonsísima. Who lost then?
Perhaps the question is not so much "who" but "what" was lost in a feminism hijacked by a single social class, a women's movement that confused the last ten years, which is confusing now, the difference between "solidarity" and "overlap."
It lost the principles of the independence movement understood as a millionaires club girlfriends, powerful and famous to protect each other as a Masonic lodge but being "women" regardless of what they think and do.
"Should we support all women just because they are men?" We tell the Mexican women in the era of betrayals and lies of Rosario Robles. But for the rich and famous that dilemma was solved ten years ago, since I am not man and deciding between two women chose to defend a particular social stratum: theirs. Years after holding
so unruly reasoning, in an act that could be called My antisalinismo not travel abroad, Jesusa and Liliana came to New York to work on a play with the daughter of Jose Carreno Carlon, which goes very well with his dad (former spokesman and close friend of yet of former President Carlos Salinas de Gortari). During his stay here, I was looking Jesusa. As I would not see it and my partner almost hangs the phone, Jesusa emailed me telling me what I had been trying to contact: I wanted to write for the habit-with credit Monsivais, I suppose, "a show that to me is me had happened, and needed to give him my permission to use my idea without letting me write it (because I am now persona non grata in the habit) and without giving me credit. I told him, of course, did not give my consent, and angry, because with that I showed, he said, "that friendship" between us "I do not care."
The claim is conceptual guide to the labyrinth in which female solidarity as one becomes entangled in a veil that covers her true face, to obtain licenses that robs any reason. I think these women act like Puerto Ricans in New York when they start kicking Mexicans: They do the dirty work for whites, and women, to men.
------------- Notes:
* The actress Ursula Pruneda has no other connection than accidental and incidental to this episode. No spoke in his name at that time when using the first person plural.
1. Women word, Veronica Ortiz, Planeta, 2005. A purpose of the book, the author said in an interview with Guadalupe Vallejo Mora (Cimac): "Women of speech is also a tribute to Elena Poniatowska, except for Fabienne Bradu, the respondents were present, whether they helped publish or started in the workshop or you shook hands. She (Elena) is the large matrix, the great mother in the best sense of the word, which embraces and collects and provides opportunities for women to write and publish. "
2. He was succeeded by the English Pérez-Reverte with Queen of the South (Alfaguara, 2002) and Mexican Juan Villoro with Witness (Anagram, 2004) novel, moreover, no longer inspired by my work indirectly but flat on my life over the abductions, as a result of various experiences that I told John without knowing what the fate of many answers to many questions and without having notified me that the writer was doing research on the subject for his next book, "and where the writer makes a satire, not the kidnappers ... But the hostages!
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