Sandro's bride, the hopeless lover, the bottomless hole where hope disappears, the passage to the edge of the precipice, the one entrusted to the Virgin of the Transvestites, the one who knows men because she was one of them, comes to rescue the essence of poetry: to put her finger on the wound, to sing the wound of love or of the times, make us feel beautiful or pathetic (that is what we are), remove the patina that makes us respectable so that we shine at last in the face of some true fire, of those who burn and shine, of those who reduce us to ashes and entrust us to the last truth of the wind.
The one who wants to ask for forgiveness, the one who wants to cure his evil of loneliness or company, conjure his particular evil or his evil of all, the one who wants like Vallejo to show the bad his little bit of good and vice versa, the one who does not want to die of thirst or blindness without finding the puddle in which to drink or in which to look. Celebrate this book: because poetry dries up if every now and then a Camila Sosa Villada does not appear to put words back into circulation. Yes. Poetry dries up. As Córdoba was impoverished until Camila Sosa Villada arrived from Mina Clavero with her Carnes tolendas, to revitalize us, deepen us, show us the light and the shadow, and be pointed out as beautiful and miserable. - Jorge Marzetti
In 2009, Villada premiered her play ‘Carnes tolendas, retrato escénico de un travesti’, a biodrama of her life that fused her personal experiences that she recorded on her blog, ‘La Novia de Sandro’, with the poetry of Federico García Lorca1. Her first novel, ‘Las malas’ (2019), about a group of travestis who practice street prostitution in Parque Sarmiento, became a critical and public success and catapulted her to fame, establishing her as one of the most original writers of contemporary Argentine literature and LGBT literature in Argentina. The work won numerous literary awards, such as the Sor Juana Inés de la Cruz, and was translated into several languages such as French, English, German, Croatian, Italian, Norwegian, Portuguese, and Swedish.
She set the example for other transgender women, proving that a career from a street worker to a famous writer and actress is possible. This is what she said about her childhood: "As a child, I imagined that I was going to act, that I would do theater, cinema, but not that I was going to live from this. I started dressing at the age of 16 in a village of 5000 inhabitants. I know very well what it was like to be a transvestite in a town like that 20 years ago. It was doubly burdensome."
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