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Marta Sanz focuses on a single part of her body, her collar bone, to discern the pathetic and liberating power of suffering in both society and literature. During a flight Marta Sanz experiences a pain where she has never felt pain before.In ClavÃÂcula, the narration of this autobiographical episode fractures, like the body itself. The difficulty of giving a name to her pain provokes a number of reflections: about the edge that separates the body from scientific definitions and imagination; about intolerance in the face of psychological disparity and the imbalance as an increasingly unexceptional symptom; on anxiety as a pathology of advanced capitalism and, in the face of big headlines, the real situation of the public health system and psychosomatics; a meditation on hypochondria and illnesses that are perhaps not so imaginary; on those illnesses and pains that are specifically feminine; about the over-exploitation and fear of poverty that punishes, above all, women; about money and family accounts, and the exact price that exacerbates a persistent pain that the author is suffering in a bone in her body.
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In ClavÃÂcula, the narration of this autobiographical episode fractures, like the body itself. The difficulty of giving a name to her pain provokes a number of reflections: about the edge that separates the body from scientific definitions and imagination; about intolerance in the face of psychological disparity and the imbalance as an increasingly unexceptional symptom; on anxiety as a pathology of advanced capitalism and, in the face of big headlines, the real situation of the public health system and psychosomatics; a meditation on hypochondria and illnesses that are perhaps not so imaginary; on those illnesses and pains that are specifically feminine; about the over-exploitation and fear of poverty that punishes, above all, women; about money and family accounts, and the exact price that exacerbates a persistent pain that the author is suffering in a bone in her body.
Reviews