WEBVTT Kind: captions Language: en 00:01:15.280 --> 00:01:20.200 welcome against the tide for breaking television or internet I am 00:01:20.200 --> 00:01:27.720 luis hernández navarro and to talk about the last book of which court is 00:01:27.720 --> 00:01:32.979 the extraordinary journalist paula is with us 00:01:32.979 --> 00:01:39.770 Monaco Felipe Paula has written a lot of 00:01:39.770 --> 00:01:45.740 works before including a ferment on it china for a work of 00:01:45.740 --> 00:01:54.350 reference on it china for not given away in this book on violence 00:01:54.350 --> 00:02:01.900 against titled women are no longer the same as the war continues a 00:02:01.900 --> 00:02:09.709 tremendous story we are going to advance it so that you buy the book and 00:02:09.709 --> 00:02:13.610 elegant paula thank you very much for being with us here mystic las 00:02:13.610 --> 00:02:18.380 countercurrent in louis thank you very much for inviting you to 00:02:18.380 --> 00:02:23.810 windbreaker is always a real pleasure to be with you to be with you 00:02:23.810 --> 00:02:30.230 in this program that is always a place of intelligent challenging dialogue and that 00:02:30.230 --> 00:02:34.520 I like it a lot, it excites me and gives me my nerves 00:02:34.520 --> 00:02:41.240 and this time to present this book which is a collective effort made by 16 00:02:41.240 --> 00:02:48.650 people mostly women to tell how this war is not war 00:02:48.650 --> 00:02:52.940 but that it is war that we never ask that it crosses us is more called 00:02:52.940 --> 00:02:58.310 war on drug trafficking that began in late 2006 roughly as 00:02:58.310 --> 00:03:03.710 They have hit us as they have hit us as they have planted us especially 00:03:03.710 --> 00:03:08.240 women is a story about women is a collective effort with 00:03:08.240 --> 00:03:12.680 all that that implies and that I think is very important in these times and 00:03:12.680 --> 00:03:20.960 nothing thanks for the space in the book that is written as you said with 00:03:20.960 --> 00:03:28.580 many hands is like a large altarpiece in which there are small paintings and each 00:03:28.580 --> 00:03:33.800 painting is by a different author but at the same time 00:03:33.800 --> 00:03:38.920 that has as two great axes a first part 00:03:38.920 --> 00:03:47.110 prefaced by gago where the panoptic view of the 00:03:47.110 --> 00:03:52.840 violence and how violence against women is experienced in different aspects and 00:03:52.840 --> 00:03:58.959 other are rather stories like hope and resistance would be fair 00:03:58.959 --> 00:04:06.790 will define if it is the same or if this started more than two years ago with a 00:04:06.790 --> 00:04:16.930 special work from the page path and in principle it was the idea of ​​portraying 00:04:16.930 --> 00:04:21.380 different these different situations that affected us women and that 00:04:21.380 --> 00:04:26.330 affect us around the war but when we saw the result of that when 00:04:26.330 --> 00:04:32.270 We saw what everyone had done began to see that as just double logic 00:04:32.270 --> 00:04:37.700 of which you speak and in the process that was the book that was rewritten of those 00:04:37.700 --> 00:04:43.190 same texts added from other texts by other authors and authors of some 00:04:43.190 --> 00:04:48.750 perspectives and it became clearer that that's like two 00:04:48.750 --> 00:04:56.070 sides of addressing the same one the pains the wounds 00:04:56.070 --> 00:05:02.970 what burns what hurts and the other's efforts are stories 00:05:02.970 --> 00:05:12.180 focused on resistance in the ways to exit or continue that good 00:05:12.180 --> 00:05:17.070 not everything is in both parts but I think it is very fair as well as 00:05:17.070 --> 00:05:23.040 you are dividing the pain 00:05:23.040 --> 00:05:27.660 the fight and the resistance divided into up to two parts to focus it more 00:05:27.660 --> 00:05:31.680 not because they are separated and in all texts 00:05:31.680 --> 00:05:38.660 we choose each text choose a verb and a part of the body 00:05:38.660 --> 00:05:47.060 in which to anchor these stories not because also the violence and especially in 00:05:47.060 --> 00:05:52.780 In the case of women, many bodies and verbs go through with the idea of 00:05:52.780 --> 00:06:01.070 see how much this does not sow us even the most basic not because when we see 00:06:01.070 --> 00:06:09.680 Seeing us are from the main of our lives like loving to the 00:06:09.680 --> 00:06:15.470 main in our bond with society such as trusting embrace 00:06:15.470 --> 00:06:22.760 hear reboot and well it was also an interesting challenge that 00:06:22.760 --> 00:06:28.540 find the junction points also despite the 00:06:28.540 --> 00:06:32.140 different types of stories the different ways of narrating each one 00:06:32.140 --> 00:06:39.960 not of us from working on a book that puts a face name 00:06:39.960 --> 00:06:47.110 circumstance to violence experienced by women in Mexico 00:06:47.110 --> 00:06:52.440 and put faces and names notice that even that has been with a process 00:06:52.440 --> 00:06:58.330 some of the texts from the beginning had real names others like mine 00:06:58.330 --> 00:07:04.930 at the beginning he had a fictitious name to protect the safety of the two women 00:07:04.930 --> 00:07:08.800 which has a prestige for my text because they already asked for it because they had 00:07:08.800 --> 00:07:13.510 released from jail just three months ago and for this second edition they 00:07:13.510 --> 00:07:17.560 they already wanted to put their full name they asked me to put their full identity 00:07:17.560 --> 00:07:23.350 They reviewed the texts and I think they are part of the processes as well as 00:07:23.350 --> 00:07:29.890 our journalistic and writing work can accompany and help to 00:07:29.890 --> 00:07:34.260 to reconquer ground I with Denise and Corina that I can say their names 00:07:34.260 --> 00:07:40.210 Although before they appeared as Cristian and Fernanda I was able to accompany them a little 00:07:40.210 --> 00:07:43.350 apart from the text in denouncing the injustice that they lived 00:07:43.350 --> 00:07:48.760 document her and thus also that she was in the confidence to put her 00:07:48.760 --> 00:07:52.920 names and say I am that and I am fighting against 00:07:52.920 --> 00:07:56.300 against that too 00:07:57.110 --> 00:08:04.120 It is a book that is like a river that reaches three tributaries 00:08:04.120 --> 00:08:12.620 different narratives on the one hand you have testimonies of women who work with 00:08:12.620 --> 00:08:20.120 violence for example teachers such as teaching or journalists is telling or narrating 00:08:20.120 --> 00:08:23.740 and what it means in terms of families 00:08:23.740 --> 00:08:32.420 you have jobs like yours that are direct testimonies of violence in 00:08:32.420 --> 00:08:43.070 This case suffers from two women who are a couple also where it explodes not only 00:08:43.070 --> 00:08:47.150 the circumstance were in the wrong place at the wrong time but 00:08:47.150 --> 00:08:52.910 sexist violence in the face of misunderstanding of that relationship and you have 00:08:52.910 --> 00:08:58.740 on the other hand and a lot of 00:08:58.740 --> 00:09:06.450 appeal to autobiography or personal resource not the poet who tells 00:09:06.450 --> 00:09:12.270 what it's like to live in violence in tamaulipas etcetera etcetera 00:09:12.270 --> 00:09:19.149 but before what was the voice that was going to narrate 00:09:19.149 --> 00:09:24.790 happened I do not think that is a very interesting process because at least to me 00:09:24.790 --> 00:09:31.809 when they invited me to this project they only told me at the beginning that this is 00:09:31.809 --> 00:09:37.149 issue of women and war that I had if I wanted what was left that was 00:09:37.149 --> 00:09:42.260 criminalization and that he could tackle it however he wanted was 00:09:42.260 --> 00:09:48.350 absolutely free and it is very curious and very interesting to see how this group 00:09:48.350 --> 00:09:54.529 of authors and some authors were as conforming were was 00:09:54.529 --> 00:10:01.010 like flowing that river with different tributaries as you say no there was no 00:10:01.010 --> 00:10:07.490 a part of daniela rea ​​who is the editor and then the group because everything is 00:10:07.490 --> 00:10:12.140 made very collectively there was not as a rule 00:10:12.140 --> 00:10:16.910 you are going to write from the poetry of an autobiography your most chronic you most 00:10:16.910 --> 00:10:21.980 rather, each one expressed himself through the voice that he felt 00:10:21.980 --> 00:10:27.260 and what we did for this text was a collective process of 00:10:27.260 --> 00:10:32.750 discuss and rediscuss to find this from the two sides to find the 00:10:32.750 --> 00:10:38.240 approach to put the name to make a prologue in which he accompanied us 00:10:38.240 --> 00:10:42.080 the collective of narrative practices that is a prologue that takes all our 00:10:42.080 --> 00:10:45.580 voices of the things we discuss while 00:10:45.580 --> 00:10:49.780 we had the meetings to carry out the pretext discussions well 00:10:49.780 --> 00:10:53.590 interesting because they are with more funds linked to these times for example 00:10:53.590 --> 00:10:59.440 is if we try and we have no hope and the book generates or does not generate 00:10:59.440 --> 00:11:02.850 hopes and we want 00:11:03.050 --> 00:11:08.680 and this mosaic was formed so diverse that in addition 00:11:08.680 --> 00:11:14.050 a bit wanting but also casually wide it seems to me in the 00:11:14.050 --> 00:11:19.690 terrain from where to analyze violence from where to see the effects of violence 00:11:19.690 --> 00:11:24.370 about us our bodies and our lives because we remember that some 00:11:24.370 --> 00:11:28.570 years ago everything that much of what we reported was focused on 00:11:28.570 --> 00:11:34.120 Tamaulipas in Nuevo Leon in Coahuila in Veracruz in Guerrero that are undoubtedly 00:11:34.120 --> 00:11:39.640 some of the hardest hit states where it has been more raw mansion 00:11:39.640 --> 00:11:44.800 these years but the truth is that our entire country has already been transformed and that's how it is 00:11:44.800 --> 00:11:50.110 where stories like the one I did in Tabasco appear from Veracruz but 00:11:50.110 --> 00:11:55.120 charitable in this case in the text of Ignacio de Alba are the wives of 00:11:55.120 --> 00:12:01.330 single-galvan cops from a town that hasn't been so approached maybe 00:12:01.330 --> 00:12:07.999 like the port and also I don't know it's not like 00:12:07.999 --> 00:12:14.629 The breadth of contemplating the entire country allows us to see some places that already 00:12:14.629 --> 00:12:21.019 we had read as in the case of the north of the country but with from other actors 00:12:21.019 --> 00:12:26.419 How are the teachers of children who suffer violence who are children who 00:12:26.419 --> 00:12:29.809 have suffered violence or children of the perpetrator many times in the text of 00:12:29.809 --> 00:12:34.879 real danny and also go to other places that are also crossed by the 00:12:34.879 --> 00:12:41.949 war but the convention what we are has had problems 00:12:45.610 --> 00:12:50.380 if we had a little problem if it is heard well forward then yes something 00:12:50.380 --> 00:12:56.680 You can't hear where you stayed, so I didn't hear it, I'm sorry 00:12:56.680 --> 00:13:02.410 Paula this works for people like Tabasco Veracruz, her local goes in other 00:13:02.410 --> 00:13:07.630 regions other regions and even those that we already had those that we have read more 00:13:07.630 --> 00:13:13.150 like Tamaulipas or the north of the Coahuila country but counted from not from a 00:13:13.150 --> 00:13:19.300 a different place such as the schools where the children of victims go or 00:13:19.300 --> 00:13:23.740 victimizers in daniela's text but also other places where there is no 00:13:23.740 --> 00:13:28.270 we think but they are also was crossed and are being crossed by 00:13:28.270 --> 00:13:32.740 this complicated present of violence as are the Zapatista communities that 00:13:32.740 --> 00:13:38.860 is what appears in the text of the resistances to go out and gold then 00:13:38.860 --> 00:13:44.829 I think that this book is a mosaic like you 00:13:44.829 --> 00:13:50.250 you say a pretty diverse portrait enough 00:13:50.250 --> 00:13:55.480 complete and also with many options you can not start reading if you want for 00:13:55.480 --> 00:14:00.880 the hopes if you want for the pain or if you want for one or another story and go 00:14:00.880 --> 00:14:07.700 continuing I think they are all very good jobs I like them 00:14:07.700 --> 00:14:12.280 We like them very much, they are all colleagues who have a history of working 00:14:12.280 --> 00:14:19.089 these themes and each one from a very own voice and very free too 00:14:19.089 --> 00:14:23.240 now your voice and you 00:14:23.240 --> 00:14:30.350 you have been writing for a long time very hard very strong songs like this 00:14:30.350 --> 00:14:35.420 in the introduction of the program I was talking about your ayotzinapa book you have talked 00:14:35.420 --> 00:14:44.300 two songs that it meant for you to write the chapter of this book 00:14:44.300 --> 00:14:48.860 to start in the chapter of this book I ran into my own prejudices 00:14:48.860 --> 00:14:55.700 with maybe I was surprised by what I found because when they told me 00:14:55.700 --> 00:15:01.400 Well, you have to criminalize women in the first thing I thought about what most 00:15:01.400 --> 00:15:04.960 I know that they are criminalization is for political reasons 00:15:04.960 --> 00:15:11.390 and suddenly i came across i started looking for women's options unfairly 00:15:11.390 --> 00:15:15.740 prey and I found that there were many who had been victims of torture 00:15:15.740 --> 00:15:21.470 sex for the fabrication of crimes and started looking for who I could talk to and 00:15:21.470 --> 00:15:26.270 when I met the two girls who are the story that I tell I found myself 00:15:26.270 --> 00:15:31.580 with a form of criminalization that was absolutely unknown to me and 00:15:31.580 --> 00:15:40.570 I came across torture and not the torture of decades past as perhaps it was 00:15:40.570 --> 00:15:44.540 accustomed if one can somehow get used to reading or 00:15:44.540 --> 00:15:49.600 Hearing from the decades of in South America I came across a 00:15:49.600 --> 00:15:56.710 structure in present tense with an updated torture aggiornada but 00:15:56.710 --> 00:16:00.570 also with the gender component that mentioned 00:16:00.570 --> 00:16:05.190 Denis and co original infringes on degrading inhuman cruel treatment 00:16:05.190 --> 00:16:11.550 as the security forces often do, they are subjected to sexual torture 00:16:11.550 --> 00:16:15.840 as many times the Mexican security force does to obtain 00:16:15.840 --> 00:16:21.230 self-incriminating confessions but also find the 00:16:21.230 --> 00:16:29.170 particularity that they are lesbians are a couple and this 00:16:29.170 --> 00:16:37.150 activates or generates a level of violence and machismo and 00:16:37.150 --> 00:16:45.070 and of cruelty that I had not stopped to think if I had more than ten 00:16:45.070 --> 00:16:49.450 years covering and documenting this war and documented much 00:16:49.450 --> 00:16:54.900 forced disappearance extrajudicial executions murders but there was no 00:16:54.900 --> 00:17:00.640 entered to document in the case of community on behalf of the communities of 00:17:00.640 --> 00:17:06.430 sexual diversity as they had experienced it then for me it was very lucky that 00:17:06.430 --> 00:17:11.650 writing was very complicated it was a structure that went through me absolutely 00:17:11.650 --> 00:17:15.930 by my own body that caused me anguish that I paid attention is 00:17:15.930 --> 00:17:20.620 physically of his of his of non-stop for several days but but just as 00:17:20.620 --> 00:17:26.980 feverish while writing this text and I was also faced with a decision 00:17:26.980 --> 00:17:31.100 editorial of how telling is like telling torture 00:17:31.100 --> 00:17:34.419 and it was complicated 00:17:35.190 --> 00:17:39.650 Paula and we must count the violence against 00:17:39.650 --> 00:17:48.530 women must be documented but at the same time it happens that when they are narrated 00:17:48.530 --> 00:17:56.179 horrors run the risk of losing the reader that is so strong 00:17:56.179 --> 00:18:03.130 so painful so out of bounds that it is not 00:18:03.130 --> 00:18:08.380 used to reading the reader's reaction to say no longer 00:18:08.380 --> 00:18:12.610 I want to read this where is the balance 00:18:12.610 --> 00:18:17.679 From the narrative point of view where one stops when counting the 00:18:17.679 --> 00:18:24.120 things so as not to lose the reader but at the same time that I decided how to say it 00:18:24.120 --> 00:18:30.400 that is a dilemma I believe very very strong always in it for me in counting in it 00:18:30.400 --> 00:18:35.830 narrating the writing there is a strategic choice of tone type of 00:18:35.830 --> 00:18:40.450 just narration so as not to lose the reader as he always says when going through a 00:18:40.450 --> 00:18:46.900 violence as extreme as torture is much more complicated because it is also 00:18:46.900 --> 00:18:54.000 the reader can be lost from the first sentence to the third page and 00:18:54.000 --> 00:19:01.919 you failed as with your writing in this case I thought about it a lot 00:19:02.000 --> 00:19:10.550 I decided to practically transcribe and only transcribe what the girls 00:19:10.550 --> 00:19:19.840 they counted making a few pauses in the middle that are not feeling is mine expect 00:19:21.910 --> 00:19:26.960 me valuing what they count but as small 00:19:26.960 --> 00:19:32.630 as small breaths in short what I try is also 00:19:32.630 --> 00:19:41.090 rescue from what we have just read that sometimes in the rhythm of what is also 00:19:41.090 --> 00:19:45.470 to rescue what I feel that we must not lose sight of but choose to tell 00:19:45.470 --> 00:19:53.260 frontally directly chronically gives one because I feel that 00:19:53.260 --> 00:20:00.640 that in these cases I have no authority to interrupt a story that is 00:20:00.640 --> 00:20:09.210 so important and valuable in someone's life in this 00:20:10.130 --> 00:20:13.910 in the interview and in the talk I had with the girls to do this 00:20:13.910 --> 00:20:17.389 text the only question I asked was what happened 00:20:17.389 --> 00:20:24.200 and then several times and what did he tell you and what did he tell you because it obsessed me 00:20:24.200 --> 00:20:29.089 much to have verbatim the oral account of the things he said 00:20:29.089 --> 00:20:33.190 each person but I also decided to do it further 00:20:33.190 --> 00:20:38.710 because I felt that there was something that I had to respect for them 00:20:38.710 --> 00:20:44.320 because I believe that torture is an open secret in Mexico in Mexico for a long time 00:20:44.320 --> 00:20:49.299 decades torture for decades the security force torture but a lot 00:20:49.299 --> 00:20:52.360 more have been torturing in recent years 00:20:52.360 --> 00:20:57.410 the framework of this infamous war and that those secrets well 00:20:57.410 --> 00:21:01.820 ventilate the complete ones and you have to look at each other even if it hurts 00:21:01.820 --> 00:21:07.970 and hopefully whoever starts reading the text can follow it and if they can't follow it today 00:21:07.970 --> 00:21:15.110 I took it up again when I can't but I think torture if it is not named if 00:21:15.110 --> 00:21:20.360 It is not named and it is not related in detail is a word of those that sounds very 00:21:20.360 --> 00:21:24.340 empty and that inside they can have many things and if we do not name them 00:21:24.340 --> 00:21:31.310 word for word somehow we are being accomplices that it exists 00:21:31.310 --> 00:21:35.780 that silence because torture is also a method of terror that is made to 00:21:35.780 --> 00:21:40.580 that to break the person as such in south 00:21:40.580 --> 00:21:46.730 in his being and why see society in the terror of not knowing exactly what 00:21:46.730 --> 00:21:51.980 it happened to him, but seeing the other very screwed up and being afraid that it will happen to you or that you 00:21:51.980 --> 00:21:57.610 drag or what happens then I think it's one of those points 00:21:57.610 --> 00:22:05.860 very complicated to approach but if you have to enter it frontally 00:22:06.119 --> 00:22:12.739 and difficult I from this text and began to investigate more than other cases 00:22:12.739 --> 00:22:18.460 of manufactured cases with the idea of ​​searching manufactured case 00:22:18.460 --> 00:22:22.149 personally unjust people unjustly imprisoned in this war that 00:22:22.149 --> 00:22:26.889 is a book that I am working on and for a couple of years I found that all 00:22:26.889 --> 00:22:32.440 There is torture in all of them, there is no exception, so I think there is 00:22:32.440 --> 00:22:37.989 what to narrate what you may find to seek subtle strategies respecting the 00:22:37.989 --> 00:22:43.179 the other's word so as not to lose the reader but tell us in front of you 00:22:43.179 --> 00:22:49.030 how you felt and I felt it very strong 00:22:49.510 --> 00:22:56.520 the your story those of the rest in the stories even the stories are 00:22:56.520 --> 00:23:04.360 hopeful that put at the center the issue of sanction or the issue of 00:23:04.360 --> 00:23:12.670 health of are stories that sow inside not 00:23:12.760 --> 00:23:20.320 no matter how much one has heard stories of torture of violence 00:23:20.320 --> 00:23:27.320 and having this complete picture generate a very big shock 00:23:27.320 --> 00:23:33.700 and one of the shocks it generates and about that I wanted to ask you Paula is 00:23:33.700 --> 00:23:41.260 what appears to be a class hallmark in violence against women 00:23:41.260 --> 00:23:47.139 vast majority of the stories of violence that are there and are violence 00:23:47.139 --> 00:23:52.540 against women from popular sectors of middle sectors 00:23:52.540 --> 00:23:57.640 has the impression that it is not that because they are on the fringes of violence 00:23:57.640 --> 00:24:04.540 but there is a certain type of aggression against women that escapes 00:24:04.540 --> 00:24:10.630 well-off sectors, this observation is true because the book is 00:24:10.630 --> 00:24:18.530 crossed that is basically the mexico below telling his nightmare 00:24:18.530 --> 00:24:25.670 yes yes that is a very interesting topic if we are in the middle of good horror 00:24:25.670 --> 00:24:29.300 We have been in the midst of horror for years and it seems that one day it will pass and 00:24:29.300 --> 00:24:37.010 never happens so I think we are just beginning to understand and measure what 00:24:37.010 --> 00:24:41.780 that we live if we don't have statistics we don't have numbers but in the book we do 00:24:41.780 --> 00:24:47.600 jump and it no longer happens to me in everything that I have reported in these years, 90% would tell you 00:24:47.600 --> 00:24:51.320 of cases of forced disappearance of extrajudicial executions of 00:24:51.320 --> 00:24:56.870 Femicides of unjust imprisonment of torture that I have reported 00:24:56.870 --> 00:25:02.140 They are poor people and of those who are unjustly imprisoned 00:25:02.140 --> 00:25:06.680 prisoners that I know who reported that I write, for example, the case of veronica 00:25:06.680 --> 00:25:10.520 swept the way we have published it several times that takes eight 00:25:10.520 --> 00:25:16.250 years in prison unjustly tortured by the federal police in the facilities of 00:25:16.250 --> 00:25:20.930 Mexico City is not from this maulí for it is not the port of Veracruz where 00:25:20.930 --> 00:25:26.320 The navy governs that city of Mexico Paseo de la Reforma 00:25:26.320 --> 00:25:31.419 all those lowly veronic people like the girls that appear in my text like 00:25:31.419 --> 00:25:35.490 the other texts that appear in this book 00:25:35.770 --> 00:25:42.460 the majority are poor people and in the case of women this goes through a 00:25:42.460 --> 00:25:48.960 lots of other violence that also creeps, not why 00:25:48.960 --> 00:25:56.340 because there is stigmatization and criminalization to the extreme there is a lack of 00:25:56.340 --> 00:26:02.530 a defense accordingly there 00:26:02.530 --> 00:26:08.190 also a state that seems to be accustomed to that it is and well it is 00:26:08.190 --> 00:26:15.400 a little while ago I was talking with yuri herrera the special prosecutor for 00:26:15.400 --> 00:26:18.340 Femicides from here in Mexico City 00:26:18.340 --> 00:26:23.590 and I saw how they are making a great effort to allow them to have 00:26:23.590 --> 00:26:28.870 24-hour attention because in other prosecutors such as homicides and there 00:26:28.870 --> 00:26:34.200 24-hour care but not yet in the femicide and not because their 00:26:34.200 --> 00:26:41.920 people do not want to work except because it was not seen as something fundamental 00:26:41.920 --> 00:26:47.500 and I think that if they go through, I hope one day we have statistics but I 00:26:47.500 --> 00:26:53.410 I think the women featured in this book are white women 00:26:53.410 --> 00:26:59.350 of all this violence and most of the victims of these years are 00:26:59.350 --> 00:27:04.840 poor people and therefore also horrible and terribly still 00:27:04.840 --> 00:27:12.420 it is possible that the infinite paula is reproduced in the book is we said an altarpiece 00:27:12.420 --> 00:27:20.490 of regions of sexual diversity etc. etc. in two minutes there is a 00:27:20.490 --> 00:27:28.200 matrix that explains this violence beyond the general concept of the state 00:27:28.200 --> 00:27:34.350 patriarchal society patriarchal way of telling that is behind that 00:27:34.350 --> 00:27:41.460 violence I would not dare and I believe that in the book we do not dare to 00:27:41.460 --> 00:27:47.400 find them because it is but if we believe that this book tells us that we 00:27:47.400 --> 00:27:51.780 what they are doing to us and how we are too 00:27:51.780 --> 00:27:57.840 trying to get out of there not to stop organizing ourselves by hugging and I think 00:27:57.840 --> 00:28:01.200 It's a smart exit that we try to make if we can't 00:28:01.200 --> 00:28:04.230 find why not that stops us 00:28:04.230 --> 00:28:10.320 let's read let's see focus let's get closer to see what is happening to us and 00:28:10.320 --> 00:28:13.980 there we will maybe find the why and maybe we never find the why 00:28:13.980 --> 00:28:18.059 what but if the outputs where the book control at all 00:28:18.059 --> 00:28:23.220 parts hopefully that is edited by grijalbo there you have it behind me 00:28:23.220 --> 00:28:27.809 I show here this is the very beautiful Grijalbo editorial cover of the group 00:28:27.809 --> 00:28:31.980 penguin random house that is, in all libraries and also in 00:28:31.980 --> 00:28:36.790 electronic from anywhere in the world also on amazon wherever you want 00:28:36.790 --> 00:28:40.860 now monaco thank you very much for being with us in this 00:28:40.860 --> 00:28:45.550 countercurrent thank you very much luis for always being in space always 00:28:45.550 --> 00:28:50.610 for all of us and you friends friends thank you very much 00:28:50.610 --> 00:28:56.220 for your kind company do not miss the reading of we are no longer the same we 00:28:56.220 --> 00:29:04.070 see next week here by internet choice until next time