{"id":30928,"date":"2026-03-31T11:03:47","date_gmt":"2026-03-31T11:03:47","guid":{"rendered":"https:\/\/www.scenicrights.com\/projects\/visceral\/"},"modified":"2026-03-31T11:09:44","modified_gmt":"2026-03-31T11:09:44","slug":"visceral","status":"publish","type":"articulo","link":"https:\/\/www.scenicrights.com\/en\/projects\/visceral\/","title":{"rendered":"Visceral"},"template":"","art_tag":[826,790,834,850,854,858,888,802,898,686,814,956,818,704,1046,1076,1074,1092,1152],"genero":[47,1421],"licencia":[],"localizacion":[],"produccion":[],"subgenero":[],"tipo":[5],"class_list":["post-30928","articulo","type-articulo","status-publish","has-post-thumbnail","hentry","art_tag-class-difference","art_tag-colonialism","art_tag-discrimination","art_tag-ecology","art_tag-education","art_tag-empowerment","art_tag-exile","art_tag-existential-crisis","art_tag-feminism","art_tag-harassment","art_tag-heartbreak","art_tag-immigration","art_tag-inequality","art_tag-love","art_tag-obsession","art_tag-policy","art_tag-poverty","art_tag-racism","art_tag-society","genero-drama-en","genero-non-fiction","tipo-proyecto"],"acf":{"generos_tax":[47,1421],"subgeneros_tax":false,"tipo_tax":[5],"tags_tax":[686,704,790,802,814,818,826,834,850,854,858,888,898,956,1046,1074,1076,1092,1152],"produccion_tax":false,"licencia_tax":false,"localizacion_tax":false,"articulo__titulo_extendido":"","articulo__extracto":"","articulo__contenido":"<b><i><span lang=\"EN-US\">Between autobiography and a furious manifesto, Mar\u00eda Fernanda Ampuero strips bare her violated and rejected body to explore gender-based violence, mental health, frustrated motherhood, and exile. A raw journey through her obsessions and memories that becomes a monstrously honest cry against everything that tried to silence her.<\/span><\/i><\/b>\r\n\r\n<i><span lang=\"EN-US\">\u00a0<\/span><\/i>\r\n\r\n<b><\/b><i><span lang=\"EN-US\">Visceral<\/span><\/i><span lang=\"EN-US\"> is Mar\u00eda Fernanda Ampuero opening herself up completely. It is not just a collection of short essays: it is a self-performed autopsy, page after page.<b><\/b><\/span>\r\n\r\n<span lang=\"EN-US\">The writer takes her body, her childhood, her experiences of violence, and lays them out as if placing entrails on a table for someone to truly look at. The book has no linear plot, but rather a memory that twists in on itself, moving from a collective scream to an intimate whisper, from political denunciation to the most domestic pain.<\/span>\r\n\r\n<span lang=\"EN-US\">It begins with rage. Rage because women are still forbidden from deciding over their own bodies, because in Ecuador raped girls are forced to give birth, because in the United States the right to abortion has been overturned and the far right advances trampling over bodies. Ampuero draws on the literature of other women who have written about the horror of unwanted pregnancy and turns that anger into the driving force of everything that follows. But this rage is not abstract: it has the shape of a body. Hers.<\/span>\r\n\r\n<span lang=\"EN-US\">The fat body her mother\u2014former beauty queen\u2014gestated through midnight cravings for chocolate cake, and later punished with diets, amphetamines, and injections of who-knows-what. The body that classmates chased shouting \u201cAmpuerca,\u201d the body men always assumed was available. She recounts abuse at age eight in a park while her friend Genoveva watched; the harassment by a friend\u2019s brother who locked her in a bedroom repeating \u201cthere\u2019s no age for love\u201d; the rape in adulthood after a Tinder date. She also tells of a relationship with a nearly forty-year-old teacher when she was eighteen\u2014a man who took her to porn cinemas and seedy bars, who called her his \u201clover\u201d and forced her to prove she wasn\u2019t a \u201cscared little rich girl.\u201d<\/span>\r\n\r\n<span lang=\"EN-US\">Migration is another wound. She leaves Guayaquil\u2014a tropical city where dreams suffocate in heat and conformity\u2014and crosses the Atlantic to become a \u201cbarbarian\u201d in the Empire. In \u201cBarbarians,\u201d she writes to her dead father: she tells him what it is like to live as a foreigner who is always asked where she comes from, who must justify her presence, who hears \u201cif you don\u2019t like it, leave.\u201d Madrid both shelters and strips her, but she walks its streets until they become hers. She builds a life with a man who does not want children. At thirty-seven, she discovers she no longer has viable eggs. A dry womb. The relationship breaks apart. She is left with a stuffed mouse named Mauri\u2014the symbolic child they shared\u2014eventually given to an immigrant family when she decides to leave Madrid.<\/span>\r\n\r\n<span lang=\"EN-US\">Mental health is another haunting presence. Her father made it clear: \u201cthere will be no crazy women in my house.\u201d But the \u201ccrazy woman\u201d is there, with diagnoses of depression and bipolar disorder, taking seven pills a day, wearing a mask so no one notices she is burning inside. She denounces stigma, lack of resources, and loneliness. The pandemic finds her locked down with a stranger\u2014a man she had a date with the night curfew was declared. Seven months together in a Madrid apartment. Seven months of fear, sex, role play, mutual care, and a fog that covered everything. He nearly dies of COVID. When the fog lifts, he leaves. He never said \u201cI love you.\u201d<\/span>\r\n\r\n<span lang=\"EN-US\">Ampuero writes as if pulling out nails one by one. There is no redemption, no comfort. There is a woman looking at her life and telling it with the same fury with which she has lived it. Because, as she says, she does not want peace or mindfulness: she wants to embrace her anger, dance it, write it. And in the end, after wandering among the corpses of Madrid, the madness of the upstairs neighbor, the trees dying in autumn, and the bonsai that did not survive confinement, the only certainty is that the end of the world is not a cataclysm: it is continuing to be here, carrying fragility, learning to live with one\u2019s own monsters.<\/span>\r\n\r\n&nbsp;\r\n\r\n<b><span lang=\"EN-US\">RELEVANT INFORMATION: <\/span><\/b><span lang=\"EN-US\">Mar\u00eda Fernanda Ampuero is an Ecuadorian writer and journalist who has collaborated with numerous international media outlets. She has received the <b>Hijos de Mary Shelley Prize<\/b>, the <b>Cosecha E\u00f1e Prize<\/b>, and the <b>Joaqu\u00edn Gallegos Lara Prize<\/b>, awarded by the Municipality of Quito.<b><\/b><\/span>\r\n\r\n<i><span lang=\"EN-US\">Visceral<\/span><\/i><span lang=\"EN-US\"> is a work composed of several essays and narratives that sit between autobiography, memoir, and autofiction. It travels through episodes, experiences, fears, and obsessions of the author to reflect on violence against women, the body, colonialism, childhood, motherhood, and more. A true manifesto of brutal and raw honesty, with strong audiovisual potential: its fragmented structure and its vivid, cinematic imagery could translate into a production that lies somewhere between gritty realism and the oneiric.<\/span>\r\n\r\n<span lang=\"EN-US\">\u00a0<\/span>\r\n\r\n<b><span lang=\"EN-US\">AUDIOVISUAL POTENTIAL: <\/span><\/b><span lang=\"EN-US\">TV Series, Miniseries, Film, TV Movie.<b><\/b><\/span>\r\n\r\n<b><span lang=\"EN-US\">AVAILABLE LANGUAGES: <\/span><\/b><span lang=\"EN-US\">Spanish and Portuguese.<b><\/b><\/span>","articulo__autor":[16825],"_thumbnail_id":30926,"articulo__featured_gallery":"","articulo__galeria_archivos":"","articulo__fecha_de_publicacion":"","articulo__idiomas":"","articulo__dossier":"","idarticle":""},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Visceral - Scenic\u00a0Rights<\/title>\n<meta name=\"robots\" content=\"index, follow, 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