Abstract
Abstract In an interview given in 1991, just before the publication of her novel Vaca sagrada, Chilean writer Diamela Eltit described how her experience of reading For Whom the Bell Tolls at the age of 10, while ill, set up a lasting association in her mind between writing, the body, illness, and death (Piña 1991: 227). The central image of Vaca sagrada is menstruation, which traditionally associates the female body with defilement. What interested Eltit here was the female body not as biology but as cultural map:
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