{"id":192418,"date":"2025-08-28T10:44:55","date_gmt":"2025-08-28T16:44:55","guid":{"rendered":"https:\/\/errr-magazine.com\/?p=192418"},"modified":"2025-10-01T22:31:45","modified_gmt":"2025-10-02T04:31:45","slug":"lugar-de-taxidermia","status":"publish","type":"post","link":"https:\/\/errr-magazine.com\/english\/lugar-de-taxidermia\/","title":{"rendered":"Lugar de taxidermia"},"content":{"rendered":"

How did the idea for this book come about?<\/strong>
La taxidermia es una pr\u00e1ctica por la que siempre hab\u00eda sentido mucho inter\u00e9s e incomodidad a la vez. Presente en los museos y con motivos, en apariencia, \u00fanicamente cient\u00edficos y de conservaci\u00f3n, la taxidermia guarda en el fondo razones mucho m\u00e1s humanas y universales. La idea anterior surgi\u00f3, con mucha claridad, en el Museo de la Evoluci\u00f3n<\/a> de Puebla, que alberga una de las colecciones m\u00e1s grandes de taxidermia que he visto. Disecadas, las especies m\u00e1s ex\u00f3ticas hasta las m\u00e1s comunes guardan en com\u00fan la simulaci\u00f3n de algo que ya no existe, un tiempo perfecto por su quietud, pero desprovisto de vida. Me di cuenta, entonces, que la taxidermia es una pr\u00e1ctica com\u00fan de quienes hemos sentido la urgencia de que algo permanezca, cuando la naturalidad de las cosas que viven es que mueran, inminentemente.\u00a0<\/p>\n\n\n\n

What did you discover in the process of writing it that you didn't imagine at the beginning?<\/strong>
Formas de conservaci\u00f3n. Aunque la taxidermia es la insignia de este proceso creativo y de este libro, sab\u00eda que no pod\u00eda ser la \u00fanica forma de conservar y, adem\u00e1s, que la incomodidad que nos causa es porque no soportamos mirar a lo no vivo a los ojos y no encontrar nada en el fondo. Sin embargo, las otras formas m\u00e1s comunes de ralentizar los procesos de muertes son, en la actualidad, m\u00e1s asimilables por ser comunes: sacar fotograf\u00edas, congelar, salar o fermentar. Algunas de estas fueron clave para la preservaci\u00f3n \u00fatil de los alimentos en los primeros tiempos y otras, m\u00e1s a capricho, nos permiten incluso conocer personas que de otro modo no pudi\u00e9ramos ver nunca. Creo que, de todo, ver que la conservaci\u00f3n y la taxidermia son actos que vienen desde nuestra urgencia de vencer al tiempo y a la muerte o el olvido, fue lo m\u00e1s bello que encontr\u00e9.\u00a0<\/p>\n\n\n\n

What parts had to be left out for the book to end up as it is?<\/strong>
M\u00e1s que partes, hubo una poda de poemas que \u2013 si bien se relacionaban de alguna forma con el tema humano \u2013 sal\u00edan de los tonos que quer\u00eda ir explorando en el libro. Al mismo tiempo, era un libro pensado en una sola parte al principio; luego vino la idea de las salas de museo y que su lectura funcionara como una visita a uno. Tambi\u00e9n el t\u00edtulo sufri\u00f3 varias transformaciones: pas\u00f3 de llamarse\u00a0Museo de historia natural<\/em>\u00a0(a la manera de Jos\u00e9 Watanabe<\/a>) a llamarse\u00a0La memoria es un lugar de taxidermia\u00a0<\/em>a, finalmente,\u00a0Lugar de taxidermia<\/em>. Estas decisiones las fui tomando conforme revisaba las retroalimentaciones de las lecturas que colegas y amigxs me hac\u00edan de las primeras versiones del libro, por 2021 y 2022.<\/p>\n\n\n\n

What conversations, readings, images, or sounds came into play during the writing of this book?<\/strong>
Fueron est\u00edmulos de todo tipo. Desde experiencias personales, cartas que ten\u00edan a\u00f1os guardadas, fotograf\u00edas, muchas visitas a museos de historia natural, manuales de disecci\u00f3n y taxidermia de animales. Libros como\u00a0Historia Natural<\/em>, y en general la obra de Jos\u00e9 Watanabe;\u00a0Antitierra,\u00a0<\/em>from Valeria Tentoni<\/a>;\u00a0Una ballena es un pa\u00eds<\/em>\u00a0from Isabel Zapata<\/a>;\u00a0Principia<\/em>\u00a0and\u00a0El reino de lo no lineal<\/em>, by Elisa D\u00edaz Castelo<\/a> y seguramente muchas otras que olvidar\u00e9 mencionar. Tambi\u00e9n ensayos y textos de corte naturalista como el\u00a0Mors repentina<\/em>\u00a0and\u00a0Notas de un anatomista<\/em>, by Francisco Gonz\u00e1lez Crussi<\/a>. Tuve muy presentes tambi\u00e9n im\u00e1genes tomadas por m\u00ed en las que se concentraba alguna idea relacionada con la conservaci\u00f3n y tambi\u00e9n, por supuesto, la memoria familiar y personal, con la intenci\u00f3n de fijarla en alg\u00fan sitio.\u00a0<\/p>\n\n\n\n

Is there an emotion or question that runs through it from beginning to end?<\/strong>
Quiz\u00e1s la pregunta principal ser\u00eda si podemos sostenerle la mirada a la muerte y al olvido. La siguiente ser\u00eda si acaso la conservaci\u00f3n es suficiente para poder hacerlo. Y la \u00faltima, el para qu\u00e9, entonces, seguimos insistiendo. Cada persona que me ha dado alg\u00fan comentario tiene respuestas distintas a las tres preguntas.\u00a0<\/p>\n\n\n\n

Was there a moment when you felt the book changed direction?<\/strong>
S\u00ed y creo que hubo, en realidad, dos momentos. El primero tuvo que ver con la estructura y el orden de los temas que se entretej\u00edan en el libro. Una vez que se tomaron las decisiones, vino el segundo momento, en el que la segunda parte del libro deb\u00eda tener un tono distinto a las otras dos partes, incluso si la forma del poema le beneficiaba o no. Al final, creo que estos momentos de crisis fueron necesarias para que\u00a0Lugar de taxidermia<\/em>\u00a0tomara la forma que hoy tiene y, aunque como creadora, jam\u00e1s estar\u00e9 conforme en su totalidad, acepto que el poemario tambi\u00e9n tenga ciertas necesidades est\u00edlisticas y el momento en el que una tiene que parar, porque es lo mejor para el discurso que una misma plante\u00f3.\u00a0<\/p>\n\n\n\n

How did your way of reading or watching change after you finished it?<\/strong>
Creo que el proceso tan largo y detallado de\u00a0Lugar de taxidermia<\/em>, me hizo mucho m\u00e1s paciente y rigurosa tanto en mi escritura como en mi lectura. Desde el proceso de este libro no puedo leer, por ejemplo, sin tener algo a la mano con qu\u00e9 ir anotando o subrayando cosas. Igualmente, el ir trabajando versiones de forma paralela sin borrar las anteriores; tambi\u00e9n la organizaci\u00f3n de mis lecturas de acuerdo con lo que quiero leer y lo que, de alguna forma, se relaciona con mis intereses creativos a largo plazo. Creo que, en general, el proceso de escritura de este libro me hizo equilibrar la intuici\u00f3n con el rigor y hacerlos funcionar seg\u00fan mis procesos los vayan necesitando.\u00a0<\/p>\n\n\n\n

Which authors have inspired you lately and what do you find in their writing style?<\/strong>
El proceso creativo en el que estoy ahora est\u00e1 a\u00fan ocurriendo; por lo tanto no podr\u00eda dar una respuesta tan categ\u00f3rica. Lo que s\u00ed es que, por el tema, estoy tratando de nutrirme de todas las perspectivas que pueda para poder ir tomando decisiones y rumbos en la escritura del proyecto. Tambi\u00e9n he visto mucho cine y, de forma m\u00e1s personal, tambi\u00e9n me est\u00e1n nutriendo las conversaciones que tengo al respecto con amigxs o conocidxs. Creo que lo que m\u00e1s me gusta es encontrar siempre los puntos que hacen \u00fanicas las experiencias y, al mismo tiempo, c\u00f3mo se pueden interconectar entre s\u00ed. Hacer notas y el an\u00e1lisis del contenido de ellas hasta llegar a la idea es una cosa que disfruto mucho.\u00a0<\/p>\n\n\n\n

What is your favorite restaurant and what do you recommend we order?<\/strong>
La pregunta m\u00e1s dif\u00edcil de contestar. Creo que depende de lo que quiera comer, pero la mayor\u00eda est\u00e1n en M\u00e9rida, dado que resido aqu\u00ed permanentemente. Me gusta mucho la comida italiana de Dal Baffo<\/a>; los salbutes de relleno negro de \u201cLas margaritas\u201d del Chembech; y las hamburguesas de Truck Chef<\/a>, 21\/12<\/a> and Flamante<\/a>. Y de dulce, mis helados favoritos son los de Pola<\/a>, en Santa Luc\u00eda, en M\u00e9rida.\u00a0<\/p>","protected":false},"excerpt":{"rendered":"

Quiz\u00e1s la pregunta principal ser\u00eda si podemos sostenerle la mirada a la muerte y al olvido. La siguiente ser\u00eda si acaso la conservaci\u00f3n es suficiente para poder hacerlo. Y la \u00faltima, el para qu\u00e9, entonces, seguimos insistiendo.<\/p>","protected":false},"author":7899,"featured_media":192423,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"cybocfi_hide_featured_image":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17858],"tags":[],"class_list":["post-192418","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-libros"],"acf":[],"mb":[],"yoast_head":"\nLugar de taxidermia - ERRR MAGAZINE<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/errr-magazine.com\/english\/lugar-de-taxidermia\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Lugar de taxidermia - ERRR MAGAZINE\" \/>\n<meta property=\"og:description\" content=\"Quiz\u00e1s la pregunta principal ser\u00eda si podemos sostenerle la mirada a la muerte y al olvido. 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