—She straightened up. Round breasts, heavy, slightly drooping, it makes sense, but still pretty. A body shaped by gym sessions. Completely natural. 60 years old. For sixty she wasn’t bad at all. But, of course, from today on she was in her bloody sixties.she reached out a hand and turned the light on, one of the fluorescent lights above her wardrobe, shining down on her whole body, acceptably smooth until now under indirect light, seemed suddenly to slump as if subjected to the forces of 3D gravity…She inspected herself slowly in the mirror without pity. The body is a terrible thing she said to herself out loud, so as to get moving again.***
Soledad is single professional woman coming to terms with her age at sixty, at once strong but insecure, determined but fragile and reaffirming a hunger for life.
In this book which can be translated into English as ‘Flesh’, Montero paints us a complex picture of a woman of sixty who is still maturing, jealous since her married boyfriend left her for his pregnant wife, jealous to the point of hiring a gigolo for an evening at the opera to try to show him she was better without him, to make him jealous, only for her acquaintances to think she was with her son.
She has her life under some sort of control up to this point, but when leaving the the Opera, her Spanish speaking Russian gigolo intercedes in a violent robbery and things get out of hand from here, their relationship becomes deeper than the clear one of a gigolo and his client. As their relationship evolves, the central question becomes one of danger, is Soledad in physical danger from the young Russian man or, as she suspects he is not being honest with her and she begins following him, is he more in danger from the fiery Soledad? This is juxtaposed with the stories of the Cursed Writers which she is considering for the exposition she is preparing for the National Library. As Soledad’s hunger for life and experiences is confirmed, The ever present question of the onwards march of time persists:
—Soledad felt once again an onset of panic, the unending sadness to think that she may never again fall in love, that she may never again lean up against a man’s body, that she may never again feel a man inside her, that her body may never feel the heat of passion for another. The last time you make love, the last time you climb a mountain, the last time you run in the Retiro park. Time ticks on unstoppable, towards the final destruction like a bomb.***
First published in Spanish as ‘La Carne’ by Alfaguara in 2016
Translated into French by Myriam Chirousse as “La Chair” and published by Éditions Métailié in 2017
*** My translation