Rosa Montero does not do any research work, it is based on biographical books on the market. But almost always gets attention, with intent to emphasize a particularly telling aspect of the lives of famous women to be reviewed in this book.
In his hands at a stroke we understand the Victorian obsession with stability of Agatha Christie, the passion for the work of anthropologist Margaret Mead, the tantalizing perversity of Laura Riding (poet Robert Graves was compared), the Simone de Beauvoir magalomanía countercurrent industry or the Brontes. We know the strange adventurer Isabelle Eberhardt, a British arts patron Lady Ottoline Morrell or pioneer feminist Mary Wollstonecraft.
Perhaps the warmest words dedicated to demystifying the hitherto perfect fidelity and love story of Zenobia Camprubi to the poet Juan Ramón Jiménez.Montero dives in the newspapers of the Spanish poet's muse, in phrases like "makes no sense that I sacrifice in vain by the selfishness of JR", to discover the tyrannical unit that took the life of this woman's quirks, whims and vagaries Huelva writer.
It also has a special chapter dedicated to the sensational case of injustice is tolerated than the life of Mary Lejárraga, who spent his life writing novels, plays and scripts for successful operettas then signed her husband Gregorio Martínez Sierra, who just collaborated on drafting.
Another injustice that tells us this book is that frustrated career as a composer and musicologist of Alma Mahler, Victim of the opposition and the continued nagging of the famous Gustav Mahler and the unwritten law, as Montero points out, much has been applied and still applies in many couples, "they contemplating marriage as an institution to its service, such as a sweet fairy tale."
To avoid missing more tragedies unless deaf and bloody, the book includes the amazing and sad story of child prodigy and his Spanish Hildegart Rodriguez unbalanced mother Aurora, who brought up his offspring to live in a utopian society and fatally shot the eighteen, when he had become a prominent Republican policy arena of the thirties.
Also tragic is the case of the sculptress Camille Claudel, sister of writer Paul and lover of Auguste Rodin, who conquered the artistic glory as she had to interrupt her career and plunge into the darkness of a madhouse. The artist Frida Kahlo, in which case it refers Montero, however managed to barely exceed the accident that shattered his leg at the expense of spending your life in bed, make a fascinating book that has become one of the myths twentieth century.
In contrast, and finally, Rosa Montero this document includes a reference to the uninhibited life of the writer George Sand, who lived in an era when women were watching him at the slightest wrong, but she never made a dent those looks, and knew him dress like and felt like smoking and flirting and travel and write whatever you fancy.
The best of this type of biographical profiles is that they show situations and attitudes, as they remember the author, have affected and still affect many anonymous women.