I have decided to frame my storytelling like a Renaissance triptych—a set of three-panel paintings in which the central one seems at first view to be unrelated with the other two. But the slow progression of their seemingly disconnected stories will show how they are intimately, profoundly linked. The central space belongs to Emily, an All-American girl from Kalamazoo that, after a few tragic instances will eventually have a successful career as an educator, a businesswoman and a politician. She is extremely competent, efficient and always in charge of her surroundings; her main flaw is that she can drift into becoming a “control freak”, especially with her adolescent son.
She fell madly in love with Bobby, her High School sweetheart, but has had only frustratingly disappointing encounters with him; she wants to have a steady partner but does not want to give up her hard-earned independence.
The space to the left (I use this term to describe both a visual and a political viewpoint) is occupied by Didier, a Pied-Noir from Algeria that emigrated with his whole family to Uruguay. He is sensitive and caring, which makes him an ideal confidant; however he has difficulty taking responsibility for his actions and he can drift into a “victimization” mode. He is obsessed with finding his two disappeared children and ultimately avenging the assassination of his wife Raquel by an Argentine terror squad. He will become one of Emily’s best friends, always eager to lend her an ear.
The space to the right is occupied by Maurizio, a mutant young man from Italy—he is half-man and half-eel—that eventually succeeds as a celebrity chef. He is very careful and methodical but can easily drift into a state of “procrastination.” He is being distracted by the Devil with worldly concerns and refuses to help his father to battle a looming threat to Mankind. He will become Emily’s lover, introducing her to the eccentricities of Love.
Emily will be eventually influenced by the companions coming from opposite ends of the political spectrum, until she becomes a centered operator. In our age of rancorous division of the electorate, I believe that the feminine genre has the wisdom to find compromise remedies for our difficult woes. After centuries of male domination of all the key political and institutional levers of power, we are immersed in a civic morass in our modern societies.
It is time to give women a well deserved opportunity in the public spaces. Our mothers, sisters, spouses, daughters, caretakers. Women. Dear. Our dear women.
We must wish them the very best in their new prominent roles. Merde!