La mujer loca

Julia works in a fishmonger, is in love with her boss and lives rented in a room in the house of Serafín and Emerita, a terminally ill woman who is planning her euthanasia. But, above all, Julia maintains a strange and obsessive relationship with grammar. On some occasions, words that suffer from pathologies sneak into her room for her to treat; in others, imaginary people populate her head before, by surprise, turning flesh and blood. And this captures the interest of a Millás (another Millás) who ends up forming part of that artificial family gathered around Emerita in a house that, coincidentally, is the same one where he spent part of his youth. Reality does not have to appear credible. In the middle of a narrative block, that other Millás takes refuge in the writing of an "Old Age Diary" while debating between writing about the woman deranged by language or about Emerita's vital decision, and discusses with her psychotherapist about legal novels and illegal, about what is true and what is illusory, and about the diffuse limits of what is real. But to reality, screw it.