"Todo era campo" is a strange and queer text, and therefore interesting, in which names are erased, skins deceive, and what is strained and risked is always existence. And there is a curious melancholic tone that contrasts with the virtual presence of its nonexistent author: on social networks she is, yes, "the waterer, the cutter, the climber, the ironer, the driver, the blocker, the peeler, the dancer, the defecator, the toaster, or the fucker." But since she does not exist, she has the whole range of things open, like someone who is not and therefore transforms, like the Rosalía saokiana who is "all the things," and in that non-being nothing fixed blooms, adapts by wondering what it would be like "to put a body in a box" and that sealed body was, for example, "the body of a mother." [...] And it gives us a very interesting exercise, which has everything to do with the curious intersection between drag and any character, between drag and the folk singer, between drag and every artist. Deep down, it is not so much a book about drag as a text about what happens when we become a person who is no longer ourselves. From the prologue by Elizabeth Duval.
