has proposed, “The interior is the asylum of art. The collector is the true resident of the interior. He makes his concern the transfiguration of things. To him falls the Sisyphean task of divesting things of their commodity character by taking possession of them. But he bestows on them only connoisseur value, rather than use value” (9). In Nadie me verá llorar (1999), Mexican novelist Cristina Rivera Garza functions as one such collector of objects. She rewrites fin de siècle Mexico by appropriating ruined objects from Mexican history, such as photographs, newspapers, medical records, and The Language of Pained Bodies: History, Translation, and Prostitution in Cristina Rivera Garza’s Nadie me verá llorar (1999) Julio Enríquez-Ornelas

中文翻译：

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痛苦身体的语言：克里斯蒂娜·里维拉·加尔萨 (Cristina Rivera Garza) 的 Nadie me verá llorar (1999) 中的历史、翻译和卖淫

曾提出，“室内是艺术的庇护所。收藏家是内部真正的居民。他关注事物的变形。西西弗斯式的任务落在了他身上，即通过占有它们来剥夺它们的商品特性。但他赋予他们的只是鉴赏家的价值，而不是使用价值”（9）。在 Nadie me verá llorar (1999) 中，墨西哥小说家 Cristina Rivera Garza 就是这样一位物品收藏家。她通过挪用墨西哥历史上的毁坏物品，如照片、报纸、医疗记录和 Cristina Rivera Garza 的 Nadie me verá llorar (1999) 中的《痛苦身体的语言：历史、翻译和卖淫》，改写了《世纪末墨西哥》(fin de siècle Mexico)。奥内拉斯