Interview with David Cantero

Take it or leave it; that seems to be the chief maxim for erotic gay comic book author David Cantero (Cartagena, Murcia; 1972), regarding not only his work but also his life attitude in this unsettling world. Just find out by yourselves.

SPANISH GAY FICTION: As for your work as a whole, you seem to have specialized in erotic comic book. Thus, what led you to create Boxing Julián?

DAVID CANTERO: I have always been interested in sex. I think there is no story without sex. Sex moves the world more than we think! [Laughs.] With Boxing Julián, I wanted to show how difficult it is for some people in this society to live with themselves, with their sexuality.

SGF: How was the response to your comic book?

DC: I had a very nice feedback from readers; some of them recognized themselves in the character, and they shared with me their personal experiences. I felt touched by these testimonies.

SGF: How important is Boxing Julián to you?

DC: My stories are all special to me. Back then, I was very happy with the character design for this comic book. Today, twelve years after, I cannot even look at it! [Laughs.] I did it a long time ago, and now I just see errors everywhere! [Laughs.]

SGF: Have you ever been familiar with a similar situation in real life?

DC: Yes! Unfortunately, it is a pattern that repeats itself too many times in our society ― Maybe not so extreme, but in different degrees.

SGF: Do you think that there is always a tormented homosexual behind a homophobe?

DC: [Laughs.] Not always! But yes! It is usually true!

SGF: The world of fiction has always found boxing appealing as a theme. What is your opinion about this sport? Is there any previous work that has been inspiring for Boxing Julián?

DC: I chose boxing because it is a very manly sport with a lot of physical contact. It is brutal and direct. It fit very well with the character, and it was perfect for channeling his rage. The movie Rocky really helped me, actually!

SGF: Ben’s quiet attitude towards Julián’s aggressive behavior is really painful. Why did not he report Julián to the police?

DC: I did not want to delve into Ben’s nature that much; I just wanted to show a nice guy. We never know if he is gay. . .We never know why he did not sue Julián. . .I like this kind of endings, making the reader think!

SGF: Do you feel that the toxic couple relationship that Lola and Julián represent is still recurring nowadays?

DC: In my opinion, these situations will never end while education and religion still continue to create strong stereotypes for men and women.

SGF: Do you think that Julián will eventually do to Lola what his father did to his mother?

DC: Of course! Even worse! [Laughs.] I had an idea for a sequel to this story, where we would see Julián, Lola and their son twenty years later ― Maybe I will do it!

SGF: You have previously worked in collaboration with other scripters. Why did you create Boxing Julián alone?

DC: In general, I work alone. I have many stories and series. It is rare that I make collaborations. At present, I am (sometimes) collaborating only with Patrick Fillion for the series The Brigayde for Class Comics Inc.[1]

SGF: How would you define your style as illustrator?

DC: My style is a mix of European comic books (such as The Adventures of Asterix), Marvel comic books, and Japanese animation. I am in love with the line; inks are very representative of my style. A definition for my style? Well. . .I do not know. It is just the way I like to draw!

SGF: Julián is a dreaded character; however, his design is really alluring. Did you make this contradiction deliberately?

DC: Sure! There is nothing more disturbing than someone to hate and desire at the same time!

SGF: Are your characters physically based on actual people?

DC: The characters are not real persons; I created them according to their personality. . .I always think of details for the characters because they make them strong.

SGF: Apart from the fact that you were born in Cartagena,[2] I feel a Mediterranean air throughout the comic book. Did you want to depict a lifestyle that you know first-hand?

DC: I created this story when I was living in a village near Tarragona.[3] This place was full of Juliáns!!! [Laughs.] I thought that this background was perfect for the story!

SGF: Can you tell about your upcoming projects?

DC: Right now, I am drawing the episode 7 of the series The Brigayde, written by Patrick Fillion. You can see my working progress at Patreon. This year, I will be working on my series Exodus (Volume 5), and probably Dibearcity (Episode 2). I am also working on my children’s books for my other publisher, La Cantera Editorial: my next book, Sky and Heart, is just in process.

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[1] Owned and operated by Patrick Fillion and Robert Fraser, this independent comic books publisher has specialized in gay erotic-themed comic books since the beginning of the 21^st century.

[2] This tourist Spanish destination is located in the autonomous community of Murcia, by the Mediterranean south-eastern coast; it is famous for its Roman Theatre, the naval base, and the Carthaginian and Roman parade, among other attractions.

[3] Port city located in northeast Spain on the Golden Coast by the Mediterranean Sea; the location contains significant remains from the Ancient Rome.

The Beast in the Beauty

On David Cantero’s Boxing Julián

This time in spanishgayfiction.blogspot.com we present quite a disturbing experience: a 2008 comic book dealing with the most ultra-violent homophobia.

In the first pages we find Julián, a promising small town boxer achieving an easy victory in a fight; when in the locker room, he is praised by Paco, his boxing trainer, and Lola, his sexy fiancée. When they leave Julián alone, he cannot help jacking off by looking his magnificent nakedness over closely; after this, Julián punches the wall furiously: it means the first indication for the reader that there is something about Julián.

Paco decides to hire the services of Benjamín, Ben; a hot, blond, angel-faced physical therapist. All of a sudden, Julián shows an unexpected rough-and-tumble towards the boy, trying to hide (or should I say making clear instead?) a powerful sexual attraction. From the very beginning Julián wants to leave proof of his discomfort: he likes neither queer nor sassy people who would ever dare to contradict him. Paco will need to mediate so that Ben does not quit promptly after an abrupt, vehement outburst from his protegé. . .resulting in Ben exhibiting his mouth-watering chest after Julián stretched the gorgeous therapist’s tank top.

Lola pays a visit to her man at the gym; the moment she lays her eyes on Ben she openly claims that the cutie is really stunning. Immediately afterwards, Julián calls her bitch and menaces her. After this, he pushes Lola to the restroom, and there he fiercely attempts anal sex ― vainly: Ben is in his mind, so Julián loses his erection. Lola meekly tries to give him a blowjob, but Julián’s reaction is hitting her hard.

After a massage session, Julián asks Ben whether he is a fag; Ben avoids the question. (As a matter of fact, Ben’s sexuality may be the biggest mystery of the comic book.) Later, Julián jokingly encourages Ben to give him a blowjob, but Ben leaves the room all annoyed ― has Ben got tempted to do it, at least for one second?

During a fight, our cocky boxer remembers how his father used to attack him physically and verbally when he was a weepy child; his father justified himself by saying that he hated pussies, and he told his harassed sonny to have big balls to face life. At the end, Julián gives his opponent a cruel beating, and Paco threatens to leave: Julián has to stop fighting that dirty in the ring, since he has been about to finish his rival off.

In the middle of the subsequent massage, Julián bitterly tells Ben to go away: he does not want Ben to see that he has cummed all over himself while Ben was squeezing him.

Through another journey to the past, we see that Julián was witness to his mother’s dying at his father’s hands. Young Julián took hold of his savage daddy’s gun ― he was a policeman ―and shot him. This memory heavily seizes Julián while having sex with Lola, to the point of almost choking her to death. When Lola gets over, Julián apologizes groaningly and tearfully; Lola, mad about her macho, forgives his bad manners.

The time of the final combat is coming, and the prize money will do Julián good for the upcoming wedding ceremony. He keeps teasing Ben with insults such as queer. Like Lola, Ben also forgives and keeps a submissive attitude towards the ferocious fighter.

Julián eventually wins the fight, and they all go out partying. In the disco, Lola asks the psyched-up victor to stop drinking, as it turns him aggressive. Julián tells her to leave with Paco, and Ben promises Lola that he will help Julián be back home safe and sound. At the wee hours of the night, on their way out, Julián gets audacious sneakily and lewdly: he beats and assaults Ben in a dark, lonely place.

The ending of this dreadful story is just terrible. Lola, oblivious to what is happening around her, is making the guest list for their wedding, and she suggests her betrothed to invite Ben. Julián flatly refuses, basing his resolution on Ben’s ultimately leaving him high and dry. The image of a bruised, wounded Ben walking down the street and exchanging glances from a distance with a sinister (and defiant) Julián puts a terrifying end to this troubling story.

No doubt this is a significant story about homophobia and violence, depicted by Cantero in a brutally visceral way. His illustrations are as attractive as disgusting, leading to a flawless portrait of Julián’s double identity: a bewitching object of desire on the outside / a frightening demon on the inside. We find particularly worthy of the most enthusiastic praise the pages concerning Julián’s recalls about his shady past (his monstrous father; his miserable, dummy-like mother); there, red, black and a blazing white are the cardinal, over-suggestive colors to show the ultimate horror.

The design of the main characters is also creditable; the contrast between the pair of hot men, the shiny Ben and the shadowy Julián, smoothly reveals the central conflict of the story. Regarding the details, the tattoo that Julián shows on his arm ― the name of his girl on a bleeding heart pierced by a sword ― is too meaningful about Julián’s darkest instinct, Lola’s cursed fate, and the comic book’s overwhelming lesson: Violence begets violence. In sum, a provocative work of art.

The Taste of Her Cherry Chapstick

On Lydia Sánchez and Julio Videras’s Cornelia

Yes! As you may have guessed, here in spanishgayfiction.blogspot.com we could not help recalling Katy Perry’s Sapphic hit when approaching this comic book published in 2008: a dazzling story around the whimsical, mysterious pathways to Happiness.

Our friendly protagonist is Cornelia, a 22-year-old student of Fine Arts. She has two jobs, thus she can’t hardly attend in classroom: in the mornings, as a shop assistant in the comic store Friky Planet; by night, as a waitress in a club.

Cornelia lives in an apartment in Barcelona with two girls and a boy. The girls are:

·Laura, a somehow dull and daffy blonde living in Barcelona for 10 years, trying to make her way in the world of acting though she is not lucky enough in auditions;

·and Rocío, a girl-crazy, passionate brunette, who successfully works in a publicity agency. Cornelia’s colleague in the night club, Pablito Danger, a hornball who jumps into each and every single woman, feels a special (and male-chauvinist) morbid fascination for her. His attitude extremely irritates Cornelia.

Cornelia is kind to the others: Luigi, the Italian restaurant owner; the alley cats she feeds up; the weirdo who is always watching through the other side of the store window; Antonio, the deliveryman; the boy intimidated by his mother. . .but particularly to Salva. He is the owner of Friky Planet (Salva calls freaks to the comic nerds); he is also Cornelia’s Prince Charming. She calls him Culito Perfecto—“Perfect Little Ass.” Salva is a 30-year-old scatterbrain, huge fan of comics, roleplaying, horror movies and Italian food. He is continuously asking Cornelia to do extra hours, since Salva is really busy with his other job in a business consultancy.

Today Cornelia takes advantage from her favor in order to get an invitation for lunch in a wok, as well as a stolen kiss. Eventually, Salva stands her up in the restaurant. Nevertheless, in the afternoon she must go back to the store to do her promised duty.

Later in the club, her girlfriends go to see her at the other side of the bar. There, Cornelia recounts her situation with Salva. Rocío suggests that she ignores men and goes lesbian. To brighten up her day, Rocío tells a funny anecdote about how she flirted with a shop-assistant in a lingerie store. Rocío is always sweet and thoughtful to her. To Rocío, Cornelia is nice, pretty and funny, though just a little bit neurotic. She recommends Cornelia to kiss Prince Charming off and try to find the person she can connect with and feel happy and complete. Cornelia admits that Rocío cares about her more than Salva.

Speak of the devil, Salva makes an attentive appearance, with an apology in his lips and a rose in his hand, guaranteeing a rewarding dinner to Cornelia. Rocío is not at all happy with him.

A week later, Cornelia seems to have forgotten the incident. By taking things slow, Cornelia hopes that Salva takes seriously the chance of a relationship: They together walk out, have lunch, go to the movies, do some shopping—Salva also picks Cornelia up in the club after working all night. He finally passes care inspection, so they arrange a celebration date. Besides, Cornelia has asked her roommates to leave the apartment that night for more intimacy.

The door bell is ringing. Rocío warns Salva not to blow it again, otherwise he would be in serious trouble. Salva gives Cornelia a beautiful butterfly barrette that she immediately puts on her hair to add a sparkling touch to her stunning look tonight.

During the dinner the romantic couple makes a toast with water—tough luck!: It starts raining before entering the hot spot where Salva brings Cornelia after. There, Cornelia will find out Salva’s unexpected skills as a lively dancer. When Cornelia goes to the restroom, Salva’s ex-fiancée Lidia suddenly pops up. Lidia had gone off with an American man, leaving Salva practically standing at the altar. But things did not go well, and now Lidia seems ready to get Salva back at any costs.

Lidia does not accept Salva’s refusal, so she decides to come to the fore and kiss him. Salva acts reluctant at first, but later he lets her take control. To top it all, Cornelia comes back and has a major setback to the delight of Lidia. Our unfortunate heroine rushes out of the club, and walks back home in the rain.

Rocío recognizes her from the taxi. She gets off and shelters Cornelia under her umbrella; she also takes off her coat to cover her soaking humbled friend. Once Cornelia has told the story, Rocío advises her to ignore Salva for good. Cornelia starts saying that she and Rocío—the two of them—in others circumstances—But Rocío does not let her finish: she claims that the world would be a much more beautiful place if people worried about searching for love only, no matter the significant other’s gender. Rocío confesses that she has wanted to kiss Cornelia for too long, and she does it. The passionate brunette has dropped the umbrella: neither of them seems to feel the rain. Cornelia finally kissed a girl—and she definitely liked it!!!

Pay Back in Anger

On Hecheres Beltrán’s Billete de ira y vuelta (“Rage Trip Ticket”)[1]

The protagonist of this 2008 novel is Javier, a young gay man from the Canary Islands living in Madrid for the last ten years who accepts his mother’s invitation to visit hometown for some days. At first blush, you may think that it will be a lovely personal event for the sonny. Well. . .nothing further from the truth: Javier is actually scared about going back home. Why? Just keep reading—

When he flew to Madrid, Javier left behind a history of abuse by his classmates. In primary school, he had to suffer Rayco’s cruel mistreatment; in secondary education, it was Alejandro the source of all evil. (Things have been developed as expected for these two scummy bullies: at present Rayco is involved in an issue about minors used as drug dealers, and behind Alejandro’s dazzling façade—he got married for money—the perfect example of an inveterate cheater is hiding.)

In addition to this, Javier’s family was not particularly empathetic towards him. His siblings hardly paid attention to him; when they did, it was hell. Moreover, his father used to hit him and insult him, calling Javier fag all the time, and griping that his son did not act as a regular boy.

Since Javier’s memories are full of abuse situations, both physical and psychological, he currently undergoes hard consequences: Javier is claustrophobic (a pretty bad feeling when taking a plane, or even the subway; that is to say, when trying to pop out with total freedom); besides, he distrusts people, what prevents him from socializing naturally.

But not everything goes wrong for Javier. Dancing and swimming meant a new lease on his life in Madrid, and now Javier has become a good-looking man, far from the image of fatty campy nerd from his past.

For his surprise, revisiting the island helps Javier live three awesome meetings:

·       First, his joyful reunion with Muriel, a good-natured Argentinean woman settled in the Canaries who had (unsuccessfully) tried to become Javier’s close friend: for the record, she was the first person who took him into a gay bar;

·       Secondly, his brother Sebastián, now grown into a gay-friendly straight man under his girlfriend’s decisive influence (she has a gay brother herself);

·       And last but not least, Manuel, a former classmate who made Javier sing the blues in primary school, but now he has become a hot surfer mad about Javier the very moment that he takes a look on our visiting hero.

Nonetheless, evil boils over in the sizzling festive atmosphere on the black-sanded beaches of the Fortunate Isles, and so Javier himself will check out that homophobia is a tightly rooted concept in not only town residents’ minds, but also a few of his own relatives’—some things are painfully impossible to change.

Javier’s response to the sudden end of what might have supposed a beautiful love story turns into another pretty darker thing. Whether Javier acts fairly or not, justifiably or not—it is up to the reader’s view. I just want to say that I find hard to remember any other novel’s grim, sore, harrowing conclusion such as this.

This disconcerting narration by Hecheres Beltrán means an impressive depiction about the tragic effects of one of the most dangerous plagues of our time. Sadly, bullying is not new: there have been lots of LGBT people enduring abuse and humiliation (in school, at home, etc.) throughout history. Nobody should turn a blind eye on this social problem, and reading Beltrán’s book is an excellent means of consciousness-raising.

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[1] The original Spanish title is a play on words: the author puns on the terms ira (“anger”) and ida (“departure”), altering the usual expression billete de ida y vuelta (“round-trip ticket”) for just one consonant. Thus, we could not find any other translation better than the one proposed.

The Private Parts of a Private Eye

On Iván Babiano’s La Serpiente Arco Iris (“The Rainbow Serpent”)

Felisa Karr, the private detective that author Iván Babiano introduced to the readers in this 2007 novel, has a different story. Quite a girly beauty, no particular tough appearance, pretty meticulous in respect of her wardrobe, having a soft spot for the color white (a feature that makes her the most dazzling, glamorous PI in Madrid)—Felisa’s female perceptive touch makes her unbeatable in her job.

A series of helpers support Miss Karr in her investigations. Among them, an old bookstore owner, aged Hindu Yhajaira, stands out in this adventure as the cultivated interpreter of the ‘rainbow serpent’ symbol. Felisa also enjoys the assistance of the usual detective’s secretary—a kind of gossipy in this case.

So. . .What makes Felisa’s story so exceptional? Let me tell you her biggest secret. Please lend your ear—: Felisa is actually a transgender detective.

In La Serpiente Arco Iris, the author focuses on the investigation revolving around the murder of Leandro, Lean, the partner of Felisa’s Irish client, Robert Mitch (a nod to the male lead in Jacques Tourneur’s Out of the Past, and Charles Laughton’s Night of the Hunter?).[1] Mr. Mitch found Lean’s body home. The corpse signs suggested that the poor fellow had been brutally attacked and raped by several men. Karr finds suspicious the presence of several tattoos throughout Lean’s skin representing a rainbow snake eating itself, a clue about something that even her client himself is hiding. . .Later Felisa will find out that Lean and Robert had an open relationship, and the two of them were regular patrons in La Serpiente Arco Iris.

La Serpiente Arco Iris is a night club chain spread all around the world, with a clear target audience: committed gay men. Committed to—what, you ask? Committed to the society’s own rules. In fact, this is the cover for a cult consisting of a close circle of homosexuals that have bareback sex among their members only in order to protect themselves from sexually transmitted diseases. They found out that Lean had broken the rule the moment he fell in love with someone unconnected with the society, so they decided to eliminate him.[2]

During her inquiries, Felisa will unfortunately need the help of the police. I say unfortunately, as she should meet again some former colleagues from her not so distant young years as a policeman, from inveterate homophobe, unpleasant sexist Lt. Ramón Díaz, to a more delightful reunion: Ángel (the name fits like a glove), an attractive workmate who was always nice to her.

Given that passing herself off as a man is the only means to enter the society and solve the mystery, Felisa will get her long blonde hair cut, and hide her oversized breast. This way, our classy heroine will have to face her old times’ hardest facet: the memory of Felipe Carrillo—her previous self before she decided to look like a woman on the outside.

At the end of the book, Felisa Karr not only seems to have overcome her unhappiest, most traumatic episodes after making peace with her past, but you can also have the feeling that she has made the ultimate resolution on sex reassignment surgery.

The most interesting aspect in Babiano’s book may be the portrait of the sleuth rather than the plot, extremely typical and weak in terms of suspense. A key point in this kind of literary genre is the surprising final twist; here, the villain’s identity is obvious from their very first appearance. Anyway, it is nice to walk hand in hand throughout the narration with Miss Felisa Karr, probably the sweetest, most charming private investigator in Spanish fiction. Anyone would be pleased to be a friend of hers—or take a spicier step forward!

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[1] This is not the only cinematographic reference in the book: when Felisa ran into her transgender prostitute friend, its depiction is quite similar to the moment when Manuela (Cecilia Roth) met La Agrado (Antonia San Juan) again after many years in Pedro Almodóvar’s All About My Mother (original title: Todo sobre mi madre). Also the atmosphere in the night club reminds of the mysterious private party that Dr. William Harford (Tom Cruise) attended in Stanley Kubrick’s Eyes Wide Shut.

[2] Regarding the fact that we are dealing with an organization aimed to protect their members from sexual diseases, it is hard to understand why they condomlessly rape the individual who has had sex with someone outside the society. . .

Dancer from the Slavs

On Lluís Maria Todó’s Isaac y las dudas (“Isaac and the Doubts”)

The plot of this 2003 novel of sexual initiation is pretty simple: 17-year-old Isaac is still doubtful about coming out. Also, he knows his father Lluís is secretly wishing him to declare himself straight once and for all.

Isaac’s platonic love is his hot young literature teacher Ferrán, who glances at Isaac every time he mentions gay authors in class; the teacher highlights the point that this is the moment in history when you can openly discuss about homosexuality. Ferrán’s attention to both the topic and his enchanting student gives cause to Isaac and Rafa—Isaac’s swishy, sexually experienced gay seatmate, currently dating a cop nearly twice his age—for thinking that Ferrán is gay as well, and blindly drawn to Isaac.

One day Isaac gathers his courage and dates Ferrán for opening his heart—but his precious teacher does not respond the way that Isaac and his friends had expected. . .

Well, this is not the end of the world—especially when Dimitri turns up. This new character is a gay Russian dancer who has recently arrived in Spain, a destination that he had chosen filled with hope and expectation. Dimitri and Isaac like each other at first sight—No wonder: Isaac is described as a Greek beauty: dark, deep eyes and curly, bushy hair; while Dimitri squares with the Slav type: pale, blond and light piercing-eyed—besides his perfect anatomy built up through years of dedication to ballet. Dimitri happens to be the guy to whom Isaac eventually loses his virginity.

Anyway, not everything is joy and pleasure; Dimitri is almost killed in an attempted murder. The Russian mafia that helped him leave his native country is believed to be behind. Isaac gets determined to watch over him while Dimitri is hospitalized, and this decision will bring about Isaac’s final coming out, showing that sexual identity is not so much asserted because of sexual rather than sentimental resolutions.

Once to this point—what makes Isaac y las dudas so different, so appealing? Well, we have left aside another important story so far—let’s go back. . .

Isaac’s classmate David is also inexperienced at the beginning of the novel. His mother Roser, a so fanciful, so romantic dancing school for children owner, always inclined towards arty-farty stuff—as well as a casual stoner—, is ready and willing to hear from her son: “Mommy, I am gay.” But this sentence still remains unuttered. What is eating David? Why is he waiting so much to confess his inclinations, given that his mother is so happily receptive?—The truth is that David is in a fog.

He can see the hints: his mother’s unyielding wish that her son must be gay; also, his unmanly company: a circle of none-but-gay-or-girl friends—However, he is not so certain. . .What can he do? Well, here is when the most exceptional feature of this novel happens.

To make up his mind, David is resolved to have sex with another guy. The chosen one is his mother’s hot new employee, Dimitri. Sex happens naturally, and it is okay—but after this experience David is sure that he is not gay. This event means a variation in the usual topic of the gay man who has sex with women to test his sexuality. It could be said that the best aspect is that the boy does not try it out as a bruising issue, but he gleefully shares his experience with his gay and girl friends.

Another surprising feature in this novel comes from the point that it is adult people who must learn an accepting lesson:

·       Ferrán, his true sexual identity;

·       Isaac’s father, his son’s homosexuality; and,

·       David’s mother, her son’s heterosexuality—no matter how much she loathes this.

This novel also reminds us of the state of play in other countries different from Spain. Concerning Dimitri, he had to turn to the mob so that he could leave Russia, a place where happiness is not possible for him.

Lluís Maria Todó’s narration is as unaffected as elegant. For instance, sex is shortly mentioned; this is not a scabrous novel aimed to make the reader arouse and enjoy some fun. The author respects his creations and takes care of their privacy. After all, Todó is focused on the feelings of this group of adults and teens, all confused at first, but able to see the light at the end of the tunnel in the end.

The Girlfriendless Dream-Boy Mystery

On Andreu Martín and Jaume Ribera’s El diario rojo de Flanagan (“Flanagan’s Red Notebook”)

In 1987 a new hero showed up in the world of Spanish young-adult fiction: Juan Anguera, commonly known by his nickname, Flanagan. A high-school amateur detective, his investigations usually start in his own school or in his working class neighborhood in Barcelona, and then lead the way to actual hardboiled adventures. Despite his youth, Flanagan stoically endures punches and beatings from the typical sour-faced villains, as well as he lives impossible romances in a series of hugely entertaining mystery books.

However, in 2004 Martín and Ribera got their creation embarked on a quest for something different; El diario rojo de Flanagan means quite a personal, intimate adventure for our teen sleuth. After a misunderstanding with Carlota, a young girl whose wallet Flanagan gets recovered in an attempted robbery in the subway, they both will experience a feverish infatuation (like dogs in heat, if I may say so), taking them to explore the always fascinating territory of sex.

Hope the reader is not now thinking of the novel as an erotic book—The approach by these two brainy, thoughtful teenagers will be done from the researcher’s perspective. They purchase a red notebook each[1] where they will take down anything related to the world of sexuality: statistical data (such as teen pregnancy annual rate), explanations on sexual organs functions, mixed feelings experienced by adolescents in their first sexual intercourse. . .Nonetheless, this is not all a cold chain of listed data; as I have previously noted in my canine & meteorological expression, Flanagan and Carlota live a passionate romance which will reach its highest point in their first sexual relationship. A relationship full of doubts, surprises, curiosities, insecurities, and—no wonder—some dissatisfaction.

In the meantime Flanagan is (as usual) undertaking one of his high school investigations. Classmate Jorge Castells is consumingly jealous of Jenny Gómez, who does not seem to be interested at all in him but has it bad for Guillermo Mira (a.k.a. El Mirage, a nickname given by his naughty female classmates, implying he is so tall that looking at his face is just as looking at a plane up in the sky, as well as a reference to his distant attitude towards them all; quite a snub, as we are talking about the most sought-after hot guy in the whole school). Apparently, Mira seems to want nothing but a simple friendship from Jenny. But Flanagan—at suspicious Castells’s request—tails Mira through the city of Barcelona, and finds out that he usually visits trendy restaurant owner Yolanda Cabanach’s apartment at night.

Flanagan gets shocked at first that Mirage may have an affair with a woman older than him (a funny teen remark, don’t you think?). Eventually, Mirage’s object of affection does not happen to be Mrs. Cabanach, but her son. Flanagan catches Mira hooking up with Cabanach Jr. at their surprise (not only Mira and his partner’s, but also the teen detective’s). Then Mira asks his spying classmate to keep it a secret; a promise Flanagan will certainly fulfill.

How come a 21^st century European young citizen anxiously wishes to keep his sexual orientation a secret from his fellow classmates—this really is a thought-provoking question.[2]

This wonderfully written novel is not only a good, delightful reference book for all those teenagers curious about sexuality, but also a helpful tool for parents to talk openly and honestly about sex with their children. As educational as enjoyable. Flanagan hits the target once again.

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[1] Carlota’s own view on this same story is told in Gemma Lienas’s novel El diario rojo de Carlota (“Carlota’s Red Notebook”). Carlota, as Flanagan, leads her own literary saga: a series of books where Carlota writes down her experience and reflections on various topics—particularly women’s— in notebooks, a different color each. Needless to say that the obvious inspiration of Lienas’s creation is Anna Wulf, the unforgettable protagonist of Nobel Prize-winning Doris Lessing’s 1962 novel The Golden Notebook.

[2] In the abovementioned Lienas’s book, Carlota also has a homosexual classmate, Gabi. As opposed to El Mirage’s case, Gabi’s male classmates make fun of him because of his mild, unmanly attitude—Let’s say Gabi’s homosexuality is an open secret—. Anyway, when he admits it to Carlota, he will ask her to keep it a secret as well.