Babes’ New World

On Julia Ortega’s bilogy Desde Londres con glamour (“From London with Glamour”):

vCaprichos del destino (“Whims of Fate”), and

v Nuestro lugar en el mundo (“Our Place in the World”)

Sorry so much for the dreamiest, most expectant fans of futurology, but in the not too distant tomorrow (two decades’ time) our planet will definitely not be chock-full of flying cars or any other puzzling, astonishing pieces of junk—At least that is what Julia Ortega puts forward in her recently released couple of novels: a world where people is still texting via WhatsApp through iPhones (Apple Inc. staff may easily relax: their business has a long life ahead); there is also a craze for the same current trendy clothing labels; in political terms, the Western world is still enduring Islamic terrorist attacks, and Israel is the same battleground as we all know it—there is only a significant political change: in Spain, the territory of Catalonia has finally gotten independence. But this is just the background of what the author wants to tell—

In her bilogy, Julia Ortega portrays an unconventional family saga in which women rule at best. Judith Ordóñez, the most rebellious of them all (the most individualistic as well), will face the risky, horrifying effects of free speech firsthand. Judith is a Spanish writer/journalist who settles in London due to the whims of fate. She leaves behind the grievous memories of an impossible love story with another woman, malleable Bárbara, who eventually marries a girlfriend of Judith’s, Michelle. In Caprichos del destino we find out that Michelle’s motives for this marriage are so sick and twisted that she embodies a striking combination between Amanda Woodward and Dr. Kimberly Shaw. That is to say, she is a total soap opera bitch.

In contrast to Judith, her daughter Gillian is a much smoother character, far away from the roar of wars and conflicts. Even her girlfriend and then stepsister Alex(andra) tends to be more spirited than her.

Despite what the first lines of Caprichos del destino may suggest, the truth is that this is not an overt political manifesto. The powerful voice of Judith, role model of feminist, self-sufficient, politically committed, self-made woman, will be silenced all of a sudden, and a dark menacing shadow hovers over the rest of the characters, particularly Gillian. Anyway, this situation will not be the main point in Ortega’s narration; she seems to be more interested in the sentimental side of the story. Thus, in Nuestro lugar en el mundo she focuses on the troublesome romance between Alex and Gillian.

First pally-wally schoolmates, later teen lovers—Alex and Gillian make the perfect lesbian match, getting through hard circumstances, such as family opposition (Josh, Gillian’s alcoholic, former budding film star father, disagrees in the most aggressive way), or the awkward situation of becoming stepsisters when Josh marries Alex’s mother—However, Alex and Gillian’s affective ties are quite weaker than imagined: Alex goes to New York for a wonderful job opportunity, and this forced separation opens this so-happy-so-far couple’s eyes to new horizons—

On one hand, Gillian feels tempted by Sam—a male colleague teacher engaged to Olimpia, a bossy hag—, who falls for her the very first moment that he looks at Gill in her astonishing Prada costume. On the other hand, Alex wins the heart of Saffron Adams, an American pop star whose sexual identity has never been revealed to the public—not even to her scary, conservative mother, who suspiciously resembles any of those arrogant Belles of the South fanning themselves proudly (how else?) in Margaret Mitchell’s Gone with the Wind. Out of sight, out of mind—so Sam and Gill unexpectedly get pregnant, while Alex experiences a little hell in her life because of Saffron’s bad-influence friends—though happily recovers from an almost fatal overdose in the end.

Despite disregard, treachery, and deception, Alex and Gill finally make peace, and Alex expresses her wish to see Sam and Gill’s daughter Maerwyn grow up. After all, she is the baby’s auntie.

And if you are missing the ineludible presence in any proper chick lit piece (i.e., the heroine’s gay friend)—then let me introduce Saffron’s friends Eric and Rowan; as charming as pleasant, with a pinch of superficiality, they accurately personify the stereotypical gay couple who is there in the bad times to comfort.

As narrative style is concerned, Ortega’s speech is interestingly delivered: in each chapter, one of the characters tells the story from their viewpoint. This device is especially hilarious when it is Gill’s turn; her debates with her own conscience are foolishly insane.

Feminism, lesbianism, committed literature, politics, family troubles, romance, sex, alcoholism, notoriety, drug abuse, assault, pregnancy, terrorism, situation comedy, soapy plots—each and every single issue, significant or small talk, is present in this funny mixed-up two-volume patchwork set in a future where the woman is the boss—and all the men are merely supporting players.

Interview with Rosana Briel

Spanishgayfiction.blogspot.com offers the reader an interview with “Como un torrente” author Rosana Briel (Barcelona, 1966). Universal topics such as love, sex, masculinity, literary creation, the art of narration, or the role of the author are discussed in Briel’s amusing, enjoyable conversation. Sure the reader will think so.

SPANISH GAY FICTION: When did you write “Como un torrente”? Do you remember what led you to write a story of love and sex between two men?

ROSANA BRIEL: I remember this perfectly: a challenge. This must be 7 or 8 years ago, and I was discussing with a couple of friends whether a novel series author would make up her mind and tell the homosexual story that she was suggesting in every novel; then one of my friends (a very nice one indeed) defied me with the typical challenge: Would you dare?…The truth is that I just cannot be bothered with this kind of challenges, but this one attracted me right away, so I wrote the first line the very next day, and then, for whatever reason, all the rest sprang forth just the way you can read it. I think that this is the fastest piece I have ever produced; Seth and James were born just in two days.

SGF: Did you write the story with intent to post it on a literature forum or blog? The reaction of the readers in those media is immediate. What was the response?

RB: As I said before, I wrote it for my friends, just for fun; but one day the same friend who defied me—hi, sweetie! I love you lots!! [laughs]— encouraged me to post it on the romance fiction forum we belonged to, claiming that I was selfish if I did not share the babes—as she called them—, that I needed to show all the others my writing, and bla-bla-bla…In short, I followed her suggestion and posted it, and guess what…I was really shocked by their response: They loved it all!

SGF: Although nowhere specified throughout the story, the names of the characters (Seth, Aidan, James) suggest an English-speaking environment. Why did a Spanish writer want to impose that foreign touch to her story? May it be a nod to the American M/M erotic literature written by female heterosexual romantic authors, very popular in the USA, as a model for your story?

RB: What you say about American literature is true, but there is nothing about it in this case. I chose Seth because I like it, I love its taste; Aidan, just because I loved it alongside Seth, and my friend chose James. All of them were chosen with no specific location, origin or whatever else in mind—just the feeling that they were the proper names for them.

SGF: The feature which might make “Como un torrente” so unique is that the main character, Seth, is constantly attracting his muses' attention. Besides the fact that this is a direct, enjoyable technique to get the reader’s complicity, did you have in mind that women would be, mainly or solely, the target audience when you wrote it? To what extent can be said that “Como un torrente” is a story about gay men for a straight female audience?

RB: I guess Seth somehow wanted to involve my friends at first. Later, when the story was published, it turned out that the character’s calling attention spread out to each and every reader, making them Seth’s mates. And of course, this was aimed at a female audience; after all, women are the main audience in romance fiction.

SGF: The description of Seth as a lonely man, a kind of rough, with uncertain background and a long dark hair, reminds me of Heathcliff in Wuthering Heights. What was your source of inspiration for Seth? Would you say that he represents the physical description of your ideal man, tattoo and shaved skin included?

RB: To be honest, and at the expense of seeming a kind of nuts, sometimes I also wonder where some characters come from, since I am positive that I really do not know where Seth does come from. He just did it, period. And I love the way he is—By the way, I also love Heathcliff, he is an extraordinary character.

SGF: In the story there is a funny comment about the fake six-pack abs that the actors of a popular film about Spartans exhibit thanks to the magic of cinema.[1] Seth also describes himself as well-built with no need for gym workout. And, according to the description, it could be said that Seth’s and James’s clothes are very basic, simple and traditionally masculine. Can your story be understood as a defense of the natural, genuine man, far from false impressions, affectation or up-to-date fashion trends?

RB: They themselves decided the way they are; if they feel easy in jeans and T-shirts, I will not be the one who opposes.

SGF: There is a moment in the story in which Seth notes about James: “It is curious that there is so much tenderness concealed behind such a masculine man.” Is masculinity a synonym for tough self-sufficiency lacking of tenderness as for Rosana Briel too?

RB: Rosana Briel is pissed off at macho men acting thug, so she was pleased when she realized that Seth felt that about James as something positive. He shows that masculinity does not need to be at odds with tenderness.

SGF: It was Aidan who instilled in Seth the notion of being strong and independent, as nobody would care about him; and it is James the man who eventually gives him affection, tenderness, and love. Could it be said that, as for Rosana Briel, Aidan added to James equals the formula of the perfect man, that “toughness + tenderness” pattern of the previous question?

RB: This worked with Seth and James, so it must be a good combination. [laughs]

SGF: Regarding Seth’s melodramatic past, did you need that his story with James were something more than a one-night stand, as a way to redeem him and mend his broken heart? Just as if something deep inside made you give your character a happy ending?

RB: Well, romance genre structure somehow comes into play here, which means: a happy ending, no matter what. However, they went their way. I just watched them and, though it might seem a bit weird that a feeling could just come out of nowhere, that is what really happened. As far as I know, they still do well together. [laughs]

SGF: The way these two strangers who have just met fall in love is while having sexual intercourse, what seems to be their starting point as a couple. I find this a very romantic idea but, do you think that such a thing can come true in fiction only, or in real life as well? Let me be a bit nosy: this situation, has Rosana Briel herself experienced it?

RB: No, Rosana herself has not experienced it, but I do think that this can actually happen in real life. Love just shows up without notice or permission, and in spite of your shortcomings many times.

SGF: Why did you remember Casablanca at the end of the story? Do you feel there is a gay subtext in the fact that Bogart lets Ingrid Bergman fly away and stays beside the gendarme with mustache instead?

RB: No, the final scene in Casablanca is perfect, nobody change it! I just tried to introduce a touch of fun at the end of the story and that sentence seems spectacular to me, so I allowed myself to use it regarding Seth’s love for movies by the way.

SGF: Now let me criticize the characters...I do not understand why Seth and James use a condom when playing anal...if they ejaculate in each other’s mouth when playing oral. In this age of prevention of sexually transmitted diseases campaigns, I invite you to use this opportunity to defend your artistic choice.

RB: Oral sex undoubtedly implies certain risks at different levels, and I believe fiction can also be another way of education and information but, as this is fiction and at the risk of being simplistic—Should I have denied such a very intimate moment to Seth and James?

SGF: In my review of “Como un torrente” I praised your narrative art, as you are constantly playing with the reader expectations. There are so many tone changes that seems to be several stories within the story, making it a rich, varied, and entertaining read. Is this a recurring feature in the rest of your work?

RB: Every time I face up to a new story it seems as if everything previous does not exist. I start over, and just the very story and its characters trace the path that I try to follow. This is like a very sane insanity.

SGF: Concerning your only novel so far, Sin remisión (“Hopeless”), this seems to be an erotic novel peppered with BDSM elements. It was published in 2010, just one year before Fifty Shades of Grey. Could it be said that you were on the cutting edge earlier than E.L. James? Or, including BDSM elements in romance books, was it usual before the Fifty Shades trilogy super-hit?

RB: When Sin remisión was born in my mind I had no idea about how this was going to flow out; I was just moved by the stimulus to tell the story of two people who find love in a BDSM background. The only thing that I know is that I needed to write it whatever happened, with all the flaws, achievements, uncertainty, inexperience, emotions—It was awesome to get in touch with people from that world and find out their trait, being well aware that it would be impossible to reflect just the slightest part of what this entails, and in the frame of romance fiction by a long shot.

SGF: What are you working on now? What are your most immediate projects?

RB: My head is plenty of people that I try to keep at bay in order that they grow up and think over along with me, though sometimes I have no idea where things spring from—That is nonsense, isn’t it? Every story is different. I need time and so do they—the last thing I have produced has took me two years of research as my knowledge on the topic was very superficial and I had to find out many things, from simple (people’s treatment) to complex (an eye drops recipe)—, so I go step by step. There will soon be news, but I still cannot speak about it.

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[1] If you still have not guessed the name of the film, do not worry. In the meanwhile, you can keep yourself entertained by trying to solve the following arithmetic operation: [(7 + 8) / 5] x [(49 - 24) + (15 x 5)] = …