The Cannibal Dynamo

On Jorge Remacha Pina’s Claveles de la calle (“Street Carnations”)

In these critical times because of COVID-19 pandemic — so hard to control by now — we all have heard opposing voices to the measures that governments worldwide are imposing on their citizens so as to overcome the problem: mostly, they claim a drastic change in the state of affairs. It is truly coincidental that this very year has seen the publication of this book (before the pandemic declaration in Spain) consisting of 30 poems: verses free from classical forms, and openly contrary to the rules of the social system. Thus, unexpectedly topical.

We can easily see the first poem, “Juramento” (“Oath”), as a true statement of intent on the main theme of the book: the poet’s commitment to social issues, in favor of the most helpless: the poor, the fallen, the hard working class … Even this statement is extended in another poem, “Nadie está mirando” (“Nobody Is Watching”), focusing on the most disadvantaged: prostitutes, drug addicts, repressed homosexuals, minors undergoing psychological problems, etc.

The reality depicted by Remacha Pina lacks humanity: in “Te Deum,” God is technology: a divinity cruel to mankind who provides miserable working conditions for His servants. “Saben lo que haces” (“They Know What You’re Doing”) expresses the idea of society as a system where individuals are ominously controlled. In another poem, “La vida se abre camino” (“Life Paving the Way”), the poet suggests that today’s lifestyle only leads to making an army of zombies: exhausted workers whose whole bodies ache; in addition, the citizen is compared to a slave in “Yo robot” (“I Robot”): the poetic voice uses expressions related to computing to evince this dehumanization; love is a lost file in the system, and the poet wants to recover it.

The city is represented as a prison where happiness is impossible to pursue: “Sincronía” (“Synchrony”). The noise from the television in “Sosiego encofrado” (“Framed Quietness”) conceals the feelings of all the members of a family; in a block of buildings, each and every inhabitant suffers anguish in their small cubicles. Moreover, in “Pesada sentencia” (“Heavy Sentence”), the monotonous life that society entails could inevitably drive to despair and, in consequence, suicide.

The situation for the youth is no better: “La hormiga más pequeña del mundo” (“The Smallest Ant in the World”) deals with this generation — Remacha Pina’s generation — regarded as the best prepared to success; however, they have precarious, less-paid works. Porn and video chat seem to be the uncomplicated oases in their colorless lives, but this actually shows an obvious lack of affection. In “El viaje del desarraigo” (“The Journey to Uprooting”), the poet portrays weekends for teenagers as chances for casual sex and fast relief, in opposition to schools, factories and juvenile detention centers undermining their desire for freedom: the system does tame. In other poems — “Cuento de sábado noche” (“Saturday Night Tale”), “De vuelta a casa” (“Way Back Home”), “Claveles de la calle II” (“Street Carnations II”) — we can still find other examples of confusion and listlessness in this lost generation: drugs, clubbing, prostitution, sordid sex as an appealing combination for a trip to ephemeral comfort … though no place to call home.

Of course, here in spanishgayfiction.blogspot.com we never miss our goal: there are two enchanting, committed poems dealing with the LGBT issue. First, “Inapropiadas” (“Unsuitable Women”), in which the poet tells about a couple of lesbians breaking social taboos by walking down the street holding hands and kissing. They decided not to follow the traditional rules imposed to women — marrying a man or becoming a nun — and eventually won the fight: the people that used to spit them out on the street in the past, they now step aside. Then, in “No sé si queda claro” (“Not Sure If I Make Myself Clear”), the poetic voice claims that he has been raised with a steady, staggering social objection to his natural way of being: the adult now refuses to keep afraid of not fitting in, or even suffer verbal or physical abuse. And this personal rebellion is precisely a key fact in these compositions: the poet’s indelibly positive attitude, regardless the hostile circumstances.

Remacha Pina, in “Siempre buscando una salida” (“Always Looking for an Exit”), speaks about the compelling need to raise a fist and wave a flag; stand up and light a torch. Fear has been silencing diverse voices for a long time, prompting to a general anger. (We can find a similar idea in “Neurosis:” this mental disorder means, after all, the anxiety caused by the awareness of the actual state of reality, which appeals to defiance). Those who do not conform to the pattern of this world endure contempt, or even aggressions: there is an urging demand to put an end to these social rules, which want to finish with the different ones, in order to seek true freedom. To this end, the author displays inspiring examples from the past. . .

There is a constant remembrance of revolutions throughout the book, but particularly in the poem “Ni cadenas ni corsés” (“Neither Chains Nor Corsets”): the French Revolution, the February Revolution, the Kurdish rebellions, the Paris Commune, the Stonewall riots, the Egyptian revolution of 2011, etc. (As a matter of fact, the poem is dedicated to the international socialist feminist organization Bread & Roses.)

However, the most ruthless skeptics may wonder: What will happen after the tables turn? Well, the last month of the year, “Diciembre” (“December”), implies a metaphor for the end of hard times and the beginning of a favorable adjustment with an excellent result: fruitfulness, like the arrival of spring.

Claveles de la calle is a heartening collection of disturbing, bewildering, awe-inspiring poems with a clear message to the reader: a better life is possible if you just fight for it. Like the panther from “La ley de la selva” (“The Law of the Jungle”) — who grew docile and became another piece of the social gear … but eventually regained her natural self-awareness and turned into a panther again — you are also cordially invited to the revolution.

Interview with Julia Ortega (Niamh Byrne)

Under the pseudonym of Niamh Byrne we find an old friend of this blog: Julia Ortega (Barcelona, 1971) strikes again! LGBT rights, social media, class difference, or sexism in education are some of the current topics discussed. Please do not miss out.

SPANISH GAY FICTION: Why did you decide to publish Contigo hasta el infinito under a pen name?

JULIA ORTEGA: This is my first novel set outside of Spain entirely. I use this pen name, which is of Irish origin, from this very year on for all those novels that do NOT have Spain as the main scenario.

SGF: On the dedication page you acknowledge all the people who work continuously to make visible and legitimize LGBT relationships.

JO: LGBT community rights must continue to be claimed today as much as when I started the novel. Back then I was assigned this project—another challenge of mine—, and it finally has come into existence. If I can make Frankie and Gigi win not only LGBT readers’ hearts but everybody’s, I will have achieved my goal.

SGF: Your book portrays a long-distance relationship built through social media. What is your opinion about this new, increasingly more common way of maintaining a love relationship?

JO: So-so. New technologies have made the world smaller, and now people are closer—and more distant at the same time! Let’s say that social networks help those facing actual problems to mix with in their most immediate context. That is the case of Gigi, who was pathologically shy during adolescence and would not in her wildest dreams have dared to approach someone like Frankie. Personally, I think that social networks remove these barriers and make communication easier between apparently incompatible people.

SGF: Frankie believes that opposites attract. . .Do you think the same way?

JO: No doubt. May that relationship last or end over time, that is another story.

SGF: It is very curious that neither Frankie nor Gigi had lesbian experiences before meeting again. Do you have knowledge of other similar stories in real life?

JO: To me, Love has no gender. This is not a question of being lesbian or heterosexual. In this case, we are dealing with bisexuality instead of homosexuality. I do not mention it in the novel, but I would say that Gigi had no kind of sexual experience until her mid-twenties, when her relationship with Frankie begins. This is also quite believable since she is more romantic and, as I said before, she finds harder to mix with others.

SGF: When these class differences happen in a real-life couple, is it harder for the low-class to adapt themselves to the environment of the high-class, or vice versa?

JO: Everything depends on each one’s intentions, their good will to solve certain conflicts. Although today’s class difference is not as noticeable as in past centuries, it remains. The problems are different, but the relationship still means a challenge for both extremes.

SGF: Which one do you identify yourself with most: Frankie or Gigi?

JO: Both. I am much more cynical than Gigi, and that makes me more similar to Frankie. Anyway, Gigi is a dear, one of the few people who still believe in human kindness.

SGF: I remember that in the previous interview we talked about social tolerance towards LGBT community, and you mentioned that there was so much hypocrisy about it. Do you still feel the same?

JO: There is everything under the sun. It may do not have to do with the topic but the beholder. It seems as if only a few people are able to talk about the subject discerningly (i.e., high-profile authors.) And what about us? We cannot have knowledge, an opinion, and if we can, they do not read/listen to us. That is the way it was years ago. Fortunately, things are changing and, yes, I have to thank the social media phenomenon, you see?

SGF: Why did you choose Glasgow and Amsterdam as the settings of Contigo hasta el infinito?

JO: Back then I happened to see both cities as opposing settings reflecting the mood of each of the protagonists somehow. I am not sure but I guess that, as it took a long time to write the novel, my feelings now the book is finished are therefore not the same than the ones I had when I started it. This may be a clichéd view, but what story is not at some point? By the way: unlike the plot of Caprichos del destino, there is nothing autobiographical in this story.

SGF: When I stop to think of the easy-going relationship between Frankie and her ex Dutch boyfriends, my conclusion is: “This would not have been possible years ago.” Do you think that in our society, and especially among younger generations, there is a much laxer view of sexuality?

JO: Much the same: it takes all sorts to make a world. My book is not setting a precedent, seriously. If I describe a very, very, very laid-back relationship among Frankie, Jan and Björn, that is because I have seen similar things in some films, other novels, or even people that I know or have known sometime in my life.

SGF: It seems that you are eluding the most melodramatic ways of romance novels throughout the book. Was it a voluntary decision?

JO: That is because this is not a romance novel. This is a love story, but it deliberately departs from all the (rigid) straits of the genre. I like love stories, but I dislike some—if not all—of the (obligatory) patterns so frequently found in bodice rippers. It also has to do with extension; Contigo hasta el infinito is a novella/novelette. I could not expand on certain aspects which, furthermore, are not relevant and can distance the reader from the main theme: the relationship between the two women.

SGF: Was anyone an inspiration for the arrogant Brianna MacFarland? 

JO: There are so many Briannas around the world, controlling people who want everybody to dance their tune only; people who do not accept other alternative ways of living/loving/feeling. It is not necessarily a question of money or power, though in Contigo hasta el infinito those elements are more recurrent. The outstanding point is that Gigi eventually stands up to her mother and takes the reins of her life. After all, we are not talking about teen love, but a relationship between adults who know what they want.

I have not been inspired by anybody in particular. If you want to put a face to Brianna, I myself visualize Cate Blanchett.

SGF: When Karen learns that her daughter Frankie is a lesbian, her only regret is that she would have liked to become a grandmother herself. The MacFarlands also had other expectations for their daughter. Do you view parents as generally thoughtless of their children’s own aspirations?

JO: Well, here we are back to the topic of the hypocritical society to which you must please, no matter what; always dictating the rules, imposing the standards; it states whom you have to marry, how many children you need to have, their future occupations, and a long et cetera. If someone defies the rules, he is pointed out and not for the good precisely. In the long run, this causes unhappiness, and no parent wants it for their children. “Behave well, and you will be happy and live quietly.” That is the mantra. “Do not rebel, otherwise we all will suffer the consequences.” This seems very much like the 19^th century, but it unfortunately still applies in some families, especially those (like Gigi’s) which, because of affluence or social position, are in the public eye.

SGF: When will Frankie be totally honest with her mother and confess that she is not a lawyer?

JO: We may never see that [Laughs.] Everyone can imagine a continuation in their own way. The story is self-conclusive, so there is no sequel. By the end, the two of them are living their relationship freely, and that really is a happy ending in every sense.

SGF: You describe Ethan as someone who has not enjoyed too much family love just because he is a man. Do you feel that those gender differences in education still occur?

JO: Well, Ethan is a very peculiar character that has not too much relevance because, as I said before, I did not to want to mislead the readers from the pairing Frankie/Gigi. Does he deserve his own novel? Maybe, but I have not considered this so far. I do not rule it out, but it cannot be possible in the short run. And, yes: less and less, but there are still certain differences between boys and girls in respect to education. It has to do with society and parents—the main educators—as well.

SGF: Both the boisterous Hannah, Jan’s last fling, and the young customers of the store where Frankie works are portrayed in a very sarcastic way. At your age, is there something that you would like to preach them?

JO: Not at all. Youth has its peculiarities, and maturity has its own. My descriptions are not intended to be critical, only anecdotal and fun; just a reflection of the current society, but with no condemning tone by a long shot. Hannah’s episode is one of the multiple ways of introducing Jan. Sometimes anecdotes and experiences tell a lot about their protagonists.

SGF: In Frankie’s mouth you put a wish that in the Obama era the film industry will show more homosexual relationships and different types of families. In hindsight, do you think that it happened like that?

JO: I cannot say for sure, but if I were an American film producer and an African-American becomes the President of the United States, I would know that I have to reflect it in some way, as this is not just an ordinary change. It represents an unprecedented historical and social milestone. That must be explained, especially to the younger generations, in order to show them that another freer world is possible. I saw The Princess and the Frog[1] and I loved to see an African-American protagonist in a Disney movie. And, like Frankie, I bet that we will see a homosexual relationship in upcoming animated films.[2] But now we are in the time of Trump. . .

SGF: Can you tell something about your upcoming projects?

JO: OK, it will be a psychological thriller set in USA and published under the pen name of Niamh Byrne again. That is all I can tell.

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[1] This Walt Disney picture was released the very same year of the first inauguration of President Obama: 2009.

[2] For instance, in 2012 we had the opportunity to see an animated film with a gay (supporting) character on the big screen: Mitch—voiced by Casey Affleck—in ParaNorman (Focus Features-Laika Entertainment)

Rich Dyke, Poor Dyke

On Niamh Byrne’s Contigo hasta el infinito (“To Infinity with You”)

This time spanishgayfiction.blogspot.com presents a 2019 new released novel concerned with the love story between two 30-year-old girls at the crossroads of their lives. The narrator is Frances Donahue, a.k.a. Frankie, one of the girls in question. This big, tough, silver grey-eyed Scottish blonde wants us to know her story, and we learn from her that she is currently (we are in 2015) living in Amsterdam after graduating from Law School. No, she is not a lawyer—she claims that she is not precisely fond of books—; Frankie’s forbidding façade (a body covered up with spooky tattoos, crowned by a surly expression) makes her the perfect intimidating clerk for annoying, foolish customers in a clothing store. She also smokes like a chimney, follows the unhealthiest diet ever, and keeps her small apartment as messy as it gets. Can you picture this butchy Bridget Jones in Law School? Neither can we. But, you know, everyone has a weakness for someone, and now it is time to introduce Frankie’s mother, Karen. This woman has been working as a cleaner for 18 hours a day aiming to finance a college degree to her daughter. Frankie did not dare let her mommy down. Now Karen believes that her daughter is a successful lawyer. . .and Frankie is not refuting at all.

Karen is also pitiable since she is married to Jack, Frankie’s father; a rowdy boozer, a gambling addict, a male chauvinist pig, and therefore the most deserving target of his daughter’s poisonous remarks. As a matter of fact, witnessing her parents’ marriage has made Frankie skeptical about couple relationships since her early years. No matter how hard-bitten Frankie strikes as, Karen can read her daughter’s mind: Frankie is just seeking for true love.

Has she already found it? All we can say is: HELL YES!! It was June 2010, and Frankie was just chatting through Facebook. There she discovered an old high school classmate, Georgia MacFarland. By those days they were not friends: Georgia was the shy poor little rich girl, and Frankie was the wild elusive low-class lass. That is what we call irreconcilable differences! However, Frankie believes that opposites attract; this contact became gradually closer, and now, five years later, they are a solid duet. Funnily enough, both Frankie and Gigi (Georgia’s pet name) had been heterosexual so far. In her college days, Frankie used to hang out with two boys by turns. . .without their knowledge!

This doublet is planning to live together once that Gigi has finished her two-year PhD in Medieval Studies in the University of Glasgow. Frankie would like to settle down in Amsterdam: this place means FREEDOM for her. Au contraire, she finds Glasgow as no city for bold dykes. Any trouble ahead? Neither of them has talked to their families about their true sexual orientation and each other’s sweetheart yet. Anyway, Frankie just wants to relax; that is why she is taking a few weeks off from work. She would love a purse-to-purse meeting with Gigi, but her girl is about to do her thesis defense. No time for love. . .Sometimes Fortune smiles on you in the weirdest ways, and Frankie becomes a lucky girl thanks to a call from her brother Ethan. Have not we talked about him yet? Ethan is 8 years elder than Frankie, and left the family home when he turned 18. He was a third rate professional boxer, but now he is running a club in Edinburgh. Frankie sees her brother as a younger version of Jack: the quarrelsome kind, a loose cannon neglecting his kins, this relative you only meet again for Christmas. Ethan informs his sister of Jack’s getting his way again after leaving Karen penniless; and now Frankie must support mom (financially, of course): if Karen does not pay the rent, she will get evicted.

Every cloud has a silver lining; this trip to Glasgow will be a happy time to pay Gigi a surprise visit! Also, these two lovebirds can set their families straight about their romance once and for all. It is springtime in the gay city of Amsterdam, and Frankie feels enthusiastic about her upcoming projects. This evening she decides to meet her ex Jan. No, she is not missing his Amsterdammertje. She just wants someone to enjoy the moment with (and have some drinks with too!). When Jan learns about Frankie’s scheme, he cannot help some joking. Gigi is the only daughter of Nathaniel and Brianna MacFarland, who met in a fox hunting season. Thanks to the family fortune, Gigi can afford a long-lasting college background as well as the twosome’s expenses when meeting in diverse European capital cities. . .Contrary to the popular belief, webcam sex is not enough for Millennials too. . .This quasi-regal family, who can trace their lineage back to Adam, own a country seat in Balmoral close to the Windsors’ summer castle. The MacFarlands cannot hardly wait for their little girl to wrap up her doctoral degree (which they find needless), and then pick a husband of similar status. May an over-tattooed, foul-mouthed punk from the slums of Glasgow be the front runner? Jan warns that Frankie’s surprise might get the other way round—

Back to the misty Glasgow, mother and daughter reunite after a 6-year separation. Karen senses that Frankie is infatuated; then it is about time to have an open and honest conversation. Karen’s reaction is not negative, though she suggests her daughter not to let be seen with Gigi too much in order to avoid becoming the talk of the town. She also finds weird to keep a relationship through social media. To Frankie’s surprise, Karen shares that Ethan has started to give her money occasionally. Wow! That means Ethan is maturing. Now Frankie is not the only member of the family backing the mother. That is a relief! After good news, Frankie lets passion lead her footsteps to the college residence.

When knocking on Gigi’s door, an unfamiliar voice answers back. Frankie steps in, and she is received by the very Brianna MacFarland with her most disapproving glance. Gigi introduces Frankie to her mother as an old high school classmate. Brianna takes advantage of the moment to criticize her daughter’s judgment: her unscrupulousness in choosing friends, her inclination towards public education. . .Mother and daughter have an argument before an astonished version of Frankie. Gigi eventually manages to get rid of Mrs. Almanach de Gotha. At last! All by themselves after a long, long time. Frankie has been missing her freckly, red-haired, violet-eyed Chanel devotee so much!

After a deep-lady pond diving, Gigi tries to downplay her mother’s words. She also claims that Glasgow has changed a lot since Frankie flew to the Netherlands, and LGBT people can live easier in the most populous city in Scotland. It seems that Gigi has also changed; she is not that timid girl constantly worrying about what others think of her anymore. Just when they are about to take another dip, Karen is calling to reveal that Jack has been hit by a car. Frankie becomes speechless, but she does not shed a single tear. Gigi knows well that Frankie’s hooligan style is just acting; she does not want to be seen crying, just that. This is Gigi’s moment to demonstrate that she is up and ready to fight for their love, and the first step is getting to know a part of Glasgow that she has never dare set foot before.

A week after, this is the way things are: Jack is buried, and Gigi is living with Frankie and Karen in their humble abode. Gigi and Karen have hit it off from the start. Gigi is comforting both Frankie and her mother, and Karen finds it incredibly sweet. Karen compares her daughter’s woman to a beautiful maiden from ancient times. In parallel, the Donahue Girls provide with a quiet atmosphere for Gigi’s finishing touch to her thesis.

And the big day has finally arrived! While Gigi is having a rough time before the examining board, Frankie receives a concise message from Brianna: they need to talk. The appointment will take place in the fanciest hotel in Glasgow, upon Brianna’s request. Frankie is afraid that Brianna is determined to bribe her to leave her adored offspring. Thus, she decides to turn on the Poker-Face mode for the occasion, dress discreetly (i.e., all tattoos out of sight), and take a taxi to prevent herself from adsorbing the usual smelly fragrances of the bus. When she finally faces Brianna, she blurts out that nobody buys her off. Brianna replies that she is not that clunky; she does not mean to be an obstacle for their affair. Yes, Brianna guessed that Frankie and Gigi were more than mere acquaintances: she is a snob, not a dumb. However, has Frankie realized that her beloved one is a refined dame used to a life in a golden cage? OK, Gigi has been living in her neighborhood for a week but, how long will it take before she starts getting bored? Brianna does not believe that their relationship is going to last forever, and she suspects that Frankie feels the same. Discouraging Frankie was not the only aim for this rendezvous; Brianna also invites her to the party that they are throwing tonight to celebrate Gigi’s success. Before they say goodbye for now, Brianna announces that Scotland’s most handsome, prosperous, high-class single men will be among guests, all of them eagerly interested in marrying Gigi. The fight has just begun!

As it could not be otherwise, Frankie is welcomed by the MacFarlands’ butler, who leads her to the tea room. There she will meet a polite-but-distant Brianna as well as a new character: Brianna’s mother-in-law, apparently quite amused with Frankie. Not too long after Frankie’s arrival, cat-eyed, good-looking Niall makes his appearance. Who is this guy? Gigi has never told about him! He is introduced as an old friend of the family (not too old according to Frankie).

Suddenly, Gigi pops up, grabs Frankie by her arm and pushes her upstairs. Now locked in Gigi’s five-star room, she cannot help kiss and squeeze her suspicious girl; Frankie tries to figure out why Gigi has been so mysterious about this Niall that Brianna looks up to as if he were the son-in-law of the year. But Frankie does not need to panic, as Gigi explains that she has always put Niall in the friend zone. Does Niall share the same view? Frankie slips into an evening dress from Gigi’s magnificent collection, and then the two of them go downstairs to meet the guests crowding in the banquet hall.

During the dinner, Frankie feels extremely out of place. Niall is sitting close to Gigi, and they both are chatting and laughing and loving it all. To make things worse, the MacFarland patriarch slams current romances via social media, praising the old-fashion style, such as his courtship of Brianna; this (merry?) couple have never been separated since the very moment they met. On the other side of the table, Brianna is glaring at Frankie.

Cinderella never stays after midnight, so Frankie excuses herself and exits the room. Gigi catches up with her to assure that there is nothing to be jealous of Niall or anyone else. Gigi also admits that her mother has tried to persuade Niall into seducing her, but Brianna is nothing but a spoiled girl. Just to get Frankie smaller, Brianna has made too much of her daughter’s social status: in fact, Gigi is seen as a tedious spinster, so there is no horde of suitors anywhere.

Nonetheless, Frankie has confirmed tonight that this life is not for her; she will always feel like a fish out of water. She firmly believes that sooner rather than later social differences will weigh heavily, and she is determined to call things off.

Oh, no! This is the end for these lovely valentines! They are in need of a Fairy Godmother to solve the problem, therefore it is Niall’s turn. He confesses to Frankie that he has never felt attracted to Gigi, as she is not his type. Surprisingly, it is Frankie!! When Frankie realizes that she is on the brink of losing Gigi, she rushes back in the hall. There, before everybody’s eyes, Gigi kisses Frankie. Gigi l’Amorosa: this is all that Frankie needs!

We find a puzzling change in the last chapter; now it is Gigi who tells the rest of the story. She notes that neither Nat nor Bri is happy to see their preppy daughter with that ultra-inked trashy woman. Still, this is not going to mean a schism between Gigi and her parents at this stage of the game. Actually, every time Gigi shows up at home, her only purpose is visiting all the abandoned animals that she has been rescuing and fostering there through the years. Unlike her son and daughter-in-law, Gigi’s Granny approves of their relationship. When she was young, this funny lady was the subject of high society’s gossip given that she married an arty filmmaker, a true scandal at the time. Now she finds very entertaining to have a lesbian granddaughter. When the party is over, the MacFarland heiress says goodbye to Niall and invites him to visit them in Amsterdam in the future. But these passionate quinies’ next stop is Edinburgh, where they have been enjoying la dolce vita for the last ten days. After all, Gigi declares that what she likes most is her girl’s making her laugh. . .and scream in bed.

We must accept that the lady-and-the-tramp love story cliché is not the most unconventional in fiction so far (and particularly in romance novels), but in this case the result is really pleasant because of its Austen-evoking, unceasingly ironic tone. If we had to make a choice on one single feature of Niamh Byrne’s skills, we definitely would take her dialogues. Funny, witty, casual, arrogant, conflicting. . .Not only the protagonists but all the rest of characters are perfectly shaped thanks to the way the author make them speak their minds. This book can also be seen as a reminder of the never-ending problem in this post-2008 economic crisis society: Money. The (seemingly) simplest stories tell the painful truth about the state of affairs plainly, and more often than we use to concede.

Interview with Julio Videras

They say you never forget your first love. Seemingly, it is the same in the case of your first comic book published: Julio Videras (Granada, 1976) remembers his experience with Cornelia, as well as he takes a close look at the question of gender roles, the comic universe, creator’s frustration, and the unexpected paths to real love.

SPANISH GAY FICTION: On the dedication page, you say that it was the illustrator Lydia Sánchez the one who created the character of Cornelia. Then, how did you get to this project?

JULIO VIDERAS: Indeed, the authorship of the character of Cornelia is Lydia’s. While checking out her blog those days I found several designs of the character, and suddenly my brain clicked into gear. I had the image, I had the concept. . .then I just had to build up the narrative.

SGF: Cornelia was published in 2008, the year of the global economic crisis outburst. The protagonist is a 22-year-old student living in an apartment shared with three other people, as she can’t hardly make ends meet with two underpaid jobs. . .Were you expecting the catastrophe drawing near back then?

JV: Well, to be honest I think not [Laughs.] At that time I had a job, and I was a young guy full of many hopes and dreams. However, my college days—shitty jobs, roommates—were still fresh in my mind.

SGF: What did Cornelia mean in your career in the comic world?

JV: It was my first published work and as such, I love it and hate it in equal measure. Except some reviews of the time, the comic book passed unnoticed. However, the people who bet on Cornelia feel affection for it. It was hard in my case, as a series of last-minute changes beyond my control forced me to rewrite the script, especially the final section. I have to say that I have never been very happy with that ending, and I have always dreamed of making a 2.0 version where the story was much more perfect but—C’est la vie.

SGF: What about the LGBT community’s opinions about Cornelia?

JV: Well, the truth is that I do not know. A lesbian friend loved the story, and she especially liked the natural way in which a lesbian relationship is portrayed. For me, writing a story with so many female characters and so much emotional burden was a true challenge.

SGF: And personally, what does Cornelia mean to you? Does it differ much from your other works?

JV: No doubt Cornelia stands out in my catalog. Perhaps it is my least-remembered work for the main audience. But, despite the flaws, it is undoubtedly the most important for me, since it was the first one that I published; also because of the subject I was dealing with, and, above all, I proved to myself that I could produce stories that could reach an unusual audience in the comic book universe.

SGF: If there is something remarkable in Cornelia, it is precisely the lightness of its plot. Did you worry that this seeming insignificance could go against the result? After ten years since its publication, would you make any change on the script?

JV: Actually, the story practically wrote itself. Many people have asked me if the end was planned from the beginning, and it really was not. The point was basically describing a day in the life of Cornelia, full of sorrows and lacking of joys, like a vital snapshot. However, when I was approaching the end, the denouement seemed to be as powerful as a kick straight into face; the story could only have one possible ending. Well, as I have already mentioned, the original ending was different, more developed. The final scene was really tender, and it worked as a final moral: Love happens when you least expect it.

SGF: Is there any inspirational muse behind Cornelia?

JV: Well, even if it does not seem like it, Kevin Smith’s Chasing Amy[1] was a great inspiration for Cornelia.

SGF: Your descriptions on the usual customers in a comic book shop are really funny. What is your opinion about people who are into comics?

JV: Next question [Laughs.] Of course, a good scriptwriter knows how to mix inventions and personal experiences in equal shares when producing a story, and Cornelia is certainly not an exception. I read comics myself, so I find comic readers wonderful and interesting people. The best gatherings in which I have taken part have always been about movies or comics.

SGF: Those characters are seen through the eyes of the protagonist. Do you think that women see the world of comic books from a different perspective than men? How responsible are comic book authors in that difference?

JV: Although the trend is changing, the comic universe is still mostly for guys. The reason? Well, I guess the same happens in the movies: both genders have different perceptions, sensibilities and curiosities. In my case, I never tried to make Cornelia a story for women; I just wanted to tell a story about human relationships with all its implications. Doing this from the perspective of a female character has been one of the most difficult challenges in my career as a comic writer.

SGF: Regarding the female viewpoint, this comic follows the chick-lit pattern. Being a man, was it difficult to approach this genre? As for the readers’ response, has any woman told you that it looks like a comic written by a woman or, on the contrary, they tell you that it is obvious that there is a man behind the script?

JV: As a matter of fact it was a real challenge, but in general I was satisfied with the result. When you write a slow-paced story like this, the script works in a very different way; these stories are much more sustained on the content than the form. Dialogues are as important as silent panels; you must seek affinity with the reader, touching those feelings deep inside us all. Like Cornelia, we all have suffered anguish, disappointment, and the weight of the world on our shoulders; we all have cried sometimes because of unrequited love, or we have asked ourselves the reason of many things happening to us. Basically, Cornelia is nothing else but the story of someone who, in the chaos of everyday life, finds happiness where she least expects it. Some female readers have told me that this story is too sensitive to be written by a man [Laughs.]

SGF: Regarding the ending, why did you decide to make Cornelia turn homosexual? Do you agree with Rocío when she says that “if people cared to look for love only (no matter the question of gender), the world would be a much more beautiful place”? Have you applied this philosophy in real life?

JV: As I have already mentioned, the story led me to that ending on its own. To be honest, today I could not imagine another possible ending now. And I absolutely agree on Rocío’s theory. I feel my answer below is perfect to answer this question too [Laughs.]

SGF: Among your dedications there is someone that you describe as your future wife. In the comic, Salva fatefully runs into his ex, who left him for another guy just a few days before they were to get married. Were you expressing your fears at that moment?

JV: Well, I can say that my future wife ended up becoming my current wife [Laughs.] And to everyone’s relief, I did it willingly and consciously.

SGF: How similar is Salva to you? You describe him as a huge fan of comics, roleplaying, horror movies and Italian food—

JV: Not much—except that I am a huge fan of comics, roleplaying, horror movies and Italian food [Laughs.]

SGF: Cornelia was Lydia Sánchez’s first published comic also. What is your opinion about her work? Considering that you have worked with male and female artists, would you highlight any difference between both sexes in the work process as well as the result?

JV: Lydia put her heart and soul into every single page, and we both suffered a lot to push this project forward. In point of fact, I have been disconnected from the professional world of comic books for a few years now and, except that I have come across her in some conventions in Barcelona, I have not followed her career very closely. I have truly taken a look to some of her later works, but I would be lying if I said that I know what she is currently involved in. Well, the only female illustrator that I have ever worked with is Lydia, so I do not have much experience about it either. However, I am sure that this story would have been very different had the illustrator been a man.

SGF: Did you and Lydia Sánchez ponder over continuing Cornelia’s story in later comics?

JV: I think that we only dreamed of publishing our first work at all costs at that time. I really do not remember if we ever talked about it; each one started with other projects, and our professional paths did not cross again.

SGF: What are your most immediate projects?

JV: Right now I am retired, though I threaten to return—

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[1] Cornelia shares with this touching 1997 American movie (Quentin Tarantino claimed that this was his favorite film that year) a casual way in storytelling, as well as a thought-provoking standpoint in the question of gender roles in romantic relationships. Note that both this Spanish comic book and Mr. Smith’s film depict lesbian characters created by male straight writers. Additionally, Chasing Amy is set in the American indie comic world, and Kevin Smith is a comic book writer himself.