Elisa Victoria Seville is not Tokyo
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Do you want to be a mother? But ... why are you asking me that? Well ... It's a strange question. I don't want to be a mother, but ... Are you asking me because in my books there is a lot of interest in children, or ... Well, yes, and also because your literature seems eminently feminine to me. Literature is feminine, but human ... Yes, I would like to know the motivation of the question, really. Well, in your books there is a clear concern for childhood, for that innocence, and as a journalist I am interested in knowing how he breathes with respect to motherhood someone who has that look ... But if you prefer not to answer ... No, yes, nothing happens. Well, look, I have no intention of being a mother because the idea generates a great conflict in me, because I see children with great compassion and my experience coming into the world has been quite traumatic,a suffering that has bordered on terror many times, and I do not want to give that experience to a child who tomorrow can look at me and say: how have you dared to do it, how have you dared to bring me here. Although I know that life can have a bright side, my experience has been terrifying and many times I have wished I had not been born. I am very concerned about children, I am a great caregiver and I understand the beautiful and full feeling of motherhood, but I prefer to focus on those who are already in this world.I am very concerned about children, I am a great caregiver and I understand the beautiful and full feeling of motherhood, but I prefer to focus on those who are already in this world.I am very concerned about children, I am a great caregiver and I understand the beautiful and full feeling of motherhood, but I prefer to focus on those who are already in this world.
On the back cover of the new book by Elisa Victoria (Seville, 1985),
The Gospel
, Lali, the protagonist, a trainee teacher in a religious school, says: «Damn world, take me if you want, I'm already rotten anyway , but don't cheat Alberto on me. Leave Alberto alone jumping around his house dressed as a cat, let me
draw pictures, plant trees, dance, don't scare him
, do not give him a gang that gives him cruel challenges, that he escapes, that he does not grow older like a corpse inside a large body with which it is impossible to communicate again, that his little bones are not thrown inside a fool to set up a business linked to the devil and spend his days signing papers and speaking despotically.
Do not rot this child, you disgusting world, I only ask that, scare me, make me sick, torture me, throw me into a ditch and never find me, hurt me and this child that nothing makes it bad.
Elisa Victoria.Cecilia Díaz BetzBLACKIE BOOKS
Purity, innocence and (by opposition) corruption and guilt
are, therefore, central themes in the two novels published so far by Victoria in Blackie Books, both structured around the initiatory (or a certain immaturity, depending on who observes them. ).
In
Vozdevieja
, Marina is nine years old and has glimpsed the ugly world of adults since the burning summer of Expo 92 in Seville, between a sick mother and a particular grandmother / fairy godmother.
In
El evangelio
Lali does her teaching practice in a viscous religious school while she eats precariously working in a Telepizza, fucks on the go and again
observes adulthood like someone looking at Mars
.
If life is always beginning?
I suppose that in some way yes, there are always things that you do for the first time
, and there often comes the conflict. There are very adapted people, people who adhere to everything immediately, and then there are the others, those who do not. Many times I have felt like when you are little and the sweater itches you a lot, then what happens is that based on being in that situation it no longer bothers ... But many people always have that feeling that
life does not It has just been completely inaugurated
, that we are always in transit, ”he says by phone, from his home in the Sierra de Huelva.
Victoria's literary voice, which she would like to be related to Clarice Lispector and John Fante, has a torrential point, another of rawness, rapid meter and, above all,
clearly pursues sincerity
. The same happens when you are questioned about the basics. Victoria opens the curtain with the same innocence that her stories sublimate, and again everything returns to the original:
Why do you write? I write because I have the same feeling as when I started. When I was going from puberty to adolescence, and I was not comfortable with myself or the world. I had big social complications, I didn't feel like I fit in, I started to have anxiety, I slept little and I started to write a little for personal fun and a little for the books I read. While the process was taking place, watching my hand slide the pen over the paper, I felt that my existence made sense. I didn't care if I was good at it or not. It calmed me down and that was enough. Now I write because it gives me more satisfaction than ever, I am more sure of it and I think I have good communication with that monster that drives you to write, who does not know where it comes from.
Victoria admits that, right now, with
The Gospel
on the launch pad, she no longer knows very well what she has written: «It is an enormous vertigo to come out of that seclusion and see what you have thought about so much before with its corporeity, turned into an object.
It even causes you a certain disconnection with your work
.
Stop belonging to you.
Elisa Victoria.CECILIA DÍAZ BETZBLACKIE BOOKS
Her books share a certain revisionist spirit very much in the environment in this Spain of today,
detained, absorbed and sad
: the first looked at the distant Spain of 92, when she was seven years old (and her protagonist nine); the second is located in 2005-2006, in the pre-bubble of the brick. A concomitant world, for various reasons, with that of
The Girls
, the beautiful film by Pilar Palomero, a winner at the Goya: «Well, they told me a lot, I have seen it now, I have loved it and it is true that it has a lot in common. .. ».
Victoria is well defined by the fact that Lali, her protagonist, seems to learn more at the Telepizza (in which the writer herself worked) than at the university: «You learn to observe, to
interpret how others observe you
, to respect, to be a better customer.
You unfortunately learn what the foundations of civilization are: they exploit you.
You learn to coordinate with others ... You learn to respect ».
Purity + strangeness + maladjustment.
Consequence: what are you working on now, Elisa?
What will be the next step?
"I feel like writing something scary."
According to the criteria of The Trust Project
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