The two writers began to unleash the well-known phrase of Virginia Woolf: “The woman needs money to write fiction and a room for her.” Leire Bilbao stressed that in addition to the room she had for her, her aunt's inheritance was also going to be important. The first economic autonomy and the remaining time left for the literature. Irati Jiménez has shattered Woolf's room into two elements, the writing time, the hours and supports that have to be built inside one to keep what comes from outside, among others, the criticisms. “We don’t live from literature, but from literature,” he says.

Playing the one...

Jiménez writes with a desire to play. Above all, he likes to dress up and clothe. Because he has been asked if he is wrong when he writes (for example, It hurts in my work) and no, “people believe that when he writes something dramatic, when he tells a character’s death, you are talking about pain, and I don’t.” It's a lie, that is, it's a game.

… another reflection on feminism

Writing to Bilbao has served to reflect on feminism and how it lives. The body, menstruation… has been the subject of his poetry. Now I would like to use poetry to reflect on motherhood.

Ask about the situation in the Basque literature and…

Lockdown, paralysis… The two writers agree. Jiménez says that the writers are blocked, that they work with great self-awareness, that we live in a situation of fever of opinion and that they have to think about everything, “we have blocked ourselves”. To explain the excess of self-criticism he has used the knife metaphor. One thing is to look at one with severity and another too much force. If you do, “it will not only remove fat, muscle and ultimately also bone.”

Bilbao believes that they are lazy in experimentation, wants to remain funambulist, “I don’t live in literature and if I don’t enjoy it…”. The author is shocked in the use of language, “that is not so unified, cultured”; in the use of themes; and, for example, in the configuration of a novel.

Jiménez has expressed the rigor of language through the games of childhood. He played with barbie, txotx and others, mixing and rejecting his initial functions. The writer has been afraid to break the tools (games), claims that you have to play with the Basque, so we are: “Beware…, not touch…, this is so… We cannot leave the book in the hands of the correctors.”

The writer Jorge Jiménez has entered the conversation, talking about blockade and paralysis. And he says that young women have come, young women, but that the literary system has auptioned the old ones, “older than me, and that is to say.” Bilbao says yes, the platoon has been sacrificed. In the opinion of Irati Jiménez, “my generation will say that we are in a strange middle place, we do not see young people break, for example, by taking out fanzines. The toys are there but they're no one's."

Embodying fictions

The feminist critic Josune Muñoz, from the collective Sareinak, has affirmed that "it is a joy" that both Bilbao and Jiménez "have made an effort to materialize the fictions in the literature". Bilbao has spoken in his poetry of the body of women, of the body that does not have to be for fertilization. As has already been said, it is now in her interest to give birth to motherhood. And she's recognized that maternity literature is better for them than statistics and theories about motherhood. Jiménez has referred to the incarnation of women and men, to emotions, to paternity as to motherhood, to vulnerability… Bilbao has a request for men, “to make a literature that speaks of masculinity rather than masculinity”.