To return first you have to be, then go back and forth. Ten years have passed since Uxue Apaolaza brought to light the guilt Mea (Elkar, 2011) and in 2021 published the following, the Pier of the Curve, by the hand of Susa, winner of the Euskadi Prize for Literature. To return you have to “be” before, but Apaolaza clearly says that he has not felt “writer” before. What’s more: “I don’t have time to be a writer.” The key, however, has been given by younger writers who have made themselves known during that time: “Danele Sarriugarte, Kattalin Miner... We do not dare to say to us: ‘I am a writer.’ And I've never felt like a writer -- these more recent ones have taken over from previous writers and taken over the readers."

Inés Osinaga took the microphone and, although he said he had to confine himself to singing, he grabbed the thread: “I too greatly appreciate what the following women have done. We have given each other authority.” And with his contribution to music, J. Martina speaks of the Biscayan group. Osinaga has seen that “something has changed” on the scene, in the speech, and has thanked J. Martín for more or less hospitality on certain issues. Osinaga, leaving on the table the glass of red wine that touched him from time to time, takes off the sandals, gets barefoot, puts half knee and half sitting and plays the car. In an interesting mix of electronics, a young man's dream has reinvented the song.

Apaolaza, recognizing that he was unable to speak after the excellent cover, has done so: “It is a very powerful, very crushing speech. You reach the 42 years I have and say, ‘what were my dreams of youth’. And the truth is, I didn't dream of being here now. It is said many times, ‘if you try it’… Shit. Power will not cease to be power and we are peones. Here we do some microconstructions, but power can totally destroy.”

Apaolaza published her first book at the age of 23. “You write a lot of theorist, genres, classes… but now I think that at 42 years everything is biographical.” They say that the cultural system has changed, “something”, and that feminism has changed, as has been noticed in the literary world. However, without giving its name, but saying that “they are all very majos”, in a joke but in a critical spirit, recalls “several men”: “To those who say that women publish more for being women… Listen, it is a lie. It's three to four times more public than me. Do not cry.”

Word and voice

In his second book, Mea Activa, Apaolaza tells what needs to be said in Lur’s voice. Lur is a person who has a lack of self-esteem and is rejected, and who often focuses on guilt.

But Lur is not just any character. Apaolaza: “Lur is a person very attached to me. It's my costume, it's not me, but it says things I would say. With this costume loose a lot and fiction always leaves room. I think if instead of Lur I got Uxue, I would have to manipulate everything else a lot, and I wouldn't pass text before to others. Well, now also quite careful (laughs).”

He addressed Osinaga because Apaolaza wanted to know her experience and to know the singer's experiences on the stage from the position of a writer. Dialogue has been like this:

Inés Osinaga: I've had envy to Starvation Inés. I was saying things about the tablement that I wasn't going to say on the innermost plane. The stage gives respect, but also power, of course.

Uxue Apaolaza: But is there too much exposure?

H.O. : There have also been many hours of therapy.

U.A. : Is there no fiction in that Ines on the board?

H.O. No, no -- no autofiquia. It's a performance.

U.A. : I live Earth as a character of mine, it's the space of my truth, it's fiction.

H.O. I put myself on the table. Many times I thought that what I wanted to achieve was, instead of wanting to, go to the taboo, hint.

The third and final song was Osinaga, the song Rimmel de Gose, of ancient times. “For many years I couldn’t sing. Without legitimacy, throwing blank ...". (If anyone were interested it is interesting what he told about Hunger Inés in Gipuzkoako Hitza). Before, but in some other section, Osinaga has also offered the song Mama, I do not want to go to school, expressly proposed by Apaolaza for the concert. Depression, the inability to get out of bed, the presence of some of the conversation themes have also been for the enjoyment of those we were in the Model Room.