You have portrayed uncomfortable situations, an unpleasant atmosphere, as suggested by the title. What did you want to work for?

Flies can be swirls, choking, annoyance, darkness, many little details that cause discomfort... But flies, on the outside, don't look like big problems. It just feels the ones on it.

When I started writing stories, the intention was not to create a collection on a subject. I have departed from my emotions, my sensations and the sensations of the women around me, many stories are situated in physics, I would say that the body has a great presence. These sensations have led me to create different environments and atmospheres. It's about what everyone does with flies: kill them, separate them, or learn to live with them.

My goal has been to write the best stories possible, to commit to each texto.La word discomfort is too broad for me. Some stories have a troubling point, or the environment is suffocating, but there's humor, and irony, what everyone reads, how they feel. Gifts in the story, for example, there's a lot of humor, black humor, if you want. I have fun writing this story. They can be uncomfortable, they can be surprising, they can be disturbing.

Have you wanted to work feelings?

I don't know what to say. I think every writer will start from a different place, for example, the intellectual. I, for my part, give birth mainly to emotions. When I start working on a story, the starting point is not the next one or I mean something like that, or I want people to understand… The goal has been absolutely literary, it has not been an exercise of introspection. Look at Agur Meabe said he had the literary goal of a crystal eye, but he tried to be as faithful as possible to himself. Mine doesn't have it either. I've tried to make fiction from the very beginning, and then, from a push, I started to write that, as a writer, I've been wrong a lot of times, I haven't structured the stories well in my head. And I realize that I'm not doing well here, and I leave that emotion, that story or that initial material, or I give it another shape or I discard it.

There are a lot of stories left behind, but everyone I've finished is here.

What have you put the effort into?

As far as language is concerned, I have tried to be as precise as possible. Every adjective I've put is there because I wanted to put it, because that's what I wanted to put. I am obsessed with accuracy and credibility; credibility, often within a surreal settlement, although in some cases stories can be totally implausible. I've searched for a text that makes sense, body and integrity for me. In that sense, I know the characters very well, and that's the difference with the book Aulkbat elurretan. I don't think I know the characters so well. They were also the pretext of telling a story or creating an atmosphere. Here I've tried to get to know the psychology of characters and be rigorous. I would say the character is a book.

Stories are very different from each other. I would say that your connection, what you call discomfort, is an atmosphere of grapes or, in some cases, an obsession. The characters are not quiet.

I've tried to get stories to spread like a haze, drawing a priori how situations that seem hard, extreme or even incredible become commonplace. “Understanding is getting used to it,” a character says.

On the other hand, the presence of houses is very large, many stories happen inside the houses, as I realized later. Something that will have to do with how long it's been at home since the baby was born in the last two years. The house, the family, the close relationships are frequent. And women's bodies have gone through all the stories. Despite being characters surrounded by fly environments, all these women are active subjects, their narratives are defined by the decisions they make. There are of all ages, the youngest is a teenager, is about 15-16 years old, and the oldest is a woman about 80 years old, dying… There is a symphony of female characters; from the singularities, a “us”. The characters, in their small size, also create an atmosphere.

Where do you think the story has strength, where it has its culmination?

In part, I tried to reassure her. I have tried to make the description in the initial environment accurate, but the same with the spaces, with the interior worlds of the characters... Characters, houses, paintings -- that I've described. I know them well. I've tried to maintain my severity so that nothing happens as a bridge. I've tried to keep that tension in the entire story.

Euli-giro is the fruit of two years of work. I've written during that time almost every day, a couple of hours in the afternoon. With each story I have been on average two months.

You write almost everything, stories, novels, children's stories, you're also bertsolari. What does each special have to want to do all of them?

Seen from the outside, it may seem like I do a lot of different things, but since I stopped doing journalism two and a half years ago, I've focused on two things: Bertsos and writing. I'm one, but inside me there are very different activities, they touch each other, but they don't fit in. I always say that between the week I am more a writer and bertsolari on the weekend, and in summer I am bertsolari and in winter I am a writer.

In these two years Euli-giro has been the central project. Children's stories have been a little parentheses. When I get to it, I get a hundred percent, but they're a kind of breath, which at one point allow me to get out of that axis. However, I'm not going to look for stories. It's like going in a car and suddenly reaching the end of a verse. From there you decide to make a bertso, you know that that effort will not last in time. It is a kind of game, with all its importance, it does not mean that I do it effortlessly.

Are adult tales also games?

No. Literature is my passion and also a way of living. I've always written it ever since I learned how to write.

When I've written for adults, I've sometimes become too serious about myself. You know that people will read and be judged differently, unlike what happens to children, that they create an environment of flies. However, I wrote this much freer and quietly. I couldn't write anything for the two years after the game was published. It put terrible pressure on me. That year, the Bertsolaris Championship was also played, and I felt really looking out, what others would think, I was carrying the environment, because people tell you that you're expecting something, that completely blocked me. When I gave birth, I drove away most of my fears. “I have very little time for myself,” he said to me, “and I have to do what I want, after people say whatever they want.” In that sense, I have enjoyed it. I've lived good and bad moments of creation, but I've enjoyed it a lot. My moment started when a girl got me two hours: afternoon coffee with milk, a cigarette and writing.

The hardest thing has been to choose the title. I have not suffered. I have had a lockdown, days of anger, but not because of external pressure, but because of the incorrigible text.

The body is very present in your stories and you have also studied the role it plays in the bertsos.

The first generation of women unconsciously covered their bodies, because they knew that if they put their bodies on the table, they fell into subordination. The differences that exist when we compete only in Intellectual are much smaller. But when women's bodies compete, they're always subordinate. The strategy has been very common in all areas, covering the body and doing what should be done as men. But that does have some stumbling blocks, for example, that have long been covered by sexuality, desire, emotions of women ... The first generation advanced thanks to the covering of the body, so it was possible to introduce a new generation that had the body more present. But, at the same time that the body is revealed, there are other conditions: you face to face with subordination and gender dichotomy and you have to learn how to manage it.

In the ironic classification, we call both types "drag queen" and "dolls." It seems that all the possibilities are already on stage. And it's not. There are these two accesses to the world of the verse and the traditionally masculine world: the drag queen, the masculine values, the constitution, the movement in attitudes and the woman who does not bother in the patriarchy, the doll. Because it's the hangover of the doll, the corset of convenience, having to sing always well: insolent but not excessively shameless, strong but disconnected, sweet but not a hat, you always have to keep it in that balance. So I spent four years, and I got really tired, having to be always fine.

What would be the third door?

Which gives us access to all, which is not measured from the male gaze. Drag Queen and Doll are strategies to be accepted in the male world. But we know that we all have everything, that no one is just a drag queen or a doll. The third door comes from the person. In the case of men, the same occurs, since the judge is not man as a gender, but this hegemonic virility. There are also many men who don't feel comfortable.

You stayed out of the Absolute Championship. Is there life outside the competition?

When I got rid of myself in the 2011 Gipuzkoa Championship and I saw myself outside the Absolute Championship, it hurt me a lot, I was very sad. In that tournament I made an excessive effort, my daughter was one month old! I had cramps, I didn't sleep, and when I was a quarter of an hour, I was starting to make rhyme margaritas. It wasn't my time and I forced myself to go to the championship for one thing: I was terribly afraid to disappear from the window, because I'm bertsolari and I want to make places. And because it's one of my two trades. There's talk of "the Bertso Feast" and "the Base," but we Bertsolaris play our bread. We do not speak among the bertsolaris of the pressure that each one brings to the championship.

I was afraid to stay out and then I thought about how well it had been. It has forced me to deal with the real situation, rather than always living with ghosts. I am now very happy and I have decided not to present myself to the next Gipuzkoa Championship. I want to see what happens if I don't show up. I don't want to reintroduce myself for fear. If I have to come back in a moment given that I have few attempts, I want to know that I'm going to an opposition, I don't want to confuse things.

I am aware that in this window I have to work other shop windows. I want to put my strength into other projects. Rather than preparing response works by point or lesser zortziko, it motivates me to work on how to advance in the treatment of issues, or to combine them with the literature that is my other passion ... I'm going to set myself challenges, but not from the prism of the championship.