You are Alavés related to Navarra, Gasteiztarra.

Yes. I'm a Gasteiztarra, raised here. I am Zelaieta Anta; I am also White… On behalf of my father I am Navarro from the Five Villas, of Bera. From the Galician mother. I've been educated in Vitoria. For family reasons, in childhood we went to Bera and in summer to Hondarribia. However, my father did not transmit Euskera to us, but it was the older brother who collected it; although he was born in Paris, he frequented Bera. It's ten years older than me. In 1965, in full Franco, he came to Vitoria without learning Spanish, without knowing more than Euskera. The other two of us grew up and grew up in Spanish. The paternal family is Euskaldun, but they did not have a particular Euskaltzale conscience. Therefore, after passing through model A I was in the Basque Country; then I made Basque Philology; and finally, I made the thesis about the Basque Country of Baztan-Bidasoa.

From world to world. The chronicle of an Alavese charlatan is called your book. Is it bad to be a charlatan or a charlatan today?

I don't know if it's poorly seen... We have placed a mailbox in the name below the book, because we wanted to play with an image [that appears on the front page] of a charlatan. At
the bottom, behind Hitzontzi is autirony, the most just and healthiest irony, laughing at oneself. In other words, the first thing you can do is laugh at yourself, because you may give him the opportunity to laugh at others. I really like self-irony as a literary genre, and I also use it every day. In the book there is irony, and within irony there is a genre that I appreciate: autoirony. I live irony as an aesthetic and almost ethical gamble. Anyway, aside from self-irony, asked about charlatanship, I'm interested in people who know how to listen. Knowing how to speak is fundamental, but listening is very important. What's harder in today's world, to know how to speak or to listen? I believe that in this society that we live full of noise, we find it more difficult to listen to it.

As for gender, what is this book?

It is inevitably a hybrid, in my case another hybrid. Apparently, I don't know how to do anything other than a hybrid, it's my brand. In this hybridization there is a limitation [Technology-musical Project]; I also speak in children's literature, last year I brought out the first books, one of them – playing with fiction – Amets amphibious. I'm very amphibious... [Your son is called sleep.]

The book consists of three sections: Preamble, Chronicles and Discourse.

In Hitzaurrea, to help the reader, the origin of the articles is narrated, the book is a collection of articles in origin, written in various publications, but that have undergone a process of rewriting.

They are texts derived from texts written in Egunkaria. What's that like?

I realized that it might be interesting to offer something more than the original texts were saying. Let us not be fooled, although here are Ajuria Enea and the Basque Parliament, as for the Basque Country, Álava is peripheral. Despite the various movements and initiatives of cultural interest, both individual and collective, which mostly work within the Basque cultural activity square, Arabic remains peripheral. Then I saw some loopholes in making a proposal to that effect. In Arabic, I have many years of texts written here and there, some written in Argia. I made a choice, an analysis of self-psychoanalysis, that is, how many times I wrote about Álava, not only centrally, but also as decorated. I took a surprise, they were more than I thought. It is normal, what I know the most are Vitoria-Gasteiz and Álava, and also Baztan-Bidasoa.

The literality of the texts has been provided to me, you have done a small and fruitful session. How is this done without betraying the original text?

In the first search, I weighed 65 articles, some of which I didn't like too much, others didn't exceed the time limit. In the Introduction the names of the friends that appear in black appear, Joxe Carreras is one of them and I asked for help. It is Gasteiztarra, he made Basque Philology, lives in Ireland, that is, out of here. It comes from time to time. As he moves around the world, I passed these texts with the intention of knowing his reading. In a second process, I chose 50 texts. In this structuring of the book, in this intention of offering something else, I decided that the original texts were of the same size, so that the book could enter the same atmosphere. The measure can provide an environment in the literature. In that, more than creation has been reproduction.

Other friends have also helped you. Like in Speaking.

Yes. I wanted the babazorros to write to me, so it was Karmele Jaio who wrote. I asked for complicity. He has spoken and I very much liked it, he has been half right. I've made the chronicle of the day and he chronicles the chronicle of the chronicle. He bare me perfectly. I also wanted some illustrations included. They have been done by Eneko Ugarte. They stay great. They're not easy images, starting from the surface, because they require a special reading. Her illustration of the Plaza de la Virgen Blanca is wonderful. The vitorians that we are in it, seal, knock down letters... [we're showing the picture of the book]. Of course, the help of Anakoz Amenabar for the possibility of writing in Hitza and Alea de Álava has also been indispensable. With the help of the Babazorros, the image of the city and the draft book have been completed.

You're a good columnist "for being a poet." Witnesses to the columns of Argia.

If you say it, I will not deny it.

Is it easy to be a poet and columnist?

For me, yes. It's very natural. What's more, I don't know if I could write otherwise. Hence the hybridization: We are at the UPV, at the Faculty of Education and Sport... I've had a student or a teacher or a critic tell me if I'm doing poetry ... Or to say that I do it in a didactic way, or that I do it in the opposite direction. I've also worked at the ikastola and the Euskaltegi, I've been told that I'm very emphatic to be a professor, but well, I think a professor has to do it. It must be the mark of my existence. This makes me difficult and difficult in any trade. So writing columns and poetry is very natural to me, even more so, I'm sure they interact with each other. I've been in the two years.

It's usually written to taste. In any case, aesthetic pleasure is inevitable.

I totally agree. However, I am aware of the chess of the poet in the art of the spine. I've received that hangover consciously or unconsciously. I mean, how can you express it in a column? The measure is short. In my humble opinion, it can be my contribution. It's also that literature. It is a subject, of course. Talk about it. But in part, how to publish it: style, aesthetics, the use of humor and how to introduce reflection at once.

(...)

In fact, I have a literary friend, Sandra Cisneros. It is known in the Txikana literature. Author of book The House on Mango Street. I read it for thirty-five years. I liked its aesthetic, its limitation. For me it has been a reference and a key when it comes to writing this book. Other literary friends have also given me the key, and the first of them is Xuan Bello. Asturian writer. Its Universal Record of Paniceiros is very significant, it is a fragmentary book of tamano.Incluye oral literature in the book, poems and reflections. It tells simple things: in this globalized world it says: "I'm from Paniceiros, I'm from the world."

And you?

I try to do the same. Where do I see the world in recent years, in the 21st century? For from the neighborhood of Salburua, where I live [was born in the old town]. From Salburua we see Olarizu. Let's see what this neighborhood gives us, which in the future begins to have personality. From Salburua – from the world – we see the world, Mount Olarizu, the multicultural mix and the children who are heading for adolescence.

And what would I highlight, among others?

As a curiosity, without metaphors, Xuxen highlights in red Salburua and Olarizu, both Euskaldunes names. That's what the periphery realizes. The two words appear on the computer as a mistake, because they're on the edge of the world somewhere. I have nothing against those who have programmed in Xuxen, of course, I would like to say that that is the mirror of a situation.

It is a small session but with a varied edge.

This book gives me the opportunity to draw a lot of thread, it is a varied book, there are themes like parenthood, mugaldad, cultural diversity, my trajectory, self-criticism and self-knowledge, day to day... But I've tried to do it exceptionally, it's done with a broader look, and that gives you the opportunity to talk about literature, about life. It's a small book, but I see it as a trunk rich in splinters.

I think Vitoria-Gasteiz is a centre of writers and creators. Is it topical to say that?

If it's a topic, it's a topic that's being built, and it wouldn't be bad. Once this has been achieved, perhaps we should undo the topic. Let's say yes! In Vitoria-Gasteiz in recent years there has been a movement of writers, musicians and creators – I am referring to the cultural sphere. The "world from the world" is a key to understanding it.

"Álava, seventh daughter." Is it also a topic? Álava is well positioned in today’s Basque Country, right?

It would be good to know how Álava perceives the other Basques, not only in the cultural, I mean in general, but also how we see the Gasteiztarras and the Alaveses. It is undeniable that there has been a complex in Álava, but I would venture to say that, if it has not been completely changed, we are working on a solid path of change. In this sense, there is no txokokeria, no cosmopaletism that I hate in the book. I would say that a healthy Arab is being produced in this respect. This characteristic is interesting and good for the Alaveses and the rest of the Basque Country.

What do you expect from readers or what have you received?

I hope that, as with all the work, it has been read as much as possible. At the moment I am very pleased with what I have received from the criticism. All that has reached me around is also a joy. In the Talka Arte gallery, we made a curious presentation of the book, it was an attempt to collectivize things. We were Jose Angel Irigarai, Karmele Jaio, Eneko Ugarte and the four. The one-hour event was very well received by the public. Eneko used his own language, drawing. We combined painting and literature. I read some chronicles. This modus operandi is increasingly interested in working styles, as in the literature. I find it fundamental to do it collectively, it makes me feel good to talk to people. In this presentation, I was told that I'm a little voyeur, an observer, that my gaze is in my way of being. A person who watches every day and someone who feeds on that look. That the book is chronic, but that it's also literature. Which is an essay, but sometimes a narrator appears and, in addition, a poetic environment is noticed. What to say? I am glad, because that was my bet.