Gisèle Sergier, twenty-two years old, loop, blue eyes, long and thin. More beautiful can't. She's lost virginity, but she doesn't care. She gets pregnant, she'll abort. In 1969. This Gisèle always knows how to do what it needs. Gisèle belongs to another class. Not in vain, she is the first female protagonist of the modern Basque novel, along with Elsa Scheelen. Kurioski, the two foreigners, not the Basques, because the novels covering both are abroad. I have never known why Saizarbitoria placed his first novel in Switzerland. Well, I know he wrote there, in Friburg, as I was studying sociology, and I imagine that it would also help pass through censorship, that kind of thing, abortion, and put it into the skin of a Swiss girl. And then, then, Switzerland, we know, more beautiful no.
But Saizarbitoria has told a few things about Switzerland. He knew only one region of Switzerland, for example. That his friends were from Italian Switzerland, “because they were our closest ones.” And they were bored so quickly. “We, proud of our own, and the warm, fed up with their rich society, with the poor awareness of being rich, orderly, free and well cared for.” What he has said is that there the Basques, as we always do, went together and together, Mikel Lasa, Rafa Egiguren, always with nostalgia, always looking at Euskal Herria. One day there was a Matxain, an overflowing, a fugitive. And it was of all those who lived with nostalgia, but nothing like the latter has been known: When he met someone Your connais Gaintza? I asked him, and of course, he was told no. Then he himself: C’est très joli. I am not going to deny that Gaintza is a wonder, but I have more doubts than not to constantly look back at what he has left at home, which I always think is healthy.
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