Elvira Lindo, a Cádiz-born writer born in 1962, stands out as a familiar voice in Spanish literature. Her extensive fiction work is matched by a notable contribution to the history of journalism, and today she will be the featured speaker in the Emilio Alarcos Chair. The talk, titled “Inspiration and discipline,” takes place in Aula Magna within the historic university building, with doors opening at 19:30. The event on San Francisco street offers free entry until capacity is reached.
Is the title, “Inspiration and Discipline,” a modern twist on the old idea that the muses can be found while at work?
It isn’t about muses merely catching you in the act. Inspiration often begins with a vivid kernel—a strong idea that feels like the start of something bigger, sparked by an image, a conversation, or a situation. Then comes the commitment to craft a book, a promise made to oneself. The daily routine typically involves three hours of steady writing, yielding about three pages. That cadence brings satisfaction to the process.
What does her experience as both writer and journalist bring to the craft of fiction?
When she entered radio, the aim was to become a journalist. It quickly became clear that radio could evoke stories beyond factual reporting. It wasn’t about journalism in its purest sense. It offered a platform to write, shape narratives, and converse with intriguing characters. This formed the literary foundation and training. Her fiction seeks to understand human adventure by following characters who seem ordinary at first—people like a street cleaner, a neighborhood kid, or a teenager guarding a secret—yet reveal deeper complexity when observed closely.
Does the craft of journalism instill discipline when sitting down to write?
Journalism and newspaper work organize life and keep one attuned to current events. That discipline helps prevent wandering off topic and nourishes a writer’s focus.
Critics have highlighted, in her latest book, the mastery of narrative devices usually found in works deemed traditional children’s literature. How does that early exposure shape her approach at the start of a career?
This novel, unlike her youth-oriented books, ventures into mystery and carries a slightly spectral tone. It signals a departure from previous work and represents a genuine challenge, drawing on the rhythms of fable and the classic art of storytelling. It stands as a distinct foray rather than a continuation of prior themes.
Is telling one story always the same act, whether it appears as a novel, a chronicle, an article, or a short tale?
The essence endures across formats. Even when writing a column, she aims to employ literary tools. A writer who pens for newspapers maintains a clear point of view, a personal style, and a voice that remains uniquely theirs.
What were the early steps and training that shaped the best ways to tell stories?
Writing has been a lifelong practice, starting in childhood and shaped by extensive reading. The goal is daily learning and expanding linguistic possibilities with each book, while balancing openness with restraint. A key lesson is learning to withhold details—the art of ellipsis grows with experience.
How does she relate to academic studies of language?
The relationship with academia is positive. Her texts are widely used in schools and universities, and even abroad. Her work has helped teach Spanish as far away as Japan. It seems she is maturing, with many theses dedicated to her oeuvre and even attempts at writing a biography, though the latter remains a formidable undertaking for someone so restless.
What about gender and its impact on how a writer’s work is received? Does the sexual orientation of the author influence the reading of literature?
Her view is straightforward: she does not judge a work by the author’s identity, though being a woman writer shapes some of the reception in visible ways. There are still biases among some readers who favor male authors. She believes readers should approach the works of women with curiosity rather than segregation. There are many skilled women authors today, and she hopes readers of all genders will engage with their books. Encouraging broader participation in reading communities can help shift the cultural balance in the arts.