In 2015 Nora Ephron revisited the public eye, beyond the devotion of her lasting fan base. With a new documentary project centered on everything that was once controlled by her son, Jacob Bernstein, numerous journalists revisited past headlines to frame Ephron for the present moment after years of quieter times. The publishing house Libros del Asteroide spotted a timely opportunity to publish a collected volume of articles, a move that resonated with readers and critics alike. June 2022 brought further upheaval in bookstores, and it wasn’t long before Anagrama reissued the works. The editors with a taste for a brisk, witty approach added a fresh anthology of articles that earned applause from critics and fans alike.
It is no accident that efforts to reclaim Ephron’s public image often spotlight women. Across her career, Ephron addressed women’s issues with irony, intelligence, and a distinctive style that has served as a guide for many readers and writers. A contemporary parallel often drawn by readers is Carmen Rico-Godoy, another almost forgotten author who contributed richly to Spanish media, publishing, and cinema in the same era. Rico-Godoy’s path mirrors Ephron’s in key ways, and many deem her the Spanish counterpart to Ephron.
“I have a strong fond memory of Carmen, and I believe we’ll hear from her again someday. Life happens, we drift, and then returns arrive,” says writer and fellow journalist Maruja Torres, who worked with and knew Rico-Godoy for years. Her warmth, wit, and unflinching humor remain defining traits that Toribio notes as essential to her enduring appeal.
The thread that ties their lives lies in shared professional choices: both pursued journalism and writing, studied political science, navigated male-dominated circles, and used personal experience as fuel for their art. Each used humor as a shield and a flag—humor that lightens difficult truths while challenging stereotypes about women. As one contemporary observer, Aloma Rodríguez, explains, Rico-Godoy is seen as Ephron’s analogue not merely in biographical parity but in the brisk grace, speed, and everyday misfortunes that she transformed into accessible, commercially successful, and intellectually sharp work.
Interviewees highlight the common ground: both authority figures who leveraged humor to reverse stereotypes about women in society. Andrea Toribio, co-director of a literary podcast, notes that it’s challenging to make humor land for a portion of the audience that previously viewed it as mocking. Yet both Ephron and Rico-Godoy thrived by turning ordinary misadventures into points of reflection and laughter, a trait that endears them to readers who crave smart social commentary.
parallel lives
Carmen Rico-Godoy was born in Paris in 1939. Her mother fled Spain during the Civil War, and her father, a political detainee, spent time imprisoned. The family reassembled in Madrid in 1944, and ten years later Rico-Godoy became the first Hispanic reporter to work in the United States, later returning to Europe. Her education included Georgetown University in Washington, where she earned a BA in Political Science, followed by further studies in France and a move into journalism. Her first marriage to José Luis Garsino was short-lived, and she spent time in Argentina before settling permanently in Spain by 1970.
Nora Ephron, born in New York City in 1941 to a family of screenwriters, pursued writing with the ambition to channel the wit of Dorothy Parker. She studied political science at a Massachusetts college and forged a career that spanned political commentary, journalism, and screenwriting. Ephron’s early marriage to Dan Greenburg ended around 1970, and her personal life, while publicly noted, rarely overshadowed her prolific professional output. Both women drew on life’s realities to shape their work, though Rico-Godoy often maintained a lower public profile about her private life.
As quoted by Nativel Preciado, a journalist and close collaborator, Ephron was known for focusing on the work rather than the person. Her public persona was shaped more by what she produced than by personal disclosures, a trend that contrasted with Rico-Godoy’s approach, which tended to keep personal details more private yet equally insightful about social life and power structures.
In a 2001 interview with a major daily newspaper, Rico-Godoy remarked that she never pursued journalism out of a single career plan, but out of curiosity and a readiness to explore. She helped build a flagship political history magazine in the early 1970s, contributing across media platforms, and she remained influential in literary and journalistic circles. Colleagues recall her for a sharp, generous intellect that invited dialogue and learning. Her closeness to cinema and Barcelona’s journalistic scene kept her connected to evolving storytelling forms. A contemporary memoirist notes how Rico-Godoy’s gracious demeanor made collaborations feel natural and productive.
Nora Ephron’s career also includes notable film work, including collaborations with her husband and other key figures, which propelled her narratives into mainstream cinema. Her writing on feminine concerns appeared in venues like Esquire, and her famous novel The Cake Is a Lie (a working title for her landmark work) helped accelerate her rise to prominence. The adaptation of her works for the screen, with performances by Meryl Streep, helped cement her status as a leading voice in modern American storytelling.
Both women left enduring legacies in print and on screen. Ephron’s later works continued to explore the complexities of family and public life, while Rico-Godoy’s literary output and film adaptations left a lasting mark on Spanish culture. Their influence persists through ensuing generations who study their careers not merely as biographies but as case studies in how to blend humor, intellect, and resilience while navigating public expectations of women in media and society.
In 2006 Ephron faced a significant health challenge, guiding her own narrative toward a candid farewell and a reflective list that signaled gratitude for the relationships and experiences that defined her life. Her passing in 2012 marked the end of a remarkable era, yet her writings and film scripts continue to shape discussions about women’s voices in media. Rico-Godoy’s own later years were marked by similar grace as she faced illness, choosing to live fully and maintain connections with readers and colleagues until the end. Their stories, though distinct, converge on a shared ethos: to tell the truth with humor, to challenge stereotypes, and to leave behind works that invite ongoing conversation about gender, power, and the art of storytelling.