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. 48 Figure 2.4 Image of Rosa Montero included in Begoña Piña’s interview with her in Qué Leer 164. Photograph: Asís G. Ayerbe. Reproduced with permission from the photographer. 49 Figure 2.5 Photograph to accompany Inés García- Albi’s interview with Almudena Grandes in Qué Leer 157. Photograph: Asís G. Ayerbe. Reproduced with permission from the photographer. 50 Figure 2.6 Espido Freire advertising La Semana Gótica [Gothic Week] in El Cultural (2011). Photograph: Alan Cueto for La Semana Gótica Madrid, October 2011. Reproduced with permission from El

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Martín Gaite, 1957) Fiesta al Noroeste [Northwest Party] (Ana María Matute, 1952) Historia del rey transparente [Story of the Transparent King] (Rosa Montero, 2005) Historias del Kronen [Stories of the Kronen] ( José Ángel Mañas, 1994) Inés y la alegría [Inés and Joy] (Almudena Grandes, 2010) Instrucciones para salvar el mundo [Instructions to Save the World] (Rosa Montero, 2008) Irlanda [Ireland] (Laura Espido Freire, 1998) La Eva futura/La letra futura [The Future Eve/Writing’s Future] (Lucía Etxebarria, 2000) La flor del Norte [The Flower of the North] (Laura

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, the writing of stimulating, unusual female characters is all too often assumed to detract from the potential literary value of a novel by a woman writer on the grounds that the fiction has been co- opted to fulfil some kind of political agenda concerning the ‘emancipation’ of women. The following example shows the different ways in which unnecessary reference to a woman’s gender contributes to the portrayal of a biased and less than accurate picture of the situation of women writers: Espido Freire, a 25-year- old Basque writer, wins the Planeta prize with a

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 2007, <http://www.rosaregas.net/articulos/articulo.php?id_articulo=276> [accessed 31 October]. Dyer, Richard. 1986. Heavenly Bodies: Film Stars and Society (New York: St. Martin’s Press). ——. 1998. Stars (London: BFI). Bibliography 187 Echevarría, Ignacio. 1998. ‘Otra vez Nada’, El País, 21 February 1998, p. 11. El Correo Español. 2000. ‘Laura Freixas: “El camino es fácil para el escritor serio y la escritora frívola”’, 7 June 2000, <http://www.laurafreixas.com/freixascriticas4. htm> [accessed 9 March 2011]. El Cultural. 2011. ‘La Semana Gótica y Espido Freire

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contemporary women writers, like Extebarria, is to celebrate the notion of gender difference. 1 These were Clara Usón, Elvira Navarro, Ángeles Caso, Lucía Etxebarria, Julia Navarro, Carmen Gurruchaga, Soledad Puértolas, Reyes Calderón, Almudena Grandes, and Maruja Torres. 2 See, for example: García (2002); López- Cabrales (2000: 151–66); Velázquez Jordán (2002); Salvador (n.d.); Prado (n.d.). 3 This is the generation that includes Lola Beccaria, Lucía Etxebarria, Clara Obligado, Espido Freire, and Paula Izquierdo, as well as more recent work by widely respected women

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Crónica del desamor 3, 63–64, 83–89, 95, 104, 109, 147 de Beauvoir, Simone 11–12, 72, 121–2, 131 democracy 3, 65–6, 83, 88, 91, 101, 176 Derrida, Jacques: 13 double bind 11, 13–27, 74, 94, 98, 119, 156, 171, 174, 178 El amor de mi vida 122, 140, 146, 152 El club de las malas madres 157 El Cultural 52–3 Index Index El Mundo 22, 25, 35, 108, 115, 128, 148, 157 El País 4, 32, 34, 67, 71–7, 82, 86–8, 91–2, 99, 104–5, 107–10, 119, 140–1, 148, 178 encoding- decoding 9, 62 Encuentros digitales 35 Espido Freire, Laura 20–1, 35, 52–3, 57–8, 95, 108, 155–6 Esteva, Jordi 54

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- friendly authors to represent the season’s blockbuster (2009: 200), and that, as Montero was older and better- known, less publicity was needed for the promotion of her novel than that which was used in the promotion of the younger Espido Freire’s Melocotones helados [Frozen Peaches], winner of the Planeta prize in 1999. This phenomenon has also affected other writers previously known for their journalistic careers, such as Fernando Sánchez Dragó and Fernando Schwartz. At the same time, Montero has also had to contend with the increasing demands of the publishing

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, until recently, has generally been ‘written’ by men. Like other writers, including Almudena Grandes, Espido Freire, and Dulce Chacón, as seen in Chapter 2, Montero rejects the notion that gender difference can be ascribed to writing, and she actively supports the need to ascribe universal importance to the experience of literary protagonists regardless of their gender. Although she may reject the notion of ‘women’s writing’, her opinions regarding the problems faced by women in the liter- ary market closely coincide with those of Freixas (2000), who is an avid

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(2011) in Qué Leer 164. Photograph: Mario Krmpotic. Reproduced with permission from the photographer. Figure 2.4 Image of Rosa Montero included in Begoña Piña’s interview with her in Qué Leer 164. Photograph: Asís G. Ayerbe. Reproduced with permission from the photographer. Figure 2.5 Photograph to accompany Inés García-Albi’s interview with Almudena Grandes in Qué Leer 157. Photograph: Asís G. Ayerbe. Reproduced with permission from the photographer. Figure 2.6 Espido Freire advertising La Semana Gótica [Gothic Week] in El Cultural (2011

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mundo [Instructions to Save the World] (Rosa Montero, 2008) Irlanda [Ireland] (Laura Espido Freire, 1998) La Eva futura/La letra futura [The Future Eve/Writing’s Future] (Lucía Etxebarria, 2000) La flor del Norte [The Flower of the North] (Laura Espido Freire, 2011) La función Delta [The Delta Function] (Rosa Montero, 1981) La hija del caníbal [The Cannibal’s Daughter] (Rosa Montero, 1997) La inmigración en la literatura española contemporánea [Immigration in Spanish Contemporary Literature] (Andrés-Suárez et al., 2002) La