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From the courts to the lions, allowing herself to be carried away by “the decisions of the bosses,” and without refusing to board all the passing trains, like the one that led her to her magazine, It’s already noon. Living “until the last consequences”, and writing books that impregnate part of her essence, as in Thousand forbidden kisses.
The journalist and author, Sonsoles Ónega, refuses to “take no risks” professionally and personally, and confesses, in an interview for El Independiente, the secrets and teachings of her new novel, delves into her chameleonic television career, and he is critical of a “bleak” political outlook, which he believes has “strategy and short-termism” to spare.
Answer.- Love in the novel is a recurring theme but there is always a different way of telling it, or at least yours. In this case, more than a forbidden love, it is an interrupted love, due to the circumstances of the characters to whom life gives a new opportunity. I was interested in that, to see how they continue with a love that life forces them to put an end to at first, but which instead turns on 20 years later in this case. I’m interested in what is said in them. They are characters who do not need a prologue to start their story again. That’s what I wanted.
In addition, making a contemporary novel, I came from making a novel set in the 30s, outside of Madrid, and that I had a hard time propping up in a documentary sense, and here there were all those ingredients with which I wanted to make a narrative and explore the feelings of these characters.
We thought there were public servants and what we have in politics is more uncertainty, more chaos, and anger and insult that are not very edifying.
A.- Well, it was obviously something considered, but not something deliberate. The character of Father Mauro, the priest, actually exemplifies the married man as a whole. In principle, there is nothing more solid than the marriage of a man with his priesthood, with his vocation … But then I realized that all married men who discover passion in the body of a woman other than their own suffer, and they suffer the same contradictions, the same comings and goings, and the same suffering for not being able to live that love fully and freely.