Some words of the first paragraph of Silvia Nanclar’s new book (Madrid, 1975) place us in time and place. A baby cuckoo, the shirt dress Evasé from a mother whose merceditas collect dust at each step. We are in 1976 in a neighborhood of the East Madrid, Moratalaz for more signs. And Maribel, with an illusion that overcomes its momentary overwhelm, is in a neighborhood demonstration of when you had to shout for almost everything: schools, transport, green areas and, already puts, salaries that did not tremble at each purchase, which even had to fight that the bread weigh what it cost. There, when the bar was called gun And the size of each home was measured in these, Nanclares starts Your TV never flew so highits national episode of the series published by the language of rag and circle of Fine Arts.
Collage of choral prominence, the book is organized around three poles, says the author. His own Moratalaz neighborhood, the Real Estate Urbis in charge of building a good part of its homes and the appearance of the RTVE Telecommunications Tower, the Pirulí. “I began to generate scenes that were representative of each part. The story went from having a more personal prominence to the ground was the protagonist. I knew then that there should be many voices. In addition, that is a bit what you have in a neighborhood where there are people. I have raised with the feeling of being one more person among the mogollón. I am as I am because I have lived here, but here I am a drop of water. What justice will I do in first person to a story that is collective? I did not seem honest to tell the story of a neighborhood through the life of a single person. Writing it has been a bit antidote against the ‘I’ without looking for it, ”explains Nanclares.
Moratalaz’s story is recent. Until almost the 60s it was a pasture between Linear and Vallecas City in which Urbis began to raise blocks for medium working classes that the dictatorship called professionals. He was filled with young families who facilitated that he was known as “The Chupete neighborhood” and was publicized as a “complete city”, but Franco died and there were more stuck accesses than schools and a promoter determined to continue building at the expense of any equipment public. “Urbis’s premise was first to build and then urbanize. They did the first but never the second. Everything that had in Moratalaz before the Mayor’s Office of Tierno Galván was curited by people. Urbis not only did not make public services, but in the lots destined to it, he wanted to continue building, ”says the writer.
“Lonas –It continues in reference to an area of hospitality between floors – they are stolen from a park that was going to be there. The same happened with school. The neighborhood stopped the construction of more houses because they saw that this was not a neighborhood, but homes, and a neighborhood is not just that. The house is fundamental, of course, but the neighborhood is the result of the neighborhood struggle. I think people don’t have that self -esteem. Let’s learn from those struggles and their results. There are people who did not continue politicized, because with the arrival of the PSOE everything relaxed. But another yes and continues to militate. ”
The transition left the UCD in the newspaper library rejecting regular nurseries because the children had to be in contact with their mother. But a change of educational model was also carried out. Of the memorial and segregated of the regime at the entrance of a new batch of teachers, the thrust of the participation of parents associations or the option of studying ethics as an alternative to religion. “I had some teachers with a vision of education such as secular evangelization and emancipation tool. There was a conception of school as a socio -community space. But there were also, I had some, Francoist copies. Normally, that authoritarian Ramora was formed by men, and older. In the youngest teachers there was that activism of education, ”says Nanclares. From the windows of the author’s college, she was overflowed with sheep to the mid -80s.
“I like you more than sheep.” In the book, the girl Susana declares the Pirulí. The Torrespaña building, concrete mole inaugurated for the 82nd World Cup, is in the well -off districts of Salamanca and Retiro, but looks very good from Moratalaz. Protagonist of his book, also was from the childhood of Nanclar. “I had a ghostic presence. For me, it was a nurse ship. A Martian building that appeared on the horizon and represented the future, the fetish of television and night light. In the book is the icon of a technological society with new ways of relating embodied in fictions or cultural programs. The TV constitutional As a public service he instructed and showed ways of being. Or how we wanted to be. It was a country project, the moment of possibility and a control tool as a state symbol. That I was close to your home made you exist. ”
The writer defines as “flipe on TV” the attraction that many children of the 80s felt for what not a few adults called, without success to neutralize their magnetism, the silly box. “In the documentation process I have found manuals of how to watch TV with your children. Technology fear speeches are cyclic. TV made us have a life, which is also a bit that gives you internet, the possibility of having many lives. We would get a lot of bore. You are thrown on the couch today and you are happy, but for a child it is very long. The cool part of TV is that it used to be shared, everyone was watching the same thing, ”he reflects. In that tenant catodic in the hall, the Spaniards could see two scenes that also appear in the book of Nanclares: the burial of Tierno Galván and the blackout of the RTVE signal at the beginning of the strike of December 14, 1988. Both, with Pilar He looked at a prominent role.
Nanclares explores a period marked by the relevance of culture as a social value. It was time of colorful campaigns of initiation to reading under the claim that a book could be magical and a child’s best friend. A promise of fun and learning that was sometimes understood perfectly with TV, as in the case of encyclopedia Open, Sesame Inspired by the popular spinet program. At the beginning of the 70s, the Salvat-RTV Basic Library had brought Galdós, Dostoevski or Matute classics through affordable prices to many homes. A multiplied impact on democracy by the Circle of Readers. Every Saturday, its commercials distributed the orders made by catalog of up to one million partners he had. Astérix, hard, Kundera or Highsmith entered houses where there were perhaps for luxuries, but in which it was read.
“And the libraries,” Nanclares appears. I would never have dedicated myself to writing if it were not for that of the neighborhood. As a child, I went every Friday with a friend to take books from the steam or alphaguara ship. We lived it as children, acriticos, but at the same time it gave us foundations that previous generations had not had. The birth of childhood was a bit: programs, book collections, children’s libraries. Reading promotion campaigns were very happy. One of the legs of the transition process was in culture. From the 90s we get an image of the culture very past by neoliberalism, but I remember, a few years before, a culture less related to consumption and yes to the law. A conquest. In Moratalaz there was even a cineclub. In the houses it was usual to build the encyclopedia as a ritual, a man arrived and you paid him the delivery. He occupied a physical and privileged place in the room that you were going to look for knowledge. There was a utopia vehicle by culture. And I think at the same time little snobbery. Culture was not to give them, but a conquest. ”
A few an hour walking from the school of La Susana de Your TV never flew so highthe Pirulí works, in this fiction and in the memories of its author, as an aspirational symbol. In the middle, the M-30 highway. “It was what was on the other side, the evidence that there was more city, the beginning of something,” says Nanclares. “My family, in addition to Moratalaz, lived in Santa Eugenia, usera or broken pipe.
What is missing when we see Cachitos Is it a context in which the social elevator still seemed to work? “I think you have lived things that were quite exceptional and we have taken them like that was what could happen for good,” the writer replies. In the book I wanted to flee from nostalgia. I did not want to sweeten it with characters that badly that are raffling the story. In Maribel, for example, there are strong contradictions: ‘I come from a popular family, I have been fighting for the school of my children, suddenly it begins to enter money at home and fall in love with a four -bedroom floor with central heating, ¿¿¿¿¿ What does it become? ‘ The original sin of neoliberalism is that each one begins to think of oneself. Maribel stops importing what happens in her neighborhood because she is doing well, but she can’t forget it because she has known the power of the community. With the arrival of the PSOE to the government there was also a bit of a feeling of ‘It is already, we have already arrived’. There is a generation of birth in the forties that I think had previously registered remains but also the impulse to look forward. That conflict interested me, that of a middle class to which he is doing well and abandons the struggles that had more to do with his working part and embody the aspirational. ”
Although some places seem built on nothing, this is relative, the author emphasizes. “There are also historical forces.” We don’t talk about He-Man or Petisuíspromoted with the hook that “in protein, feeds like a steak.” A neighborhood like Nanclares was published, in the face of women, with sociability slogans type “I already have many friends in Moratalaz” who were looking for an effect called. Many of them, in reality, were part of the little verbalized concept of mothers of democracy. They did not write any Magna Carta. Nor did they have time. “They held. The narrators of the story have been men, but here there were associations of housewives, that is, erected in a political subject, which were later denied as Marujas. Those aunts were doing neighborhood. They were the ones who fought for the nurseries, those that were at the door of the choles, ”concludes the writer. And Víctor Manuel confirms it, in the song that gives title to the book, when he sings “I maintain balance because I have a network.”
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