How and where does the inspiration come from? Can anyone be creative? The designer Alberto Corazón, Elena Domínguez, vice president of the Higher Council for Scientific Research (CSIC), the writer Elvira Lindo and the researcher Jesús Alcoba, director of the La Salle business school, told how they experience this process in one of the round tables of the tenth edition of the Eñe Festival, in the Círculo de Bellas Artes, which until October 27 brings together 120 writers.
Lindo pointed out that "being imaginative", in the case of his literature, which exudes a lot of humor, "is something physical, it even seems to come with your body". What is clear is that when writing, "there must be compass, rhythm, words must have music". This led him to express his surprise for those of his colleagues "who do not like music". The columnist shelled the ideas that assail him when one of his articles for EL PAÍS is considered. "You have to be different and not just give your opinion, give a point of view that has not been issued until then on a current issue."
Are scientists as creative as poets ?, launched the moderator, Guillermo Altares, a journalist from EL PAÍS. Domínguez was clear: "Yes, we create ideas, although perhaps we do not reflect as much on it as others, our ideas are based on reasoning and imagination". This gives rise to the invention that, regretted, "for a long time was badly seen in the scientific field."
Corazon revealed that he has been reflecting on the paths they lead to create for years. "Everything is neuronal, I even notice that there is something physiological." When he designs, he puts in order "all that storm of brain ideas", while in his plastic creation, he limits himself "to listen". Alcoba moved the debate to money, to business. "Why nobody came up with the iPhone before, maybe because it looked in the wrong place." "The look is the key", agreed Heart.
But, of course, not always the idea illuminated has to be the good one. "With many algorithms we could approach it, in science it is established, it is time-marked," Domínguez added. "We do not have that time," replied the designer. "In the literature it is capricious, the publishers do not know which book is going to be successful, there is insight, smell to know what the people want, but nobody could imagine the boom I had with the books of Manolito Gafotas ", closed Lindo.
The inaugural table of the festival, organized by the Círculo y La Fábrica, brought together the poet and academic Clara Janés (1940), the novelist Antonio Muñoz Molina (1956), the Mexican Álvaro Enrigue (1969) and the Chilean Paulina Flores (1988). The issue was, from different generations, to contrast if the writer's vision in society has changed.
Janés remembered his childhood, in a house where writers passed, because he was a family of publishers, and how he began "to write novels because he listened to them on the radio". Muñoz Molina said that the first time he had a notion "that there were writers was seeing the covers of the books of Jules Verne". The author revealed that when asked about his profession he does not say "writer with much conviction" because of modesty, which transforms into rejection "before the exhibition of the writer turned into a character".
Enrigue criticized the "overexposure of writers and their conversion into talisman", which, in his opinion, creates the risk that this admiration replaces the enjoyment of his writing. While Flores was more optimistic and fortunate: "In my country 20 years ago literature was only in the elite."
Two floors above, Pere Gimferrer, Vicente Molina Foix and Guillermo Carnero recalled their beginnings in the group of the newest, at the end of the dictatorship. "Spain not only hurt, it smelled," said Molina Foix. "They were moments of political change, also cultural, and reading voracity," added Carnero. All three commented on the role that the cinema had: "It was a source of artistic emotion, like poetry or the novel," Molina Foix said, "but this was not understood by our teachers, those of a generation just before." For Gil de Biedma Barral was an aberration, we were more connected to those of the Generation of '27, who were moviegoers, "he added. "Cinema was the compensation of what reality did not offer," added Carnero.
Another issue at another table, apparently lighter. The relationship of writers with their objects. Rosa Montero was recognized as a fetishist a few meters from the exhibition that shows pieces by Spanish and Peruvian authors. "I have chosen a small bronze salamander", of the more than 200 that she has, and one with special meaning, a small methacrylate cube with an image of her husband, Pablo Lizcano. "I know it's something spooky, but I always have it by my side when I write." Gabriela Wiener also spoke of one with nostalgia for love, a comic of his, "inspired by a collection of poems by one of his partners". Marcos Giralt Torrente recognized that it was a nightmare to decide what to put in his showcase and flea markets: a key he bought in the Madrid store or a briefcase in Campden Town in London.
In addition to listening to their favorite writers, festival attendees can contemplate objects that have marked the life or work of these authors. Like a shabby brown briefcase that Marcos Giralt Torrente acquired in a London street market or the black leather jacket Sergio del Molino bought with his first money as a writer. Displayed in showcases in the shape of a suitcase, perhaps because the life of an author is almost always linked to travel, the exhibition is organized by the Spanish Agency for International Development Cooperation.
Another of the parallel activities was carried out by the artist Abel Azcona, who made a performance, The death of the artist, in which he revealed the threats he suffers from right-wing and religious groups. This extrapolates to the attacks that freedom of expression has suffered in recent times.