Molinero's *Cochinita* Breaks Adolescent Silences

Antonia Molinero (born in Madrid in 1964) has just released Cochinita (Ediciones La Palma), a young adult novel. Through its main character, Cixi, the book explores the often-misunderstood complexities of adolescence.

In this conversation with DIARIO DE AVISOS, Molinero, who founded and directs the Tenerife Literary School (an institution celebrating its 22nd anniversary in 2026), discusses the purpose of her new book. The novel was presented on Friday at the Youth Information Center (CIJ) of the Cabildo de Tenerife. Her motivation stems from a desire to help break the silences that surround adolescence and from literature's power to "name what hurts and has not been said or has not been known how to say." This, she believes, is also a way to heal and move forward.

-‘Cochinita’ is presented as a coming-of-age novel about a teenager finding her place in the world. What was the starting point for this story? “Cochinita came from an urgent need: to give a voice to one teenager and, through her, to speak for other adolescents. Among young people, there are many silences that don't help them at all. When they face problems at that stage of life, instead of misleading them, we should listen. Much of my work involves young people, creating safe, trusting spaces through literature. There, I realized that sometimes their writings aren't fiction; they're about their own often-complicated lives.”

-Abandonment, bullying, sexuality, love, difference, racism… What was the challenge of weaving these and other issues into Cixi’s story? “Bringing all these themes together in one novel might seem like too much. However, they were naturally part of Cixi’s life. It wasn’t about adding problems; the truth is, when you’re an adolescent, problems tend to pile up. Cixi, who first appeared in Chinita [Molinero’s first novel, published in 2019], is a young Chinese girl who was adopted. Right there, the theme of racism emerges, compounded by the fact that her boyfriend is a Black African migrant. We see this reality every day: not everyone accepts migrants. That was a conflict I wanted to address in the book. But there are others, like toxic family relationships, which is also a very silenced issue and a difficult topic that needs to be discussed. We often don't give teenagers a voice, but when they do speak, their stories can be incredibly powerful.”

“To tell things with the greatest truth; writing serves to name what hurts and has not been said or has not been known how to say.”

-When adopting an adolescent’s perspective, what was more important for you as a writer: your own memories or your current relationship with young people? “My relationship with young people. Cixi is a young person of today, so her language couldn't be the same as mine. They are radically different. So I had to study their way of expressing themselves. It also involved actively listening to these young people who told me their problems or put them in writing. I would say that was the most complicated part: adopting that language, those words that people of my generation often don’t understand. And I wanted to combine that language with that of Cixi’s grandmother, who speaks from her consciousness, even though she has passed away. Her voice echoes in Cixi's mind, showing the lasting impact of someone who truly listened. Grandparents are usually the best listeners. This novel isn't just for young people; it's also a reminder for adults of what it was like to be young. My generation kept many things to themselves, just like the current generation.”

-And what remains constant between the adolescent you were and what you observe in young people today? “That silence. A silence that offers no protection. That’s why I wrote this book, because I believe that protection comes from putting words to what hurts them. The character of Cixi is born from the need to tell what has been silenced for years out of fear. Young adult literature doesn't have to be light or superficial: it can tackle that pain directly, without sugarcoating it. That’s what needs to be done, instead of dismissing it with phrases like ‘it’ll pass,’ or ‘you’re just a teenager, you don’t understand the world yet’… Yes, okay, but you’re living it now, and adolescence lasts quite a while. I didn’t want to soften adolescence, but to portray it honestly, with all its raw truth. Literature serves to name what hurts and has not been said or has not been known how to say.”

“Cochinita is born from the urgency of giving a voice to an adolescent and putting words in her mouth that, in turn, speak of other young people.”

-Cixi’s grandmother is a ghost. What role does she play in the young girl’s life, especially compared to the complex relationship Cixi has with her parents? “Her grandmother was the only one who listened to her when she was a child. When she passed away, there was a void. Cixi had such a good relationship with her that she’s still a part of Cixi. I show this through the thoughts Cixi has. It’s about remembering, in moments of difficulty, the advice you received. The grandmother’s voice represents that figure who takes care of you when no one else does. She is a ghost, a voice that echoes in your mind, someone who comes to support you.”

-What is the loving bond between Cixi and Himmi like? What kind of relationship did you want to portray? “I didn’t want to present love as a lifeline or as the arrival of a Prince Charming. No, what I sought was to show Himmi as someone who sees you for who you are, who loves you for who you are, flaws and all. Their young love is built on listening, much like Cixi's bond with her grandmother. Himmi is someone who has also suffered and knows that life is not easy. He basically plays a listening role. Sometimes he tells her his story, that of a young migrant who arrives in Spain. He was taken in by a religious group. He loves music, he’s a DJ, and, more than talking, he’s used to listening. This relationship also serves me to address the topic of youth sex. It explores the boldness of youth sexuality, but always with Himmi's absolute respect for Cixi. He represents a model of masculinity that Cixi also finds appealing. It's perhaps the most positive element in the story, because love is one of the few things that go well for her. Another topic is early motherhood, which, of course, brings another conflict.”

“This is not a work aimed only at young people; it has also been written to remind us what it meant for us to be young.”

-You created and direct the Tenerife Literary School. Does the perspective of someone who dedicates much of their time to helping others express their creativity influence you as a writer, or are these completely different areas? “They run side by side. What happens is that at the school I dedicate so much time to teaching writing that I don’t have time to do it myself [laughs]. That’s why this novel took so long: five years. I could only write during the free moments I had on weekends. Achieving that youthful voice I was looking for was not easy. I wanted it to sound authentic at every point, and I think I’ve succeeded. That was the technical challenge. The real goal was to use that voice to highlight youth problems that exist but, in my opinion, society often ignores.”

-And as a writer, do you need to have everything fully planned out before you start writing a story, or is it a process that is more about letting the story unfold naturally? “It’s a process where it's a mix of both approaches. On the one hand, you must have certain things very clear. Knowing who your character is, knowing them perfectly, is the most complex part. Without a strong character, a novel doesn't truly exist. There’s a technical part that is very important; I filled two notebooks with notes about Cochinita. Then, once you have the soul of the character, the story flows. You can't know everything, or you'd get bored. You have to let the novel surprise you, without losing coherence, of course. So, as I say, both paths are important. That’s why I also believe it’s essential to have someone guide you a little. And then you, with your ability, start writing. The technical part is fundamental. I strongly disagree with the idea that anything goes in writing. And I’m not saying everyone needs to attend a literary school, but having some guidance is incredibly helpful. That’s why I combine the school with being a writer.”