In 2005, Spanish television audiences saw the debut of the nation’s first spinoff, the sitcom Aída. The show featured the tribulations of its title character and her working-class family in their struggle to “llegar a fin de mes.” It seemed to promise a sensibility enacted in the US series Roseanne, where another eponymous heroine faced similar conditions with wit and verve. Aída became a tremendous hit for its network, Telecinco, but unlike Roseanne, its approach to the working class did not break new ground. Such a distinction belongs to another cultural product also appearing in 2005, Elvira Lindo’s novel, Una palabra tuya. Consisting of a first-person narration by Rosario, a municipal street sweeper, the novel delivers working-class credentials through an insider’s view and focuses on the physical conditions and labor of work, nonaestheticization and nonidealization of working-class life, and the consciousness of a multiple we voiced through the narrator’s I.