De Prada's Column Echoes Internet Rhetoric

De Prada writes like the internet, and the web responds

Juan Manuel de Prada’s latest column wasn’t just read; it was shared. Circulated as an image on social media, it swept through digital conversations as a deliberate provocation, leaving a two-sided trail. Some applaud him for saying aloud what they claim no one dares to say. Others criticize him for mimicking internet register. Amidst the clash, unintentionally, emerged an improvised treatise on the Spanish verb coger. The piece presents itself as a frontal attack on political correctness and what the author calls the "creed" of our time.

What does the controversial column say?

The text lashes out at those who, according to its author, embrace so-called gender ideology "out of antiestéticar of coger," a phrase exploiting the double meaning that verb holds in Spain. From there, it constructs an uncompromising portrait of women attributed with this discourse, concluding with an idea that summarizes the general tone: that "bodies (and souls) remain healthier without gene therapies." It is not a column seeking nuance, nor does it pretend to.

Alongside the article circulated a thesis presenting the Agenda 2030 as the catechism of a new world order, to which major companies and institutions have allegedly converted. This framework, the globalist suspicion, serves as the backdrop for much of the reaction.

Why is the author accused of writing like the internet?

Because the vocabulary, rhythm, and even the type of disqualification recall digital conversation more than traditional editorial prose. Part of the audience stated bluntly: the author merely mimics phrases circulating online for years, doing so even better than their inventors. The reproach has substance, turning the columnist into a star pupil of what he claims to despise.

Against this reading, another current argues the opposite: that the author uses archaic, personal language, foreign to digital jargon, owing his style to no one. In this vein, he was compared to Quevedo, called a master while the columnist was labeled an apprentice, and placed on par with Chesterton. The clash between these two readings is, in reality, the heart of the discussion.

Why does 'coger el autobús' confuse people in Mexico?

Because in Spain "coger" means to take, but in much of Hispanic America, the verb is reserved for sens. In Mexico City, no one says "coger el autobús"; they say "tomar." The anecdote, known to anyone who has traveled, served to map a linguistic landscape full of traps.

Regarding its origin, explanations vary. One suggests "coger" solidified with this double meaning in regions where livestock farming prevailed over agriculture, fitting the usage map. Another focuses on chingar, the Mexican equivalent verb, whose origin may lie in the Romani term cingarar, meaning to fight. It is also noted that German nehmen (to take) admits a similar vulgar sense. Even traditional Castilian Spanish has its quirks: the "bicha," that snake one mentions but never catches.

Praise for provocation vs. criticism of vulgarity

The reaction split in two. Those who value the author highlight his bravery in a time they judge mediocre and cowardly, celebrating his willingness to risk fruta even in a newspaper critics ironically call "globalist and red." For this side, the outburst is a virtue: it signifies refusing to bow to consensus.

The other side sees not audacity, but gratuitous coarseness. They argue a writer boasting classical style should not resort to such excesses, least of all a vulgarity they claim has no parallel in recent public debate. The paradox they point out is subtle: a text attacking political correctness ends up resembling too closely the enemy it describes.

With these elements, it is likely the formula will repeat. Provoke, be shared and debated first for its register than its thesis. If the wink wears out and stops sounding novel, the choice will arise whether to keep speaking to the internet or return to writing only for paper. So far, the taste for outbursts has paid off for the author.