Third lap the podcast with Alejandro Gaviria and Ricardo Silva Romero, a podcast of the locutorio arroba el locutorio dese and I who am a salesman to the things that or, to the things that I like, I say enough, I just have that this even if it is of him I change, it is of him this guy. He took out a book and it' s Garcia Marquens, and it' s like when he was alive and he was taking
out a new book. There is a phenomenon to which one as cynical as it may be, however much trained in life and as aged as it may be, revives a certain passion, even for the books Hello, Ricardo, Hello Alejandro. I propose that we talk about a topic that has caught the attention of these days, and it is the publication of a new book unpublished
in some measures by García Márquez. Yes, García Márquez takes out this good, he does not take out this novel Made Marquez, which is called in August we see that he had this first story chapter published instead, in the year ninety- nine, which is a good start. I remember that story. I haven' t read the rest of it, but from the book, but it seems to me that it was a telling tale and with an ending that leaves one quiet and everything is a lady who arrives in his village.
We are not going to tell, but I would like, before entering this play, to talk a little bit about our relationship with García Márquez. When you read it, I read it for the first time at school. The first one I read was Colonel No one to write to him. My dad did have it from the first edition that Alberto Aguirre published in Medellín. There was a kind of myth that said he never sold out, never sold out there, and in what grade I put him in my second high school,
second bachillera or second high school. I think it' s seventh grade for you. For me it was the second chera. Yeah, yeah, I read it the year before high school and it was the litter that got me to read it. And hard to read the cheap thing about that 13
- year- old fulkerian theme. The change of voice, the change of voices the dead with which it starts and one, for rather, child still, and even though it was a forced reading, I remember that I enjoyed it seemed to me a voice, very much so that I had never heard. That voice was ringing. I still have that first edition of the Colonel. It doesn' t have to in the writing and funny because it was marked the moment when I stopped reading one day. Yes, a square parenthesis
to go back to the next day and mark s site. I didn' t catch the irony of this story. It was hard. I read it later because it' s a story that at that time seemed a little dry. Yeah, then he made a joke that I' d like to rewrite, because a Coptic town is a mototaxist. It doesn' t sound much to me, yes, yes, yes, but then I read it and read it two or three pesos of yes. I like it a lot.
I read it that first time and it cost me a lot. I remember, it was the same year and the same teacher who put it to us to read, And it is a very sad book, very hard, very dry of a middle world, a purgatory to characters waiting and waiting and waiting is demanding and, at least at thirteen years. It' s that picky one. It is a sophisticated book the power relations in that town, a narrator who, when I see it, has a humor, but in a
content humor. Yeah, yeah, yeah, and it' s got that ending, which is the end, if it' s extraordinary bulldozer as it does it. And it is already that voice of him that is unique and that one cannot believe. And while so many of us eat and then start a paragraph and spin it and spin it to get to the last word, which is I read first that love in the times of anger, which is felt of loneliness. You read yourself when I was at the university, I
hadn' t read at the college about alone. They never read it. I was in college and I had that sin of not having read oan of solitude. The love of the always came out of the colera. I bought it that same week. Black sheep, yes, capa, mari color, yellow, yes and I read it and liked it so much that I continued to consider of solitude one that you separated for the one to deal with each other. I read myself a hundred years of loneliness when I was sixteen.
They also got us reading it, and that' s a miracle. You read it and you can' t believe it exists. It' s a voice above all, and then you think about it and there' s no plot you' re following, a police plot like, for example, a chronicle of an announced death that we read later that year. But it' s that voice that reminds you that that means narrating, that it' s a voice that takes you from the first shore to the last, and you
want to follow and follow behind that sound of stories, storyteller. I think we' ve talked about this before outside the microphone. I was at the Monterio book fair and there Carolina fa Ellin, the writer, and it' s a ci ole presentation reading the first chapter, interpreting it and trying to show that the magic of the narrative. I was showing what I was reading.
Let' s say yes. And then I had a conversation with her and Santiago Gamboa, I was silent in the conversation hearing them and Santiago Gamboa, children, two things that caught my attention. The first one has traveled the world. Yeah, he' s a traveler. He' s a traveler and he' s a guy who, like to say, enjoys the world of books, book days everywhere. And he said one thing that caught my attention, that there are only two universal Latin American writers and you go
to a school in China and someone knows about them. At least dry rumors have come from them. Pablo Neruda caught my attention and Gabriel García Márquez everyone knows who they are. Yeah, and the question then is why. What ' s in the college. And I' m going to say something that ' s a common place, but at least one. Santiago Mambon in the conversation that life is once in a school in Cali and a professor of literature,
from a public school had said García Márquez wrote the Bible. Yeah, and I thought it was interesting because it' s a book like a thousand and a night. It is the same Bible as the author is almost secondary. It is a narrative and a story that completely transcends the author. It ' s something beyond, beyond, and it' s a sum of the world. The world does not sum up what happens universal voice and everything that happens in life. And it is a genealogical tree and has a genesis and
an apocalypse all and yes an apocalypse. Sure, that' s the end. He has some stories that are intertwined in human experience. One can interpret the Colombian experience as well if you want. It is also a history of our country and in the United States and our families, which are so strong and but at the same time can be so perverse. That almost miraculous fact
that this story was written by a journalist was lost in Bogotá. He has done one thing that has also drawn attention to this fact, is that the figure of García Márquez has displaced the work sometimes what is called caballology. Yeah.
Yes, yes, because he is a very portrayed character, with many advocates among journalism, very close to many journalists from all the media, a guy, apparently, a close friend of a lot of people, but at the same time it is a very big mystery of that gentleman came some novels that no one else could have made. Now that you' re talking about
love in the times of anger. I read it after many years of not reading anything about it, and I read it in Barcelona, in a few months I was living there and the reconnection with that book was very similar. I liked it as much as a hundred years of loneliness. I thought it was masterful, the masterful mastery of that trade. Not seeing someone who dominates his trade is as fascinating and as repairing as seeing that someone is capable of
such mastery of his work. This can give stories, every sentence, every exact phrase in perfect box with the one that follows. There' s some kind of balance with seven balls. Playing that and without any risk of failure. There' s paragraph and one reads rich and has as a whole as
much as one has to stop. If I turn him on as the delivery went where he was reading, he goes around and I want to say how to enjoy this moment, yes, as a guy who juggles in a five or a football crack that suddenly is a gambet and says this guy knows something that I don' t know and he does have a thing that some artists have, not only the writers, but at the same time they are teaching to write. They are masters in those two ways, in the sense that
in him a way of doing things begins. That' s why he' s a teacher. But also, if you look at what you are doing, you can learn a lot of things, for example, the beginnings or those first paragraphs that contain the book among its first embracing sentence, for example, the chronicle of a death announced on the day Santiago Mazar was to be killed. That' s one thing you don' t see often. The
way books are titled those titles. So, in August we see each other and you get a little lost at first, because you tend to say we see in August your games. Each title is also telling you in a lot of things and there is a lot of thought, of creativity set from the title that starts to do a writing lesson. Like every writer, he had a heterogeneous work, of course, yes, there is no way that no and I, for example, never could with the autumn of the patriarch.
I like to open it out there sometimes get into that flow of language and it' s fascinating. It' s fascinating, but it' s a failed play, my opinion, that costs me nowhere. It' s time to get into that head and the rhetoric destroyed the story. I' m
impressed. Then came his historical works, closer to the tinomics. I believe that it will be published in eighty- nine minutes eighty- nine the General in his labyrinth yes, a story that is said he stole from him alvaro much gave it to him, gave it to him, He is thanked, not grateful, the glarece. I liked that one so much and I liked something. Yeah, not so much. Yeah, that' s drier less. I like the theory of some readers of him and that there is defined
his work very clearly in two parts. A part that is mythical, that would understand these stories of the candida Erendira and the eyes of the blue dog is another great one of the mother, great one hundred years of solitude. Hopefully the colonel doesn' t have the writer there is a mythical world that is this macondo, besides that turns like myths in a circle, time is circular and then, as happens even with children, their time to circulate and
becomes irreversible. They enter history, he or she leaves school and it' s their turn to tudiate with life and time becomes an arrow. And there he begins to talk about even chronic titles, of an announced death, to live to tell everything, to begin to be chronic, to begin to make history. You don' t know if you can' t hear a lot. It' s also a warning title. This is no longer novelistic,
it' s history. He enters the story and begins, with the general of his labyrinth, also to show to make a chronicle with a linear time and to return to his origins, the journalist' s origin. I find it rich that the publication of this book has brought a debate and an idea that seems tragic, interesting, complex and is the cognitive decline of a great artist and a great creator. Yes, their works in time are losing that strength they initially had. And that' s inevitable. That' s inevitable.
And so it happened with García Márquez. There' s a phrase in the book' s foreword. In August we see ourselves written by his children, because he lost his memory. He was losing his memory and then that ' s a great irony in his life as a writer and creator and journalist, and he managed to say the memory is both my raw material and my tool. Without her there' s nothing. Yeah, it' s not
this one. The book is like that last instant, that last moment, before before the ante, we could say of the fall, of the fall. The old artists who are losing their faculties are tragic stories. I remember Iris Murdock, who also went on the road to Alzheimer' s and lost his words. And recently I read in a chronicle about Schindler' s list, the movie that' s turning thirty. He' s already 30 years
old. It is incredible the story of Kebilly Wilder, who is one of the great directors after the history of cinema, director of the apartment, director of an evay, two filmads, because very important of the history of cinema, wanted to make the list of Schindler and begged Spielberg to let it be done when he had already done the casting, it was too late for him to let it be done. But I think of Billy Wilder not only because of this chronicle, but because his latest films are him but with no spirit
and one sees in the filmmakers. It' s impressive to see how they ' re losing their strength. Being a film director is like being an army general. That' s what it' s about to lead, because it ' s a thousand people and it' s and Tarantino insists more and more on that It' s a job for someone very young and then the old directors are seen in the last two or three as they no longer have. They don' t have the same strength anymore. They don' t have
the strength. I read about fifteen years ago a book an economist who tried to do exactly an exercise in that is look at the great creators, poets, writers, cineaftas, painters. What is his life trajectory and he did it with the painters in a somewhat utilitarian way. Perhaps it is at what point in their lives they painted the work that is worth the most, the masterpiece. If price and value could match, there will be a sorcerer debate,
but he found a double trend. He said there are two types of creators still not called it the young geniuses and others the veteran teachers are already interesting. Young geniuses are formal innovators, they are the way they innovated and that does not happen after the forties, not that has to be one.
It was the teachers who had a trade. They were not great formal innovators and they went over the years perfecting that trade and that is especially given in novelists are ready their craft and tend to write their best novel beyond the forty - fifties. It would be one sara magician, for example, the saramac that all names or the Gospel according to Jesus Christ Well, that are novels already of an old name. Let' s say and he showed for different
types of creation that these two trends coincide a lot. There is only a few popito bread case that was always but already so innovative until the end, it never copied itself, as happens with a lot of singing creators to me of this of these, since we are in final straight also of the cinema, and all this with the prizes, and that impresses me that Scorsese. I' m eighty- one years old and I' ve done the killers of the moon is a special energy. A rabid, long rabid film,
also long that requires, as a young body. One of us said it yesterday in another cognitive alert scenario. Yes, very big and having accomplished that is miracles Yes, because Hitchcock went down as well. Billy Wilder went down one of those last movies and they' re painful. Returning to García Marque, I believe that his last work, where he put everything, was to live to tell it is fully. He wanted to write three volumes. He created three volumes. It was like the first part, when the law seemed
to me it could be divided into two. Very interesting, fascinating in the first part, but when I arrived in Bogotá, it seemed to me that it was again that linear chronicle a little more standard and I lost something of the initial ino. Yes, its two worlds, the world of the domestic coast, the world of Bogotá, in this case, its first landing in cypaquiras at the National University and its description of April 9 a little more common.
Yes, because there already the world is a world you know, that of Bogotá or that of a contemporary city, which is something you feel. With the twelve grin- dog tales that you dream of. There are special ones here, there are others that are more prosaic, that do not necessarily have that tone so much achieved, because from him there, in the twelve pilgrims' tales, I was thinking of one that is called The Holy One, which has a version in cinema, that is called Miracle in Rome you
heard there, in the cart of the cella that those pilgrims tales. There are some who first were film with scripts of him, and he turned them after tales, and one of those is called Miracle in Rome and as a story, it' s called The Holy One and it' s really very good and very level. I remember your trail of blood in the snow,
but I' d like to get Ricardo back to this idea. A great creator loses his memory and in that moment he scribbles or leaves this unfinished story, where he reached his secretary, that reader and he made the changes in words and adjectives. You' ve written that correction over there in the big archives of a college in Texas, in a slightly unlikely place, which is in Dallas Texas. Curious yes, and it comes out. It comes out and generates a great interest, a curiosity, and I think curiosity is in
part greater. It' s we want to have a last moment of what this talent was. Yeah, that talent, one last glimpse. Returning to Carolina Salina, he wrote on social networks a gravel seems pejorative, it seems, but in the background, a gravel also summed up an essence, an essence that we want to see no yes, yes, I think there is a farewell in the background, and I start to compare it with the music and I start to compare it with the songs that were unfinished with artists,
artists. For example, I have some collections of demos, of unbounded Beatles n songs and I' m fascinated to hear that, those things they did
where you see all the talent now. Last year, I don' t know if it was October or November that a last Beatles song was released based on a recording by John Lennon. Amaest Jetson of the house managed with artificial intelligence to divide the piano of the voice and McCartney and Ringo Star did, did, completed the song with guitars they found of George Harrison and I, it seemed to me very much to thank or go to the Beatles again.
Of course, it' s not the cool songs you heard when they were together from when they were together, but there' s a celebration of the human and being alive that' s very touching. I had to pick up my son sometimes, who arrives from football and just stopped by a bookstore as I arrived and saw the tower of García Márquez' s books. With this more beautiful edition. I was provoked by the cover, because I was concerned
about knowing that the Beatles song was going to come out. I felt like that thing this guy pulled out a book and it' s García Márquez, and it' s like when he was alive and he was taking out a new book. There is a phenomenon to which one, however cynical he may be, however trained in life and as aged as he may be, relives a certain passion for even books. This gentleman took out a book. It ' s impressive. There' s something wonderful about seeing him again in a
tower for one of the books I wrote a while ago. I discovered Stefan ' s Vike' s life. Yes, and that led me to his obsession. And his obsession was to understand the creative moment of the great geniuses of humanity and collect manuscripts, collect anything where one could unravel that mystery. And a masterpiece saves afloat. Yeah, I read this book with a bit of a curiosity, a little bit different. It' s not a masterpiece, it' s not what it is, it' s staying, it
was throwing at the end of its life. And so I began to read the first pages. I haven' t finished it. There' s Garcia
Marques. In any case, yes, yes, there it is. It is interesting what Ricardo says of artificial intelligence, because in the background of artificial intelligence he collects that average, of averages, of averages that may be what will remain of an author that I am now using borrowed words, a rubble and there that is to us. There, not in his most brilliant moment, but he is there, but he is and I am sold to things that I like, I say enough for me, I just have to let
them even be his. I change, even if I like him, it ' s his, it' s nobody else' s. And that' s more than enough. It could be, I mean, a re- comparison of a bad John Lenon song. It' s John Lennon' s book and that' s a lot. The book has the final pages, an impression of the similar fact, the sheets where the corrections are, and that seems fascinating to me. That too is good, is that there is also a glimpse at that creative moment and what was happening and his words and
how the adjectives change. It was impossible for me not to read it with the eyes of some editor and proofreader to see what was being lost also at some point in the context of the book. At some point the protagonist arrives somewhere and he says that an iguana ran away in stampede. And I said how an iguana, one, can come out in stampede. Yeah, yeah, sure, that' s license. It' s the license. Yeah, yeah. Or that there was a blue heron plotting motionless over the lagoon
and saying that it was planning motionless. It doesn' t ring a bell, but boadas desas and I read it as with that curiosity as well of and in that field of words, in that logic and in that context, it' s still fascinating that moment in which we' ve been talking, losing our memory, losing our faculties, but that a conscious decision is please, they' re not going to take out this book, which is not
like the good ones I' ve made. I mean, there you could see a way of seeing the world, which is a way of seeing the world that you believe in transcendence. Believe this is not up to my legacy and perhaps the children' s. It' s a different way of looking at the world. This doesn' t ruin any legacy. Maybe there' s no significance. There are like two visions almost of heaven and there is no heaven. Yeah, I think it' s interesting. He also had
an obsession with the addition and precise yes clear words of poet. Yeah, I think contaminating the world with a phrase- like thing is a set of phrases that didn' t have that absolute precision filter. He didn' t like it. It' s interesting, it' s not his rigor and
the scrupulous writer is pretty. The limit of painting is a character with which one can feel sympathy, but I also feel sympathy for the old cundera by taking out these cortico books that he brought out at the end, which were eighty- page novels that one, in any case, said well, but
they are cundera and has moments of some findings. I liked existentialists, those little ones, slowness and identity, those last ones that are then, compared to immortality or the unbearable lightness of being or farewell, are not their best moment. But you feel like you turned your notes into something that serves you. There' s one that' s harder to read in the last books, which is that it' s sabato, that' s last. One
that' s called before the end. I read it. Yes, I read it over there, published in the late nineties, yes, my literary, a letter for the young. Yeah, a little repetitive, but touching or like now. But a little bit on the side of too many tips, not very normative is now that I have said is this rich as the legacy. Oh, this Apocryphal poem by Borges about what I' d do that there' s a time when I' d say I' d eat
more. Now I eat more. I' ve always said that you' ve been great writers of what you regret or what you' d regret and relive. It' s a bad way or a word, it' s better not to religi I think there was something about that Marquez said. It ' s funny to think of the ghosts of writers, those ghosts that enter a bookstore, that no one is reading the books, those books already put
in an almost impregnable preas. In any case, Ricardo, we have had this conversation about this work, which will even lead us to these themes of what old age means in a great creator. Yes, in itself it shows that it was worth it all of a sudden going to sing a book. Publishing this librarian seems to me to be news, as at one point it seemed to me that turning on the colpatriate tower was exaggerated, but now it
seems to me that it had. I think he went to see a criticism that is more or less, if there is no more criticism about the supersecialization that are being sold many or that soon people, who never read of loneliness, will go to cpsllamarque around here and then there will stay there. Not
bad. Not bad. Yes, I think that people are buying this book and fascinated with this book because we needed those towers of García Márquez again and that reminder that there are some talents that are unrepeatable, unrepeatable and I want to use this word again. Miraculous, miraculous. So it' s already happened, yes, it' s a phenomenon of chance and coincidence. Everything you' re looking for explanation, culture, the time Grandma was talking to
you like that. None of that explains why that gentleman was capable of that. Unexplainable somehow. Well, we' ll just keep looking at each other Ricardo, fort by step, thank you all very much. Always pick like he used to say what kind of muse of the book. Thank you, a good time. Always choose a good conversation. Third round the podcast subscribe now and listen to it every week on your favorite platform a podcast produced by
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