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Third lap the podcast with Alejandro Gaviria
and Ricardo Silva Romero, a podcast of

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the locutorio arroba el locutorio dese and
I who am a salesman to the things

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that or, to the things that
I like, I say enough, I

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just have that this even if it
is of him I change, it is

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of him this guy. He took
out a book and it' s Garcia

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Marquens, and it' s like
when he was alive and he was taking

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out a new book. There is
a phenomenon to which one as cynical as

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it may be, however much trained
in life and as aged as it may

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be, revives a certain passion,
even for the books Hello, Ricardo,

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Hello Alejandro. I propose that we
talk about a topic that has caught the

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attention of these days, and it
is the publication of a new book unpublished

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in some measures by García Márquez.
Yes, García Márquez takes out this good,

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he does not take out this novel
Made Marquez, which is called in

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August we see that he had this
first story chapter published instead, in the

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year ninety- nine, which is
a good start. I remember that story.

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I haven' t read the rest
of it, but from the book,

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but it seems to me that it
was a telling tale and with an

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ending that leaves one quiet and everything
is a lady who arrives in his village.

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We are not going to tell,
but I would like, before entering

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this play, to talk a little
bit about our relationship with García Márquez.

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When you read it, I read
it for the first time at school.

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The first one I read was Colonel
No one to write to him. My

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dad did have it from the first
edition that Alberto Aguirre published in Medellín.

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There was a kind of myth that
said he never sold out, never sold

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out there, and in what grade
I put him in my second high school,

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second bachillera or second high school.
I think it' s seventh grade

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for you. For me it was
the second chera. Yeah, yeah,

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I read it the year before high
school and it was the litter that got

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me to read it. And hard
to read the cheap thing about that 13

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- year- old fulkerian theme.
The change of voice, the change of

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voices the dead with which it starts
and one, for rather, child still,

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and even though it was a forced
reading, I remember that I enjoyed

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it seemed to me a voice,
very much so that I had never heard.

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That voice was ringing. I still
have that first edition of the Colonel.

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It doesn' t have to in
the writing and funny because it was

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marked the moment when I stopped reading
one day. Yes, a square parenthesis

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to go back to the next day
and mark s site. I didn'

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t catch the irony of this story. It was hard. I read it

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later because it' s a story
that at that time seemed a little dry.

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Yeah, then he made a joke
that I' d like to rewrite,

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because a Coptic town is a mototaxist. It doesn' t sound much

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to me, yes, yes,
yes, but then I read it and

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read it two or three pesos of
yes. I like it a lot.

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I read it that first time and
it cost me a lot. I remember,

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it was the same year and the
same teacher who put it to us

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to read, And it is a
very sad book, very hard, very

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dry of a middle world, a
purgatory to characters waiting and waiting and waiting

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is demanding and, at least at
thirteen years. It' s that picky

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one. It is a sophisticated book
the power relations in that town, a

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narrator who, when I see it, has a humor, but in a

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content humor. Yeah, yeah,
yeah, and it' s got that

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ending, which is the end,
if it' s extraordinary bulldozer as it

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does it. And it is already
that voice of him that is unique and

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that one cannot believe. And while
so many of us eat and then start

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a paragraph and spin it and spin
it to get to the last word,

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which is I read first that love
in the times of anger, which is

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felt of loneliness. You read yourself
when I was at the university, I

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hadn' t read at the college
about alone. They never read it.

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I was in college and I had
that sin of not having read oan of

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solitude. The love of the always
came out of the colera. I bought

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it that same week. Black sheep, yes, capa, mari color,

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yellow, yes and I read it
and liked it so much that I continued

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to consider of solitude one that you
separated for the one to deal with each

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other. I read myself a hundred
years of loneliness when I was sixteen.

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They also got us reading it,
and that' s a miracle. You

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read it and you can' t
believe it exists. It' s a

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voice above all, and then you
think about it and there' s no

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plot you' re following, a
police plot like, for example, a

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chronicle of an announced death that we
read later that year. But it'

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s that voice that reminds you that
that means narrating, that it' s

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a voice that takes you from the
first shore to the last, and you

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want to follow and follow behind that
sound of stories, storyteller. I think

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we' ve talked about this before
outside the microphone. I was at the

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Monterio book fair and there Carolina fa
Ellin, the writer, and it'

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s a ci ole presentation reading the
first chapter, interpreting it and trying to

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show that the magic of the narrative. I was showing what I was reading.

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Let' s say yes. And
then I had a conversation with her

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and Santiago Gamboa, I was silent
in the conversation hearing them and Santiago Gamboa,

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children, two things that caught my
attention. The first one has traveled

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the world. Yeah, he'
s a traveler. He' s a

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traveler and he' s a guy
who, like to say, enjoys the

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world of books, book days everywhere. And he said one thing that caught

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my attention, that there are only
two universal Latin American writers and you go

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to a school in China and someone
knows about them. At least dry rumors

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have come from them. Pablo Neruda
caught my attention and Gabriel García Márquez everyone

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knows who they are. Yeah,
and the question then is why. What

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' s in the college. And
I' m going to say something that

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' s a common place, but
at least one. Santiago Mambon in the

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conversation that life is once in a
school in Cali and a professor of literature,

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from a public school had said García
Márquez wrote the Bible. Yeah,

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and I thought it was interesting because
it' s a book like a thousand

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and a night. It is the
same Bible as the author is almost secondary.

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It is a narrative and a story
that completely transcends the author. It

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' s something beyond, beyond,
and it' s a sum of the

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world. The world does not sum
up what happens universal voice and everything that

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happens in life. And it is
a genealogical tree and has a genesis and

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an apocalypse all and yes an apocalypse. Sure, that' s the end.

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He has some stories that are intertwined
in human experience. One can interpret

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the Colombian experience as well if you
want. It is also a history of

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our country and in the United States
and our families, which are so strong

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and but at the same time can
be so perverse. That almost miraculous fact

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that this story was written by a
journalist was lost in Bogotá. He has

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done one thing that has also drawn
attention to this fact, is that the

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figure of García Márquez has displaced the
work sometimes what is called caballology. Yeah.

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Yes, yes, because he is
a very portrayed character, with many

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advocates among journalism, very close to
many journalists from all the media, a

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guy, apparently, a close friend
of a lot of people, but at

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the same time it is a very
big mystery of that gentleman came some novels

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that no one else could have made. Now that you' re talking about

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love in the times of anger.
I read it after many years of not

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reading anything about it, and I
read it in Barcelona, in a few

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months I was living there and the
reconnection with that book was very similar.

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I liked it as much as a
hundred years of loneliness. I thought it

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was masterful, the masterful mastery of
that trade. Not seeing someone who dominates

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his trade is as fascinating and as
repairing as seeing that someone is capable of

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such mastery of his work. This
can give stories, every sentence, every

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exact phrase in perfect box with the
one that follows. There' s some

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kind of balance with seven balls.
Playing that and without any risk of failure.

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There' s paragraph and one reads
rich and has as a whole as

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much as one has to stop.
If I turn him on as the delivery

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went where he was reading, he
goes around and I want to say how

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to enjoy this moment, yes,
as a guy who juggles in a five

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or a football crack that suddenly is
a gambet and says this guy knows something

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that I don' t know and
he does have a thing that some artists

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have, not only the writers,
but at the same time they are teaching

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to write. They are masters in
those two ways, in the sense that

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in him a way of doing things
begins. That' s why he'

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s a teacher. But also,
if you look at what you are doing,

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you can learn a lot of things, for example, the beginnings or

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those first paragraphs that contain the book
among its first embracing sentence, for example,

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the chronicle of a death announced on
the day Santiago Mazar was to be

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killed. That' s one thing
you don' t see often. The

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way books are titled those titles.
So, in August we see each other

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and you get a little lost at
first, because you tend to say we

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see in August your games. Each
title is also telling you in a lot

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of things and there is a lot
of thought, of creativity set from the

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title that starts to do a writing
lesson. Like every writer, he had

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a heterogeneous work, of course,
yes, there is no way that no

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and I, for example, never
could with the autumn of the patriarch.

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I like to open it out there
sometimes get into that flow of language and

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it' s fascinating. It'
s fascinating, but it' s a

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failed play, my opinion, that
costs me nowhere. It' s time

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to get into that head and the
rhetoric destroyed the story. I' m

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impressed. Then came his historical works, closer to the tinomics. I believe

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that it will be published in eighty- nine minutes eighty- nine the General

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in his labyrinth yes, a story
that is said he stole from him alvaro

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much gave it to him, gave
it to him, He is thanked,

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not grateful, the glarece. I
liked that one so much and I liked

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something. Yeah, not so much. Yeah, that' s drier less.

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I like the theory of some readers
of him and that there is defined

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his work very clearly in two parts. A part that is mythical, that

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would understand these stories of the candida
Erendira and the eyes of the blue dog

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is another great one of the mother, great one hundred years of solitude.

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Hopefully the colonel doesn' t have
the writer there is a mythical world that

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is this macondo, besides that turns
like myths in a circle, time is

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circular and then, as happens even
with children, their time to circulate and

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becomes irreversible. They enter history,
he or she leaves school and it'

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s their turn to tudiate with life
and time becomes an arrow. And there

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he begins to talk about even chronic
titles, of an announced death, to

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live to tell everything, to begin
to be chronic, to begin to make

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history. You don' t know
if you can' t hear a lot.

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It' s also a warning title. This is no longer novelistic,

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it' s history. He enters
the story and begins, with the general

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of his labyrinth, also to show
to make a chronicle with a linear time

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and to return to his origins,
the journalist' s origin. I find

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it rich that the publication of this
book has brought a debate and an idea

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that seems tragic, interesting, complex
and is the cognitive decline of a great

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artist and a great creator. Yes, their works in time are losing that

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strength they initially had. And that' s inevitable. That' s inevitable.

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And so it happened with García Márquez. There' s a phrase in

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the book' s foreword. In
August we see ourselves written by his children,

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because he lost his memory. He
was losing his memory and then that

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' s a great irony in his
life as a writer and creator and journalist,

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and he managed to say the memory
is both my raw material and my

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tool. Without her there' s
nothing. Yeah, it' s not

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this one. The book is like
that last instant, that last moment,

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before before the ante, we could
say of the fall, of the fall.

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The old artists who are losing their
faculties are tragic stories. I remember

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Iris Murdock, who also went on
the road to Alzheimer' s and lost

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his words. And recently I read
in a chronicle about Schindler' s list,

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the movie that' s turning thirty. He' s already 30 years

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old. It is incredible the story
of Kebilly Wilder, who is one of

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the great directors after the history of
cinema, director of the apartment, director

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of an evay, two filmads,
because very important of the history of cinema,

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wanted to make the list of Schindler
and begged Spielberg to let it be

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done when he had already done the
casting, it was too late for him

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to let it be done. But
I think of Billy Wilder not only because

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of this chronicle, but because his
latest films are him but with no spirit

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and one sees in the filmmakers.
It' s impressive to see how they

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' re losing their strength. Being
a film director is like being an army

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general. That' s what it' s about to lead, because it

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' s a thousand people and it' s and Tarantino insists more and more

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on that It' s a job
for someone very young and then the old

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directors are seen in the last two
or three as they no longer have.

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They don' t have the same
strength anymore. They don' t have

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the strength. I read about fifteen
years ago a book an economist who tried

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to do exactly an exercise in that
is look at the great creators, poets,

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writers, cineaftas, painters. What
is his life trajectory and he did

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it with the painters in a somewhat
utilitarian way. Perhaps it is at what

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point in their lives they painted the
work that is worth the most, the

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masterpiece. If price and value could
match, there will be a sorcerer debate,

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but he found a double trend.
He said there are two types of

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creators still not called it the young
geniuses and others the veteran teachers are already

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interesting. Young geniuses are formal innovators, they are the way they innovated and

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that does not happen after the forties, not that has to be one.

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It was the teachers who had a
trade. They were not great formal innovators

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and they went over the years perfecting
that trade and that is especially given in

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novelists are ready their craft and tend
to write their best novel beyond the forty

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- fifties. It would be one
sara magician, for example, the saramac

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that all names or the Gospel according
to Jesus Christ Well, that are novels

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already of an old name. Let' s say and he showed for different

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types of creation that these two trends
coincide a lot. There is only a

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few popito bread case that was always
but already so innovative until the end,

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it never copied itself, as happens
with a lot of singing creators to me

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of this of these, since we
are in final straight also of the cinema,

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and all this with the prizes,
and that impresses me that Scorsese.

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I' m eighty- one years
old and I' ve done the killers

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of the moon is a special energy. A rabid, long rabid film,

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also long that requires, as a
young body. One of us said it

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yesterday in another cognitive alert scenario.
Yes, very big and having accomplished that

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is miracles Yes, because Hitchcock went
down as well. Billy Wilder went down

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one of those last movies and they' re painful. Returning to García Marque,

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I believe that his last work,
where he put everything, was to

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live to tell it is fully.
He wanted to write three volumes. He

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created three volumes. It was like
the first part, when the law seemed

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to me it could be divided into
two. Very interesting, fascinating in the

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first part, but when I arrived
in Bogotá, it seemed to me that

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it was again that linear chronicle a
little more standard and I lost something of

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the initial ino. Yes, its
two worlds, the world of the domestic

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coast, the world of Bogotá,
in this case, its first landing in

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cypaquiras at the National University and its
description of April 9 a little more common.

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Yes, because there already the world
is a world you know, that

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of Bogotá or that of a contemporary
city, which is something you feel.

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With the twelve grin- dog tales
that you dream of. There are special

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ones here, there are others that
are more prosaic, that do not necessarily

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have that tone so much achieved,
because from him there, in the twelve

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pilgrims' tales, I was thinking
of one that is called The Holy One,

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which has a version in cinema,
that is called Miracle in Rome you

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heard there, in the cart of
the cella that those pilgrims tales. There

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are some who first were film with
scripts of him, and he turned them

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after tales, and one of those
is called Miracle in Rome and as a

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story, it' s called The
Holy One and it' s really very

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good and very level. I remember
your trail of blood in the snow,

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but I' d like to get
Ricardo back to this idea. A great

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creator loses his memory and in that
moment he scribbles or leaves this unfinished story,

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where he reached his secretary, that
reader and he made the changes in

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words and adjectives. You' ve
written that correction over there in the big

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archives of a college in Texas,
in a slightly unlikely place, which is

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in Dallas Texas. Curious yes,
and it comes out. It comes out

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and generates a great interest, a
curiosity, and I think curiosity is in

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part greater. It' s we
want to have a last moment of what

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this talent was. Yeah, that
talent, one last glimpse. Returning to

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Carolina Salina, he wrote on social
networks a gravel seems pejorative, it seems,

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but in the background, a gravel
also summed up an essence, an

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essence that we want to see no
yes, yes, I think there is

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a farewell in the background, and
I start to compare it with the music

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and I start to compare it with
the songs that were unfinished with artists,

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artists. For example, I have
some collections of demos, of unbounded Beatles

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n songs and I' m fascinated
to hear that, those things they did

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where you see all the talent now. Last year, I don' t

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know if it was October or November
that a last Beatles song was released based

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on a recording by John Lennon.
Amaest Jetson of the house managed with artificial

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intelligence to divide the piano of the
voice and McCartney and Ringo Star did,

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did, completed the song with guitars
they found of George Harrison and I,

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it seemed to me very much to
thank or go to the Beatles again.

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Of course, it' s not
the cool songs you heard when they were

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together from when they were together,
but there' s a celebration of the

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human and being alive that' s
very touching. I had to pick up

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my son sometimes, who arrives from
football and just stopped by a bookstore as

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I arrived and saw the tower of
García Márquez' s books. With this

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more beautiful edition. I was provoked
by the cover, because I was concerned

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about knowing that the Beatles song was
going to come out. I felt like

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that thing this guy pulled out a
book and it' s García Márquez,

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and it' s like when he
was alive and he was taking out a

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new book. There is a phenomenon
to which one, however cynical he may

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be, however trained in life and
as aged as he may be, relives

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a certain passion for even books.
This gentleman took out a book. It

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' s impressive. There' s
something wonderful about seeing him again in a

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tower for one of the books I
wrote a while ago. I discovered Stefan

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' s Vike' s life.
Yes, and that led me to his

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obsession. And his obsession was to
understand the creative moment of the great geniuses

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of humanity and collect manuscripts, collect
anything where one could unravel that mystery.

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And a masterpiece saves afloat. Yeah, I read this book with a bit

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of a curiosity, a little bit
different. It' s not a masterpiece,

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it' s not what it is, it' s staying, it

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was throwing at the end of its
life. And so I began to read

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the first pages. I haven'
t finished it. There' s Garcia

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Marques. In any case, yes, yes, there it is. It

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is interesting what Ricardo says of artificial
intelligence, because in the background of artificial

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intelligence he collects that average, of
averages, of averages that may be what

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will remain of an author that I
am now using borrowed words, a rubble

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and there that is to us.
There, not in his most brilliant moment,

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but he is there, but he
is and I am sold to things

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that I like, I say enough
for me, I just have to let

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them even be his. I change, even if I like him, it

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' s his, it' s
nobody else' s. And that'

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s more than enough. It could
be, I mean, a re-

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00:26:03.200 --> 00:26:07.480
comparison of a bad John Lenon song. It' s John Lennon' s

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00:26:07.599 --> 00:26:10.440
book and that' s a lot. The book has the final pages,

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an impression of the similar fact,
the sheets where the corrections are, and

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that seems fascinating to me. That
too is good, is that there is

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also a glimpse at that creative moment
and what was happening and his words and

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how the adjectives change. It was
impossible for me not to read it with

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the eyes of some editor and proofreader
to see what was being lost also at

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some point in the context of the
book. At some point the protagonist arrives

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somewhere and he says that an iguana
ran away in stampede. And I said

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00:26:40.200 --> 00:26:41.920
how an iguana, one, can
come out in stampede. Yeah, yeah,

308
00:26:42.720 --> 00:26:45.000
sure, that' s license.
It' s the license. Yeah,

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yeah. Or that there was a
blue heron plotting motionless over the lagoon

310
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and saying that it was planning motionless. It doesn' t ring a bell,

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but boadas desas and I read it
as with that curiosity as well of

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00:27:00.480 --> 00:27:06.599
and in that field of words,
in that logic and in that context,

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it' s still fascinating that moment
in which we' ve been talking,

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losing our memory, losing our faculties, but that a conscious decision is please,

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they' re not going to take
out this book, which is not

316
00:27:19.920 --> 00:27:22.160
like the good ones I' ve
made. I mean, there you could

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00:27:22.200 --> 00:27:27.119
see a way of seeing the world, which is a way of seeing the

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00:27:27.160 --> 00:27:33.200
world that you believe in transcendence.
Believe this is not up to my legacy

319
00:27:33.240 --> 00:27:37.160
and perhaps the children' s.
It' s a different way of looking

320
00:27:37.160 --> 00:27:41.720
at the world. This doesn'
t ruin any legacy. Maybe there'

321
00:27:41.799 --> 00:27:48.279
s no significance. There are like
two visions almost of heaven and there is

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00:27:48.279 --> 00:27:51.680
no heaven. Yeah, I think
it' s interesting. He also had

323
00:27:51.720 --> 00:27:56.480
an obsession with the addition and precise
yes clear words of poet. Yeah,

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I think contaminating the world with a
phrase- like thing is a set of

325
00:28:02.039 --> 00:28:07.480
phrases that didn' t have that
absolute precision filter. He didn' t

326
00:28:07.480 --> 00:28:15.319
like it. It' s interesting, it' s not his rigor and

327
00:28:15.400 --> 00:28:18.759
the scrupulous writer is pretty. The
limit of painting is a character with which

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00:28:18.799 --> 00:28:26.920
one can feel sympathy, but I
also feel sympathy for the old cundera by

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00:28:26.960 --> 00:28:32.200
taking out these cortico books that he
brought out at the end, which were

330
00:28:32.279 --> 00:28:34.599
eighty- page novels that one,
in any case, said well, but

331
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they are cundera and has moments of
some findings. I liked existentialists, those

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00:28:41.039 --> 00:28:47.759
little ones, slowness and identity,
those last ones that are then, compared

333
00:28:47.759 --> 00:28:51.440
to immortality or the unbearable lightness of
being or farewell, are not their best

334
00:28:51.440 --> 00:28:59.519
moment. But you feel like you
turned your notes into something that serves you.

335
00:29:00.480 --> 00:29:04.400
There' s one that' s
harder to read in the last books,

336
00:29:07.000 --> 00:29:08.160
which is that it' s sabato, that' s last. One

337
00:29:08.160 --> 00:29:11.519
that' s called before the end. I read it. Yes, I

338
00:29:11.599 --> 00:29:15.480
read it over there, published in
the late nineties, yes, my literary,

339
00:29:15.200 --> 00:29:19.960
a letter for the young. Yeah, a little repetitive, but touching

340
00:29:21.279 --> 00:29:26.440
or like now. But a little
bit on the side of too many tips,

341
00:29:26.720 --> 00:29:32.839
not very normative is now that I
have said is this rich as the

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00:29:32.839 --> 00:29:38.200
legacy. Oh, this Apocryphal poem
by Borges about what I' d do

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that there' s a time when
I' d say I' d eat

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00:29:41.279 --> 00:29:45.000
more. Now I eat more.
I' ve always said that you'

345
00:29:45.079 --> 00:29:49.680
ve been great writers of what you
regret or what you' d regret and

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00:29:49.680 --> 00:29:53.759
relive. It' s a bad
way or a word, it' s

347
00:29:55.960 --> 00:30:00.279
better not to religi I think there
was something about that Marquez said. It

348
00:30:00.400 --> 00:30:03.680
' s funny to think of the
ghosts of writers, those ghosts that enter

349
00:30:03.759 --> 00:30:08.720
a bookstore, that no one is
reading the books, those books already put

350
00:30:08.799 --> 00:30:17.559
in an almost impregnable preas. In
any case, Ricardo, we have had

351
00:30:17.960 --> 00:30:22.920
this conversation about this work, which
will even lead us to these themes of

352
00:30:22.000 --> 00:30:26.799
what old age means in a great
creator. Yes, in itself it shows

353
00:30:27.279 --> 00:30:30.519
that it was worth it all of
a sudden going to sing a book.

354
00:30:30.640 --> 00:30:36.079
Publishing this librarian seems to me to
be news, as at one point it

355
00:30:36.359 --> 00:30:41.240
seemed to me that turning on the
colpatriate tower was exaggerated, but now it

356
00:30:41.240 --> 00:30:42.119
seems to me that it had.
I think he went to see a criticism

357
00:30:42.240 --> 00:30:47.000
that is more or less, if
there is no more criticism about the supersecialization

358
00:30:47.079 --> 00:30:52.039
that are being sold many or that
soon people, who never read of loneliness,

359
00:30:52.400 --> 00:30:56.640
will go to cpsllamarque around here and
then there will stay there. Not

360
00:30:56.799 --> 00:31:03.920
bad. Not bad. Yes,
I think that people are buying this book

361
00:31:03.000 --> 00:31:11.079
and fascinated with this book because we
needed those towers of García Márquez again and

362
00:31:11.160 --> 00:31:17.920
that reminder that there are some talents
that are unrepeatable, unrepeatable and I want

363
00:31:18.079 --> 00:31:22.079
to use this word again. Miraculous, miraculous. So it' s already

364
00:31:22.240 --> 00:31:26.559
happened, yes, it' s
a phenomenon of chance and coincidence. Everything

365
00:31:26.680 --> 00:31:32.519
you' re looking for explanation,
culture, the time Grandma was talking to

366
00:31:32.559 --> 00:31:37.359
you like that. None of that
explains why that gentleman was capable of that.

367
00:31:37.839 --> 00:31:45.920
Unexplainable somehow. Well, we'
ll just keep looking at each other

368
00:31:45.920 --> 00:31:45.519
like he used to say what kind
of muse of the book. Thank you,

369
00:31:45.920 --> 00:31:51.440
Ricardo, fort by step, thank
you all very much. Always pick

370
00:31:51.799 --> 00:31:57.240
a good time. Always choose a
good conversation. Third round the podcast subscribe

371
00:31:57.440 --> 00:32:04.319
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372
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