Hello how about very good afternoon, I am Karen Ramirez and we are in
a broadcast more than ten radio the design in your ears here in the first
season of the year that we are already closing, because we are coming all
autumn, because it is already here to turn. I' m sorry to
tell you we' re halfway through the year and what a scare. But,
well, I' m very happy because I' m closing with a
gold clasp, with a lot of amazing personalities, so you don' t
get any of the episodes this season, because it' s great. Remember
that we are in all the music studios and we are broadcasting right here in
Capo' s show room worked here on St Louis Potosí' s street in
the one hundred and thirteen, here in North Rome, so that you will
suddenly turn around and watch the show room, because it is beautiful and good.
Today I am very happy because very little ago I went to a book
presentation there in the Juarez, that the truth is that I was amazed by
such a writer that I went to meet and today he is here with me
and it is Chris Winters, how you are, Chris Hi, very happy
to be here. I love it. Thank you for the invitation, thanks
to you for taking your time and we come to visit. Thank you very
much and congratulations for your book. There' s a lot of real life
thanks, really. This was a great presentation and that' s when I
said I need to meet you and meet you and Radio, please, I
love meeting you. Let' s hope it' s the first of many
encounters. Of course it is. That' s a fact. Hey,
I want to start this amazing talk. You ask yourself who Chris Winters is.
I don' t need it, because right now, I come in
a writer' s mode. I guess, I' m a person who
loves to create, who loves to tell stories, who likes to explore his
inner world, his creativity, to generate as creative ties with other people to
collaborate. Be someone very curious who loves to walk the street aimlessly who loves
to talk about this mons in a show room. I am passionate about design
and art, cinema, obviously writing and, well, I think broadly that
I am very good, so I also dispassionate the design. Yes, it
fascinates me. In fact, I studied three semesters of industrial design Mira.
What a father wanted to be an interior designer. Then I changed course,
but I love what father and so and what you stayed with. In the
end I studied communication look and then I did a master' s degree in
cinematographic art as well as the theoretical part. And that' s my preparation.
Let' s say professional very well and how about professional preparation where you
studied. I studied communications. Well, first industrial design on the ibera.
I changed from career to communication. There I graduated, I made the cinema
subsystem that are like the micro specialties that has the Iberian after I did the
master' s degree in cinema art in Kasalam and that' s worth what
father was amazing then, but I over there heard that day of the presentation
that was like a great promise that I wrote at the University, because I
didn' t know it. I discovered it that day that Felipe Sotto Viterbo
told it, who is a writer, who is a colleague and friend who
made me in favor of presenting the book and that I was not so clear
about that anecdote. But, yeah, I think I liked to write since
I was a kid and I had already sent a couple of texts to the
magazine as a college student and I was already collaborating in media like I was
back then I don' t know if you remember the boom like fanzine.
There I wrote in fashion and then one day, like I told them,
oh give me a chance to write something in another section and then I made
a text about it was a documentary by Molotop called Gimmyda Power and they uploaded
it to Twitter and there they saw it, fortunately Sergio Pastrana, who was
then the editor of a magazine called Indie Rock and he invited me to collaborate
ora writing music and well, there I started as my career. Let'
s say in the media that as an independent contributing journalist, oh, very
well, put promise how they weren' t going to mention it and how
it is that this skill was given to you since you were a child,
that is, you described your anecdotes your diary, how this love for writing
started, because that is, I think that naturally it was very easy for
me as from something as simple as intuitively knowing that I had to accentuate or
as the spelling part a little bit more, because I don' t already
know that in school they make you do as little essays speeches and it was
always like mine that was not left for graduation speech and they selected mine or
as if it was spelling By or won, I mean, like that language
has always been given to me naturally. I think just more intuitive, like
I hear later, so they say the rules. And for me it'
s like I have first in the information and then I explain the rule like
it' s not so learned. Let' s say, it' s
something more instinctive. And, well, I did have what I wouldn'
t call him every day because I didn' t write every day like that.
But yes, I' ve always been like having notebooks and writing down
there, not like this need to have a dialogue with myself. And,
well, then he went off as a specialist over time. No, okay,
that' s amazing. And that' s good, because a lot
of people say that you were born with the world, not that you were
developing it. I' m from school, which is both. I mean,
I think there are people, so it' s like I go into
singing, I' d probably learn to put the voice and put notes and
get to my top rank. I' m never gonna be Luis Miguel.
I also think that on the other side, no, if you are Luis
Miguel, but you don' t take care of your voice and you don
' t learn to place it and so on, because it won' t
work. No, and there are a thousand just cases of people running out
of voice. Or of course, then I think it' s a mix
of both. There' s a phrase. I don' t know who
it' s attributed to. It' s like that on the Internet,
but I think so. It is very true that inspiration finds you working fully.
So there' s like this magic thing that you connect and that this
legendary music producer recruines like it explains it very well, that it' s
like it' s a dride that we connect to and you poop ideas and
if you don' t poop it, like the idea was already ready to
be born and another creator is going to screw it up if you don'
t listen to your instincts or if you' re not working, it'
s not going to work. But I also think there' s a part
of' cause that' s not that I' m training as much as
I am, for example, I' m agile zero in sports. Then
of course, you can train and do the best you can and become me
if it was a zero or the breme an eight. But, well,
I' m never gonna be an Olympic acleta. I don' t think
that applies to all disciplines. Right, very true. Hey, Chris,
then I know you had a lot of concerns in college and you were developing
them really well. Yeah, but what happened after that bubble from the university
that goes on is over, because I think I had a little idealized the
publishing world. In part I think I was touched by this new Hollywood moment,
where I was like Hugh Grant An Brange Jones is editor Juslow at The
Hollyday is the book editor. All the girls, like in romantic comedies,
worked in a magazine. I don' t think I touched that era and
maybe I used to consume a lot of magazines actually as a girl and kind
books like Francisco Hinojosa, that write for kids or already as Harry Potter'
s cliché. And then, when I left the university, I realized that
it was a little utopian, because it was just my turn to enter the
publishing world at a time when I was in crisis, because, that is,
yes, it is the moment when we consume editorial content in some way.
But we' re also all used to that everything is free, yes,
no, I mean, we' ve become like good. If he
does not know, the reform asks me to pay, because I see him
in the universal and I see him as a consumer myself. It' s
not like a new way of consuming that we have. So, it wasn
' t necessarily the time of bonanza in magazines and so on, but,
well, I could still find spaces and I was editor at a picnic time
another time I was in an editorial that specialized in gastronomy and wines. Then
there I was as editorial coordinator of a magazine called gluttony, which is obviously
food, and another one called wine. So, like in the lifestyle world,
I found a little bit of my niche between lifestyle and culture. Ok
then there later I had collaborated in a project that I loved, culture that
was called front, that just there I wrote of interior design, and so
on, I continued collaborating at Indie Rocks, which was going to concerts.
There' s already a time when, I mean, it was amazing.
I had already seen band coming, band I was going to see Wow and
interview them. So that was also very rich, because, while maybe it
was from other disciplines, to say the music, I felt that every time
I interviewed someone it was like having my private top ted, where I could
learn all that creative process and how it did it, or even in an
industry like music, which also maybe if you' re emerging, it'
s difficult. Not then, like I got very rich about it, I
was editor after a couple of days in the city, as where to go
I started to collaborate in Chilango, avoiding a magazine called Destiny uber that,
since the car application, was first for passengers, then for driving partners.
And then, well, I think that' s where the most, because
I learned to develop my pen. Not because since I was at lunch,
I had a blog and there more was called riding the pastor and it was
like more just personal anecdotes like using food as a narrative. Another time I
had what was called Winterland as playing a game with my last name and there
I already pretended to just say, there' s no middle I want,
and then the middle I wanted. I had a couple of posts there that
went viral, but in the end I ended up concentrating more like in my
editor' s work ok and Ahorita, I appreciate it very much. I
think that whenever you start, you have this idea that you need such freedom
and you just want it. That which is very good is father to have
that rebellion. But in the end writing as per order gives you a lot
of foundation. I didn' t mean, for example, I used to
hate my time having to make copies, which we' ve all been through.
Yes, and not necessarily. When you think copis maybe, some were
from cool brands, but others were from brands that was how I had to
make the copi of the carriola. At that point in my life, I
didn' t care much, but the other way around, it served me
a lot. How to learn not ok tones here has to sound like moms.
And when I make the tapestry copies, it has to ring for people
who like interior design. But if I do this bar, it has to
sound relaxed. Then in the end, yes, it gives you a lot,
a lot of bases, even if it sounds boring. OK, it
' s amazing, yeah, it' s really father, because you'
re going like you' re going according to the good one, you'
re going like you' re going according to the clear tone, so,
like, it looks like something, like it looks like a job. There
' s already very, very glamorous zero, but fair. I feel that
sometimes those glamorous zero jobs give you as a trade, yes, honest,
yes, just, that is, it' s like it' s a
production and you learn by charging cables, because it' s okay, that
is, at that time give your ego, it hurts because it already wants
to be the great person. But in the end all that' s good
for you, I mean if you' re willing to learn, yes,
of course, that' s very good. Hey now, yeah, tell
me about this book because it was the way I met you. I met
you like this with this book and I thank Ahorita. To allow ourselves so
much Andradio we are aware of time because we become ill- bred. We
don' t love orbits. We salute the whole team, because I love
them so much. And well we went to this invitation to the presentation of
your book. And the truth is that I fell in love with how little
much they were talking about and, above all, about your personality. And
I' d like you to tell the audience what' s going on with
your book, how he started this idea. Talk me ok, because it
' s a novel is called odd elements. I just published it independently and
at great good, broadly it is I used the structure of the periodic table
that we all lost in the prepa de dimi triment de reader to make the
book. While each chapter of the book corresponds to an element, then the
first one is a chapter called hydrogen, one lithium, one sodium and I
also started to use good as in subject matter, it' s kind of
a review of my biography. Start a little bit there' s a muddy
one. Let' s say my childhood and my adolescence. But most importantly,
what I call because I divided the book into suggested chapters and the periodic
table into the suggested chapters, and I say you have to read them,
but there will be who loosened up, as well as people who don'
t read the parentheses. I' m almost sure that even if they skip
it, then they' ll come back to them, because it' s
very joyful. But let' s say that what does make up the periodic
table is a little from my twenty- two years to the tremor of two
thousand seventeen. Not then are those years of me would be like the equivalent
of an entry- to- maturity history or what the gringos call coming of
page, but those before were like thirteen years or what this adolescence was like.
And I think that there is a large section of the population that now
lives a second adolescence. Yeah, I mean, it' s like people
who follow the path of dads who might have married 25 and have kids and
are still like normal temporality. And then there are those who don' t
and that at thirty- something, some are just finishing the master' s
degree, some are just being able to stop living with rumis that isn'
t like cliché. There are seas of articles of how our generation cannot necessarily
acquire a house. So, since these thousands of stones that used to exist,
that marked you as an adult, we already have them much later,
then I already show a second adolescence, of which there is no model.
Then clearly there is a crisis. And if you add to that, because
the technology factor doesn' t like that that we all complain about the dating
that it is now, because I put the allegory in the book, it
' s like like sync the sync element that you' re all day,
that' s like you can use it a lot for the search for love,
like to evade reality, not the search for sex or the search to
close this void. Then you go a little bit from is the book.
More precisely are the ages in which I feel I built my voice as a
creator. So it' s someone who' s kind of looking for what
he has to say as an artist or how he' s going to say
it more this search for love that, because, at times, it'
s very painful, because there are a couple of couples who are like very
painful at times, it' s very funny at times it' s like
this self- deception no and I say that now it' s not.
But I can recognize that in other years I was looking for love, hoping
not to find it, not that you go out with pure people not available
and you are not available. It doesn' t ring a bell and that
at the same time we are this generation with so much information that everyone is
like I' ve already been to therapy, and you have vitative attachment and
you have anxious attachment. And so, but also that that' s both
a mask and overinformation to hide in it. Not maybe and then it covers
all of this. The book is a rather crude book, not in which
it is dra matrico, but it is counted very in a very morbid way.
The character is me, it' s called just like I' m
Chris Winters. He' s got my own biography. They' re true
stories. Let' s just say everything in the book happened, but not
everything that happened is. That' s a good way to measure it.
There are some characters that merge two people to be one, and well,
many of them have names of elements that equally follows the logic of the periodic
table. For example, there are those who owe their name to their place
of origin, such as California, Francio, just as it happens in the
periodic table. There are others who have their first name according to the last
name, which would be the equivalent that in the table is Kurio or Borium,
just as some of them left their real name because they asked for it.
And, well, it' s a book that' s not like
that I wanted. The feeling that whoever reads it is like my diary has
been stolen and you' re reading like in a super rich greedy way.
With things that sometimes we don' t necessarily dare say out loud. It
' s a nice book with a great load of eroticism. There' s,
like, a lot of sex. The truth is there are many relationships
this person is almost using men as a mirror to understand who she is.
So, there are a lot of men, all very funny. Even villains
don' t have as their charm and good, I also used the part
of the periodic table that already as more for poetry. No. Then I
set the example that there is a chapter called Titanium that is from a painful
episode about an abortion. And then there I used to say like Titi when
something hurt me. And then there I made a whole poetic figure with the
repetition of the Titi, which is the other way around that at the same
time you are like the abbreviation of Titanium or, for example, maitnero became
an insult. It' s not like the book becomes an insult. Or
the Ganeson element I traded it for Organizon and it' s the allegory of
orgasm. The neon is like this idea of how this false light illuminates you
and that can sometimes be a guide, but it also sometimes loses us.
Through there and so each element has its meaning, whether it is its meaning
or its character or its poetic figure. I made up other elements because they
either didn' t reach me or there were some that already had some uncharismatic
names, not like a hecta, I don' t know what, and
it' s like, well, maybe I' d rather make up an
element. And well it also happens in Mexico City, it covers that period
of years I tell you up to two thousand seventeen and I think it is
a very rich reading that I tell you is very morbid in the good sense,
it is very honest, it is very I think that was the first
rule when talking about my personal life as well, being net as not wanting
to put me. I feel like then, when you write about yourself,
you want to make yourself look good. And here I think the other way
around is yes, sor very honest. Yes, and I hope that everyone
enjoys it, that as many people as possible read it. And another important
thing about the book is that, to me, to be just a lover
of design and art, I decided that, yes, I was going to
self- publish. There was a chance there to give the book another layer
like the part of the object. And then I invited an artist who I
' m fascinated by his room of work called iváncras ojedich to make the cover
and he, along with his partner, in an office that has to be
called primate, made the interiors. And then, well the book, apart
from having a very nice cover on the inside, every element, every chapter
has its symbol. We stand out as some cenomatopeyas in larger typography. So
the result is like a very rich book in terms of its narrative and in
terms of how it is written, but it' s also like a beautiful
object, even if you wanted to have not like your living room. I
think there' s also my editor' s influence that now we have to
like get people' s attention and you have to put numerals and columns and
things so that in the three seconds you have your attention you get something cro
that also in that influence you notice in the way that is made book today
is very well. And besides, I think you chose the best creators to
give life to your book, because yes, I was fascinated by the truth.
I' m a big fan of his work and they understood perfectly.
I was a little afraid that, being a book a little so erotic and
putting it wrong I mean, I was afraid. There were two paths,
there were several graphic paths that scare me. No, first of all,
that they were going to do something obvious like a periodic table and that they
were going to be like the breaking Bad logo, not that it' s
the elements, like that it was okay in its time, but no longer
or that it was going to do like this kind of televised eroticism of the
nineties, like some legs in a red dress and some heels that is very
good, but it wasn' t like that of all that yes as the
equivalent of putting that little cliché yazze. I didn' t want that and
I think they understood it perfectly. They did something temporary, very fine,
very beautiful. Yeah, it' s just like a fair diary, yeah,
it' s got as a log to size, it' s very
comfortable and besides, it' s got like these colored watermarks as if they
were clippings from some newspaper. From there, my day was this and you
stick it just like almost scrap bucoso and also a little bit, the inspiration
of those stains that each element carries was that they were like fluids, because
I tell you, it is a book very much because with many sweats much
in saliva much a book full of fluids. We' re made of fluids
then exactly, something very normal. Yes Father, hey, what I liked
most is just the sincerity that you had of whether I' m going to
make a book of myself, but stripping as you are commented in the presentation
that already happened to me that now than before, like the few people who
read it before publishing told me how ay felt like a lot of modesty that
it is very intimate. And I mean, that' s like I stole
your diary and understood the feeling, but I didn' t share it because
it was my story. But now that it' s been a couple of
years and one evolves and gets away from who was a little bit just,
that happened to me that I was telling them I felt like ay Chris'
aunt because you wrote, I mean, what a need but I think it
' s one of the values that' s like a vomit, that'
s how I feel that' s the matter, that' s like the
vomit of all these memories and pains and congratulations, which as if it'
s no selenum, as if it' s a stone, it' s
funny and I did literature, but yes, the matter is like I really
feel like the feeling of drinking very well hears what connection you had to the
periodic table, because they could be hercular, not time, smell or things
of stones or so not. But you listen to the afternoon embrica how relative
it is. It' s very funny, because I in Prepa the matter
I failed was chemistry. Then something must be hidden there. We wouldn'
t have to leave it to psychoanalysis by now. There is also something that
I realized just not, as I am a lot to believe, as in
constellations and in which you pass after generation, generation after generation, things,
and just recently I just realized that my maternal grandmother always wanted to be chemical
and did not leave it and I said look at the best. It'
s like my form of tribute. But well, beyond that which I already
discovered later, I think I was already having as a first draft of the
first part, which is the relationship that in the book corresponds to a character
that is called Javier, and that is his element, is hydrogen, which
was a very complicated relationship. I had like that first draft and from there
I applied to a residence for writers in France, like on the outskirts of
Paris, a very small town and being there like I was there in a
beautiful space, watching dinner with the very romantic level and already had the book.
But I kind of missed something and I don' t know why there.
It came to my mind just when I was in Prepa that they made
us learn a lot of things, including the bones of the body, with
a song, the elements, and that' s when I did the chapter
of Titanium, that is, that at the time it wasn' t Titanium,
it was for Titi, because that' s what I was saying to
my wounds as a child and in that I don' t know why.
I kind of lacked musicality. For me writing is like composing, and in
that I remembered when I got started they made me repeat hydrogen, lithium,
hate paws and like something in the rhythm I feel like I said there there
is something after, like I agreed as clear Titanio Titi and I liked this
as counterpoint that Titanio is super strong and Titi was the other way around like
being vulnerable to pain. And from there I started to investigate the periodic table,
there as the tentative title of that project. I knew it wasn'
t the final title, but it was an address that was Stockholm sixty-
nine, which doesn' t exist. It' s another address. Stockholm
is in the Rosa area and this real address was in San Miguel Chapultepec.
But it was like the title for work and it was funny because the character
this hydrogen that I tell you was very suffered. Part of the problem with
that relationship. They were problems with the sexual part and then it became very
ironic to me that we lived well where we spent the most time. It
was a number sixty- nine of a street that has a load, a
clearly sexual connotation, and I said how and is the most sterile relationship of
sex. Not like it seemed very funny to me, because I always find
these patterns and after writing the so- called relationship with Titanium and Titi,
I started to investigate the periodic table, I realized that I invented it where
I took it in a year, one thousand eight hundred sixty- nine.
I started to feel very guided, like this thing I tell you says recruling,
like I felt I was guided by something bigger than me. Yes,
of course everything starts to fit exactly and looking for how in the mande biography
it takes him there were some things that looked like this hydrogen character and then
I realized that his daughter had married a musician, like I started to find
patterns that were left with my story and from there to you already took home
very well, yes, yes, literally everything was lining up and fitting,
just like when you started to realize that if it' s the right way.
And you follow it and they started to happen as almost mystical coincidences that
I said as if I invented you a character and I say is I don
' t know Tulio, without knowing the characteristics of yours, because today I
didn' t know so much at the time of research, it turns out
that it was like saying if you were volatile, and it turns out that
Tulio volatile, explosive. Then I tell you I started to feel for something
bigger than me and that inspired me so much to end. Oh, it
' s so good to follow instincts and he' s a pain in the
ass. That' s why it took you to make your big, amazing
book. Yeah, he' s a pain in the ass. How good
it is that it caused me so much stir that your book was so forthright.
I mean, I haven' t read it, unfortunately, I'
ll soon learn it soon enough. Here we have a lot on TI Radio.
We read a lot of that, yes, but what they were telling
about and you were talking about. It made me very frank to talk about
those problems that sometimes it is not easy to say them, not even to
write them down. Not sure, then come to a book and say face
to face those situations that, perhaps already had passed and relive them because you
have to give life to the book, etcetera. It makes me something very
human, yes, and unusual, because often we face that self of the
past and we keep having it there sometimes or suddenly forget it. No,
and you didn' t want to give him life in a book. And
what father, what caused me to stir here is like all those people who
are in the book. What they said to you, they loved you about
the lawsuit, they got angry or they said ah well, pulo, that
is because it is very valid, because it is with some I no longer
spoke, that is to say with some they do not answer the phone,
let' s say ok with others. They' re great friends who were
like different reactions. Not since I love that you wrote it. Zero I
want to read about your other lovers. I' m not even interested in
it I' m dying to read it It' s amazing. I respect
you very much as a creator. Nothing more. Please don' t name
me. Ok another specific that was if by my name, don' t
name my job project, someone who had a gallery. Out there greetings to
others that it was not or super loving of you and I did nothing wrong.
Of course, by my name of everything, the truth is that there
were all kinds until those who didn' t and didn' t answer me
go in general. Yeah, I tried to warn them all. I think
something that made it easier not for them to love the idea, but most
of them are people who are either musicians or cigney directors or actors or these.
I feel that somehow it can hit them, but at the same time,
they also use their experiences in their work at best in a less direct
way, but they have half the sensitivity so that, even if they hate
it, they understand it or not. And I also tried to be ethical
and like if there was something about them that was very much that I wouldn
' t dare put on myself, not put on or disguise some things.
There are some who recognize themselves more than others, but go is not that
they are grat piet that in the street they will know how ah is d
PI. Yeah, so they' re people that someone from the description.
Maybe there' s ten people like that, not sure, so that also
helps. This may. Yes, I think it did cause me the or
good to balance the people that are there in the book, but I said
well, x already did and not even if it was one of my compares,
that is to say I think that what scared me most the weeks before
the presentation, I just told them that yes I entered as in a major
crisis they will know by if I get up I tell you at 4 in
the morning. There are and also not just with them, with my surroundings,
not because, for example, now there are things that it is one
thing to be very honest with your friends and another thing is to hold with
your uncles and with your hand. That even though you' re already a
certain age and you' re not a teenager and you don' t owe
them anything, because there are things you usually prefer not to say exactly yan
yes. That' s why it was when you said that and I said
good is that it' s very public. No yes, it' s
beyond putting it on social media. It' s a book that talks about
you and that a lot of people are going to find out things that I
didn' t know and between them your family. I totally do. I
think I' m just navigating that trauma, I' m barely settling in
to you, but you do know where I hooked up a lot with you
that I said ay is that this resonates far beyond the relationships that Datin does.
We already knew we' ve all been through, but we' re
going through that. When you said Titi' s how you tell your wounds,
that' s when it resonated with me, because I from Chiquita,
told my wounds coconut. So I was telling my mom I have a coconut.
Then he' d cure me. No. So, when you said
that, I said," I' m the one who put it in
the book" And that' s when I hooked up and when you started
talking about yourself that you were telling in the book about your relationships that you
' ve had, and so on. Very much of you I also resounded
a lot a movie called someone has to know that comes out of Dyan Keton
to what So today is a beautiful and plays the role of a writer and
just for but she writes plays. So, in the new play that I
didn' t know what to do, write your love relationship or be failed
with Jack Nicholson and put it into play and put it in the liter really,
that is to say change the name and everything. But because the character
is literally him and when they watch him in scenes like me, why are
you telling that then he has related me to the eastern audio of Euphoria,
not the exact display Adown. I feel like that' ll be all the
men who' ve gone out with me. But yes, I don'
t know. If he was up to me a little bit because the end
isn' t like being this sell- out and it' s gonna be
you you made me. I mean, as I think, they' re
pure characters full of flaws and the one with the most flaws is me and
sometimes there are relationships that don' t work for moments of life and it
has nothing to do with the other person being bad. They' re just
not for you and I hope that at some point they can see it as
a great compliment, that they are my muses and that I even the most
villains adored them and to some extent I adore them and so adore them that
I spent not only the time I was with them, but the time is
a lot of time it takes you to write, plus the time it takes
you to edit and it was clearly very exhausting emotion. Again I imagine reliving
those things, but at the same time, there were moments that made me
remember all the beautiful or all the funny things about those people and that there
are even very nice moments. I mean, I think that in the most
intimate moments with each other they' re not, because part of this code
of self- imposed ethics was there are things that I want to keep being
just ours and maybe they' re not. Or there are even some characters
that I already saw in retrospect, that is if you read the book,
for example, the character of California, because it seems that it was just
we looked like a thing of friends with rights and I already wrote it.
It was like ay no and the day he made me dinner and the day
he invited me to do, I don' t know what to do on
a trip. And it was as clear, but it' s set from
that point of view, because at that point it' s what I saw.
I didn' t give myself to see. I was really stuck in
the way they rejected me. I didn' t realize how many people I
turned down. So, in that case, the narrator is kind of unreliable,
and I think that that that I did demand there was a claim to
that of hearing, but it wasn' t the dria. Of course not
fascilla. It was like I lived there at the time of being lost.
But of course I recognize all the amazing things that I wasn' t willing
to receive and surely they will also have theirs of reality, jumps that read
it not, because of course, what they don' t want to read
hear is that yes. So it' s something to face a lot of
things, not and if to put people up again and serve them again is
something very human and I really applaud you for having the courage to write and
publish it and say, for this is me, this is the real Chris,
not in some way, because you altered it some things and everything,
but it was ethical and smart. It' s not your story anymore,
and you caught it incredibly. I mean, the truth is, yeah,
when they were talking about the book, if I was hooking up because I
said it' s not gossip, it stays over your life. No,
but the way you talk about things and how you combine the elements of the
periodic table and how they change their names, and so on. It does
something to me, something very creative of you. Really. Yes, I
think he heard something super rich, not to throw flowers, but I think
that' s what beyond gossip, there' s a proposal as aesthetic or
exact how to use the elements to create this new universe and this new language.
Yeah, this is amazing and good. We' ve got to make
chrise now. What is there to eat book, what is Chrise doing now,
that is to say, trying to get as many people as possible to
read it. It is now on sale on my website, but the idea
is that it is for sale in many more places to make it more accessible.
And beyond that, I have a couple of projects, i e freelance,
that all of a sudden they ask me for editorial things. I'
ve got a project of events and experiences called a boxlist, so let'
s say that' s where my rent comes from and I' m looking
for what you' re going to do to the next one right now.
In the coming weeks I helped organize an art exhibition. There are always things
related to the same thing, writing, culture, events, that is how
that is the universe in which I move. And because sometimes it' s
more events, sometimes it' s more literate sometimes it' s more flirting
there than even public relations. But in the end everything has to do with
my passions, which I tell you are literature, design, cinema, events.
As long as I love eating well, drinking well, now I do
pleasure all his things, yes, all his versions. Oh, it'
s so cute. How good I am and how good that you continue to
relate to it, because it is very yours and it is good that it
is still you in the whole extension of the word. Hey and which one
I mean, I know you got your book out right now and it'
s amazing. I wish some of mine, so a book I' ll
tell you there. Yeah, please, yeah, better this one. I
know she' s a cousin opera right now and she' s super excited
and I' d be just like you. But what would be, as
your great goal to say I want to do this, or if it came
to me, it would be like the most outstanding thing of my entire career.
What would it be. Oh, boy. I have many dreams that
should embarrass me. I mean, I want to keep writing. I would
like this to be the first of many books. Now what I' m
most interested in is good fiction as a literature, because just this one,
because it takes so much from me and that I' d like to create
a character that is, that doesn' t take anything from me. That
would be my big dream, not to be able to write something about someone
who' s completely opposed to me. I' d like to go on
a tour writing more audiovisual materials, like in scripting, whether it' s
a series, a movie, that would be a great dream. Eventually I
would like to be a documentary, that is to create with everything I love
the theater, that is what I like, such as to be able to
explore writing in all its versions, from scripting or literature and so on,
and keep creating. I mean, could I tell you how amazing it would
be if we did odd elements in the series? How incredible would it be,
in thirty years, to revisit these characters and make even elements? How
exciting it would be what I told you to do a book that had nothing
to do with me, how exciting it would be to write a script and
bring it to the screen and why not in a few years, that is,
how about I just don' t do the script if I don'
t run it, I think that' s it. You have to have
dreams that are so big that you feel sorry to say it' s like
you' re not going to be able to do that and it' s
like I' m going to be able to do it and maybe you'
re going to dream about doing the Lord of the Rings and you end up
doing an independent production. But in the end, you did direct if you
wrote and if what you wanted is not, yes, it is very or
that I am already an age where you know how to adjust dreams, because
you already know what it costs, not just work, but budget. Yes,
but at the same time I know that, well, it will take
many years, but I will fulfill all. All right, it' s
amazing what a tall father this dream. You never know, I mean,
and I don' t even laugh at people who say they' re a
disciplinary multi- discycle artist. Sounds like a pleonasm to me. I don
' t think everyone if you see well, that is, a little bit
of people who do one thing, have a lot of passions and that,
because there' s no need to stay in one. But I think now
to land stories in every media, that' s what wow look at sleep.
All right, that one' s amazing. And it' s good
that you want all dreams, because good all means forgive, because there are
many who say no. No, I don' t want the book anymore.
No more I want pure architecture. No, you, not what my
dreams are. That' s a nice phrase. I' m gonna keep
this. I liked that hey. And who your favorite writers are, who
you say. Those can never be missed. Mention me five, five,
I don' t know I' m gonna sound like a big grandchild he
' s gonna say. You don' t know how to say a favorite
hair, because look at this book, it' s particularly nourished. I
read a lot as I wrote it to the likes of Alejandra Pizarnick' s
correction of poems. She doesn' t like this Belgian writer, who is
called Melino hom who just puts herself inside her stories. The last one that
just blew my brains out is this one of Adriano' s Letters Memories,
Adriano' s Memories of Margaret jus an NSAIDs Belgian. I don' t
know if I changed his name, but that happened to me that I always
emphasized the phrases that I like about a book and in that book it happened
to me that it was no longer better all lightning the whole book, I
mean that years ago it didn' t happen to me to say, wow,
this level of writing and I think that there are other contents as,
for the same reason that I like cinema and so on, I mean as
well as I wanted to write as Charly of Man, it was no longer
an eternal resplendent. It would be amazing, that is, it would be
incredible or what else. This isn' t a writer either, but just
talking about looking, without wanting I' m saying pure women and I don
' t swear it' s not about quota. I don' t think
so. But, for example, I, when I saw Flieback, it
happened to me that it was like doing like her when she was big and
how to write so wet and as much as so. I don' t
know, I loved it and, uh, right now, I don'
t know. I' m seeing what my next reading is. If you
have something you recommend to me, right now, we look for you,
now, we have a book here yes and also, which is like I
like to see later articles that, that is, as science or as well
as more for like to clean the palate. No, as you pay,
so do learning. But, well, I' m a long way from
reading, and I' m now in a moment to see what I'
m doing. I think, right now, I have an interest in terror.
I just saw that movie that there' s an original mute of the
forties and then they made one that made David Bowe' s song. He
' s from cat people and I loved the mood with the VI and now
I want to stick to it. But in literature, then we must now
read literature as terror, suspense and terror. I think that' s what
you' re calling me. And basically without Karen Stephen king, I could
see that I hurt to write as many books as Stevens, that everyone else
would make a movie to us would seem like a dream no, but it
' s not the tone I' m looking for. It was Ahorita,
although she has amazing masterpieces. Yes, I' m very interested right now
in the idea of the essay I just read had read just your essays,
but not your books and I read this one from Johan Dedeon' s Year
of Magical Thinking and, as it was clear, I was interested in the
essay. Now then I don' t know, as I think for the
moment, in what I find my next novel, I think I' m
going to explore other formats like the essay or maybe the story. I have
an unfinished script from when I did my master' s degree that' s
just scary. Nothing more than there, like then it happens to me than
what I want to write as John and I say ay no how boring.
I want to write literature, since I' m making it literature is like
no, it' s a script and then I' m fighting with that
project. But you wouldn' t regret a play. I respect the theater
so much. I have taken acting classes many times I have staged three different
plays in which I performed everything. It' s not my hobby to lose
money, it doesn' t need to fascinate me, but I just respect
it very much. I don' t feel ready for that format. Or
that the closest experience I had was just that a friend who wrote a book
more like self- help, wanted to turn it into a play And just
as I knew that I had done two plays, we got together to try
to write and ended up being a knockout we couldn' t do anything and
then we recruited a director and he, based on our experiences, made a
play and introduced it and so on. That doesn' t appear in the
book, but not for now. No. Eventually I do, but I
still don' t feel like maybe that nothing. I know how the cosquiites
like right now, you have the one to read horror books maybe suddenly it
' s like ay my now, I have how I want to write a
play. Yeah, maybe he' ll lend himself. Yeah, like,
right now, I' m telling you, I' m interested in rehearsal,
I' d be interested in finishing that unfinished script and eventually making another
novel, which is the character more like that. Yeah, I' m
tall, I' m suckers and I' m a woman, I'
m a total man, I' m a Mexican who lives in Alaska.
That is all wrong, it is a universe that has nothing to do with
Christ' s multiverse, it is already Chris' s I don' t
want anything until thirty years. All right, how uneasinessful of me hear this
talk is incredibly joyous, but I hope that well, I don' t
wait there anymore I' m going to put it as goals that I don
' t know the last time you come here to follow me when what else
you' re writing, because look at ideas, you' ve got a
lot of things, so you' re sure to land. Yeah, I
want to know if I keep knowing about you what you' re doing,
what' s the next book, what' s next, your next step,
because your next step can be a book or I don' t even
know what. We hope it is a book, among all things whatever it
is, but I want to know what you' re being. I thought
then that it wasn' t the last time you came here to irradiate to
tell us, because the talk is very joyful and what a beautiful personality you
really have is amazing and it' s good that you put it in a
book, because it' s a bit of you It' s not a
bit that you' re showing the world and that you bear having it at
home. That' s really not just any base. But I really applaud
you. And I would like to finish this great talk. The first shot,
because there will be a lot of men. What would you say to
the new generations that yes like you, have like many concerns to do many
things, among them maybe write or because many times they write and keep it
and do not publish it. What would you tell those creative people that they
' re hiding there and you' re out. What would you tell them,
then, on the one hand, that they have patience for themselves,
that is, no one very few people are lucky enough to be as such
a spontaneous generation. It' s not like I' m already Borges,
not because you' re not a little likely to be patient, that you
do take your discipline very seriously. I think when you' re young,
there' s this temptation to first have the pose of a cursed poet or
writer who smokes and has cats and an exact alcoholic, not to take as
and of all the phrases you can take, you' re going to grab
it from heming and from drunk writing and sober edicts, don' t mean,
get to work sit down and spend a lot of hours editing, but
that' s like discipline no matter how much talent you have. You have
to have discipline that you don' t sit down. I think there'
s also this question of, like, having a job that pays for your
stuff, it doesn' t take away from you being a creator, that
is, it' s amazing that you have your life and that from nine
to six maybe you work in an advertising agency and then you go out and
spend the time that gives you your energy to write, that' s like
they' re not afraid of that, it' s not like there'
s because no, I mean, not everyone is going to be the person
who writes or the baby nepo and that their parents pay him to write from
a small point of view. Not then like that that they have the discipline
of their finding the balance between themselves, dedicating the time as to their writing
work or the dream, that they have, that they are not afraid of
having anything else, that they give them to eat, that they do not
fall like in these false poses of the suffering artist, that is as good
if you have it and it is given to you like that, but of
what you serve poses and you are not getting to write, that is,
you become a clearer one. There are millions of people so don' t
be afraid to knock on doors, that is, if they want someone to
read them and it' s their friend who also writes or reads a lot,
or if they have a chance to go with someone who' s better,
with more trajectory, that is, that they' re not afraid to
knock on doors, not only to publish them and give them chamba, but
also to have feedback, that they try to be with people who are also
creating, that is, whether they come together on Tuesdays, three writers exchange
ideas. I think that' s super rich. Sometimes listen to it from
others, sometimes not to listen to them, but to defend your own idea
and say nothing. I follow my path well and so that they are persevering
and that they seek the way, that is, maybe not everyone will have
the luck to publish a physical book, but what if they make photocopies and
distribute them in the street in guerrilla format. It' s and they do
a pdf, or I don' t know, and they kind of believe
a lot in them, I think it' s tempting to think. I
' m not gonna eat what I' m doing the book I' d
like to read better do. They' re in fashion, like a few
years ago, vampires and I bet you that because or that you won a
squirt of money. There' ll be a couple of cynics that work.
But I think it' s the other way around when it' s a
super honest job and it speaks from a very specific point of view. That
' s when you can become universal. But then, let them work,
that they feel to work because they are talented and they are incredible, credible,
But we must also give them that waste and have talent and not work
it. No yes, exactly, just having him there all of a sudden,
because I had him. But because I never devoted myself to that and
clearly and you could have been a thousand times more, you wouldn' t
have dedicated yourself a little bit every day. Yes, exactly. That'
s jus discipline and that they fill up with references, that is me,
Sometimes it seems that it' s not clear if you want to be a
writer, because it would be very step- by- step that you read
a lot, but also that they have other references. In other words,
go to a concert in the Alanese go to a museum that on Sundays is
free, go to exhibitions, see what other creators are doing to the best
visual or plastic. But in the end everything talks like the world we are
in and is always very inspiring. They say there are no original creators,
that we all plagiarize. But what are you feeding him, that is,
what are you plagiarizing? You decide that you' re going to plagiarize,
that is, eat good references, have a good mental and emotional diet.
Good. That' s very good, Christon. It was really a pleasure
to have you here with us to say radios, but I swear I'
m not going to take care of you last time I' m going to
look for you under the stones to keep telling them what people are, because
you do a lot of things. I hope I have more projects to present
and secure, and nothing safer if I have no doubt about that. Thank
you so much for being with us. Truly many congratulations on this book the
first of many. I' m sure and well, good for real.
Thank you very much, thank you very much to you, thank you all
for listening. Thank you very much and well, thanks also to the audience.
Thank you for listening to us this season. And we' re almost
nowhere near the closure. So wait for the next episodes because they' re
already the last ones along with Chris' s. So don' t miss
them. Remember we' re on all the music streaming, there' s
no loss. They find us like Irradius East and well, behind me he
doesn' t get alone from R Radio without broadcasting. Remember that the new
programs are coming Lorena and Emiliano Este is coming separately and that they are going
to be two new programs here in di radioas and that they do not miss
them because there will be a lot of design, a lot of architecture,
a lot of cinema also then they do not operate it because they will be
very entertaining. I' ll say goodbye. I know they' ve got
Ramirez and we' ll listen to the next one. Bye Bye.