Third round, the podcast with Alejandro Gaviria and Ricardo Silva Romero. A podcast
of the locutorio shoots the locutorio, therefore, wishes a preview not so much
of histopia, but of the need to resort to fiction. Fiction, as
we have said before, is not without a lie, but a way of
articulating recreating, representing to be understandable reality, making it emotionally understandable even and
the statues of the south, manages to water the eyes, remove the stomach,
because it is told with a lot of heart, also with great precision.
Well, Alejandro, I' m usually not the one who starts our
conversations, but today I start, because right now you' re on a
trip and I wanted to answer the surprise with another surprise. I mean to
the surprise that you talked to me about autogol and PDWS. In a previous
chapter with the surprise of telling you the disdain of the Gods, the omens
of an apocalyptic world that you just published and that seems like a pound to
me and I don' t want you to go through that publication for the
third right turn. Well, I say that I never start the conversations and
that this time I do, but really the one who started it was you
and I continue it because it happens to me with the people I love and
I admire that all the time I' m thinking why everyone doesn' t
agree with me, because everyone doesn' t realize that the Destination of the
Gods is a great book. Of course, a lot of people are reading
it and a lot of people are following your books. I know, but
I want more people to notice them. It seems gula, or it seems
to be asking too much of the world, but I want these bestsellers to
get even more readers. I' ve been thinking a lot about one of
the first chapters we recorded in the house of Alex Pinilla, our effe and
our great friend, which was the chapter on what survives, what personality or
what your occasion has survived all your lives, the academic life, the life
in government, the political life, and I think the conclusion two years ago
was the vocation to writing. I think you' re a writer. I
think that' s the port of your function in the world, of your
passage through the world, and I think the disdain of the gods is a
wonderful confirmation of that. We came from two great books. I loved the
controlled explosion and I loved it I don' t expect to make that trip
The controlled explosion over your passage through Petro' s government. It seems to
me that this book has been widely recognized. It' s one of the
best- selling books in recent years, and that' s verifiable. I
am not clouded by affection or admiration. It is one of the ns books
sold in recent years and I think it has not been recognized enough as an
intellectual exercise of a very refreshing height. I mean, there' s no
grudges there, no rags in the sun, no rags there, no lows
there. I know that one, as an official, learns many things.
He' s on a scene that has surprises and news that could shock,
but none of that is used. It' s just vindicated there. The
political debate, the intellectual debate, the pulse between ideas and possible ideas,
the pulse between the left and liberalism, the nostalgia for a pact between the
left and liberalism, the question of whether it is possible to impose a utopia
and whether imposing a utopia is not the same as scorning and dismantling democracy.
There is the question of how possible a direct democracy is and whether a direct
democracy is synonymous with tyranny. It seems to me, therefore, a wonderful
intellectual exercise, controlled expasion. But also and we talked about it when when
it appeared, it seems to me that I do not expect to make that
trip is, therefore, a portrait of these times, a recreation of what
you have been calling. Times of madness, moments in which humanity loses its
roles lose its head and is massacred and that have a stringed voices that resist
and denounce and that leave record that the human is violence, but it is
also coexistence, it is also humor, it is also love, it is
also beauty. That tour is Vike rounding Colombia, but never coming, I
found it very relevant and very pertinent. I think I' m saying that
my starting point is affection in admiration, but I' m also saying that
those books are very good books and that they are part of, in addition
to a really very consistent work. That play has now needed fiction. The
disdain of the gods is a shift from reality to fiction is composed of several
tales. It seemed to me that his language was precise, that he found
his own kind of beauty and never twisted it, never exaggerated it, that
it always returned to humor, a humor that saves any matter and that,
by the way, was a portrait of the dystopia that we are already living.
It is a common place to recognize that dystopian stories are really denouncing what
we are living today. But it' s a genre I think we should
keep trying and I think you' ve done it in a very lucid way.
I think it' s impressive. That' s why I mentioned the
controlled explosion and I don' t expect to make that trip. Impressive is
the consistency with previous books and with that idea that we are living in a
delusional time. There is a very pertinent introduction there is an epigraph about the
vocation to defeat, but also a very pertinent introduction that puts us flat in
the sensation, very touching for me that I dedicate myself to fiction since I
dedicate myself to something that sooner or later. It is that language, that
of fiction, that toolbox of fiction, that best serves to say what one
thinks the disdain of the gods belongs if one wants to put it in some
shelf of the bookstores, to the books that examine dystopia, but also to
the fiction books that have a foot in the essay. Fiction essays could also
be called Candide of Voltaire, for example, or the alienist of Machado of
Assisi. We have said a sum of stories that begin with the statues of
the South. I think it' s a very good start, because it
' s getting into fiction the statues of the South. It' s an
autobiographical, clearly autobiographical account. You don' t have to be around or
record third lap every week together to figure it out. It' s a
story I make in my eyes. You can tell it' s all true.
It got me thinking about my dad and it' s not yet a
dystopian story, but it does talk about a future where the dead are.
I felt maybe because once written about it, it is already beginning to imagine
new dimensions. And I really liked that because it' s a preview not
so much of histopia, but of the need to resort to fiction. Fiction,
as we have said before, is not without a lie, but a
way of articulating recreating, representing to be understandable reality, making it emotionally understandable
even and the statues of the south, manages to water the eyes, remove
the stomach, because it is told with a lot of heart, also with
great precision. Then follows the garden of delights, which is a call that
we have sometimes talked about retreating into the world itself and recognizing that the outside
world has passed us by. I always think of Colonel Blin from the Powell
and Press Burger movie, which for me is the closest example. But I
could not be clear to go such a quijote to see someone clinging to their
time and unable to see that times have changed. I could, of course,
talk about each story and make a very timely review. But I'
m going to talk about some, especially with that idea, in mind with
the idea of how you' ve found the fiction you' ve had to
do with for a long time. You' re a great novel reader.
You' ve tried fictions many times, but now you' ve found the
best way to say what you' ve been saying about the delusional era,
about fanaticism, about violence, about the crazy people who manage to convince other
crazy people, which is a mark of the times. I really like immortals.
One of the tales that is originally given at the beginning of the book
and is now one of the last. I think the book was very well
edited. The design is really beautiful the work of the team of Penwing Random
House, which are, therefore, from our house. I think it'
s a flawless job that was done here and I think it was a good
decision to put them immortal in the end, because it' s really one
of the funniest stories. And like with the rock albums, the music albums,
I think the balance of the stories, the place where they are in
this book. In addition, one has the feeling that there is a side,
there is a side b as in acetate discs, because where each story
is is very important. The sum. The order of factors alters the product
in this case and I think the immortals grab you at the best moment makes
you laugh it brings you anguish, clear and sadness, but it is really
very funny what happens in the end is very funny and very human. Although
I anticipate the story happens to mice. There are many topics you have dealt
with and in the form of fiction, they are even clearer than you have
dealt with them. I think one of your greatest virtues is clarity. You
make it clear what you mean word for word. That is, that is,
obviously, a writer, but there is also some engineering, economics,
passing through life that has given you, therefore, an ease both for the
word and for the precision that comes from believing in numbers, believing in numbers
and in your faith in the faith in numbers is, in a way,
the subject of mathematics and violence, a story that is on page ninety-
one and that is about fanaticism and has a wonderful closure. If you'
re listening to this third- round episode, go to that page and review
that story and don' t miss the end of that story that, as
they teach in the workshops from school, applies the suspicion that whoever reads a
story is waiting for a final blow. We have already heard to the tiredness
the comparison between winning by points of the novel and winning by knockout of the
story. I heard about the effect that Garalan Poe was talking about. How
the story is being built, building into the final lashes. It would be
worth rereading the heart of Poe' s tower. How it takes us and
takes us from anguish to anguish, from suspense, in suspense to those last
screams of the tale, because really in mathematics and violence a blow is built.
That amazing. The tales of the disdain of the gods are essays,
but they are fictions because they are also being built towards that final lashe.
They believe in that final whipping. There are topics in the book that are
being dealt with every day. For example, the story called The Daughter of
Eve, page one hundred and forty- nine. It speaks of the subrogation
that has been spoken of and it is that shuddering is calling for discussion.
It is really the advantage that this essay has of the literary narrative, because
it is scaring the reader to discuss. It' s also not just dragging
from one shore to the other. We' ve already said a thousand times
that narrating means dragging, but it' s also calling the discussion as the
essays do in I don' t expect to make this trip. There was
a commendation of such texts, of the philosophical essay that had a foot in
fiction and in Svaye there was a little that vocation. Here too it is
developed. The subject, is proven to be effective and is also being played
with testimony. It is impressive how human, too human, in pages seventy
- three, takes up the tone of the statues of the south, of
the autobiographical and how it investigates, how it deepens in another of your themes,
which is the theme of tragic forgetfulness, how we are a footprint in
the mural of history. Let' s say we' re a dot on
a dot wall. It' s a constant in these books that you'
ve been writing and there in human too human is very, very developed.
There is another topic, another topic in a previous account, Probability zero page
forty- five that touches me directly if the statues of the south made me
think of my dad Probability to be Huma, makes me think of my brother
and removes my nostalgia for my brother And I find the game with the subject
of numbers fascinating, And I find fascinating the theory of why we had to
live the destiny of the drug, to karma of the drug. In this
country there are a series of shorter fictions among the longest fictions and again reminds
me of the arrangement of the music albums. The short fictions are a respite,
they are a parenthesis before continuing in the transit of a sum of stories
that is not arbitrary, which is not a compilation, but rather an anthology
around a topic, rather a sum that results in a very consistent, very
coherent book, around this time of post truths, of words, of verborrheas,
that is, of cart and cart and cart that devalues the words,
that devalues the truth, that evaluates the facts and makes way for the screams,
the fanaticisms. And he' s very impressed that I hope we'
ll soon talk face- to- face about the Trump bombing. It seems
to me that it has been clear that we are all disgusted that this happens
and makes us feel that what could have happened and gives us chills to see
the images of that moment. But it has also been a reminder, all
of it of the fanaticism in which we are living the images of the people
or the publications of the people, saying that it was, therefore, the
holy spirit that worked at that time. There is so much extremism, so
much willingness to force things in favor of what one believes that all these accounts
of the disdain of the gods, that many times they are stories of humor
and you really laugh, laugh with laughter, that is, you don'
t laugh mentally you really laugh. Many of these stories are what we are
seeing. I think it' s the best way to say that it'
s a reading that makes you feel like taking advantage of time. I recently
read a text from a very close friend that he is arming right now,
and that' s what I felt. I am taking advantage of the time
and that I felt with the disdain of the gods. I feel that besides,
it has the virtues that have had the other books, the previous books,
but now it has one more, which is the way to use fiction,
the discovery of fiction, the discovery of that game, or, let
' s say, the development of that game, which you already knew otherwise.
I, therefore, cannot be happier to have this book in the hands
of being able to talk about it, to be able to review it and
to thank you here among us, and I believe that here between us is
what is third return. We talk to each other and the people who hear
us. It is part of a very generous corrillo that one is always encouraging
to follow. It' s clear we can all write. It is clear
that we can all, with luck and vocation, devote ourselves to the craft
of writing. But lately I think we can' t just write, we
should write. Writing is the best therapy we have at hand. Welcome to
a fictional audio course on how and why to write. Take the audiocourse of
fictional writing in the locutorio com slash fictionario with Ricardo Silva Romero. Always pick
a good time. Always choose a good conversation. Third lap podcast. Subscribe
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