Latest / Autoras de palabra con Rosa / La escritora Carmen Riera: "Tengo esperanza en la ciencia porque algunos científicos consideran que hay algo después de la muerte"

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La escritora Carmen Riera: "Tengo esperanza en la ciencia porque algunos científicos consideran que hay algo después de la muerte" · Autoras de palabra con Rosa

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Time amortized by cobwebs and fog. She repeated this phrase so literary because it
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seemed to her that it had happened during that time to the one who needed
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to return Only then could the fog be diluted that would allow her to contemplate
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it after cleaning the webs that covered it. If he was able to do
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so, he would finally feel safe a white shadow Carmen Rivera in word authors
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with welcome pink. Thank you very much, my pleasure. We were talking
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two seconds ago about that concern about death. But before I get there,
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I' m still going with this introduction and I' m saying I need
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a year to dust off and clean the cobwebs. That was Barbara Simpson'
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s decision, one she had made because she didn' t know how to
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say it, maybe in other words, she needed a break, something had
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happened to her. She said a year of fanaticism, instead of sabbatical.
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She was right, because what she needed was to be able to be at
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peace. He' s an opera singer, my protagonist, and I'
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m clear of the fact that rehearsals are going to run one label for another.
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He was not allowed by that fanatic and needed a year to be able
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to recover a whole series of aspects of his lost infantia to reach a distant
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place where perhaps he could solve that riddle he was worried about. He had
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been saying in death more than in life and had come back. I had
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been it seems that I had had an experience f near death experience, so
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it is called, and that is what happens to people who have a total
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cardiac arrest and who suddenly recover come back and it seems that the people who
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come back come back to close something, something that has been unfinished, which
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is what happens to my protagonist, and what they tell is that they are
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in an absolutely wonderful place of tranquility, peace and light from which they may
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not want to return. And those who don' t want to go back
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are sure to stay there. What, therefore, is a way of thinking
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that perhaps everything was not spoken in this life and who says that he has
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lived that moment, in that peace, in that tranquility of health, is
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because he has been back there caressing that line, he was leaving or he
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had to return, but I insist that those who return do so for a
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necessity in something and there was nothing left. In this case it is an
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unfinished childhood issue not she has to undertake a journey towards the past, a
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journey from a past and one towards a specific place, which is where the
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facts have happened to her, which have it in a certain way, because
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traumatized and that and that to ns known the facts and references to a character
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that is going to be very important, that she has known not too long
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ago, because Guial has told it what happened when she was in that place.
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That' s what removed a little bit. Yes, it is your
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Secretary Rose Barness who transcribes the principle of the introduction, and conveys it to
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Hans Mayer, who does not at all admit the decision he has made,
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because older hunch I am representing and a representative. When an opera singer tells
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him that he will not comply with the contracts, because obviously he does not
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endure it and of course, he gets very angry because robse has another paper
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role, since much more contemporaneizing. In this case. This character is an
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opera singer. I understand that ram opera is a very important element. I
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like it a lot and besides, I really like even the crude verista opera
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that she is singing that wonderful area of visidarte and when she has the cardiac
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stop and it seems to her a really great pear, wonderful, extraordinary,
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like many operas. I' m more of Puchin' s and Wagner'
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s, but I also liked Chinese better. What happens when we die,
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Carmen? Well, I don' t know why. I haven' t
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died yet. I know, but fortunately, but what do you think,
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what can happen and if I die, I' m probably not going back
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to tell you. Well, I think what can happen seems to us that
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death looks like sleep. No yes, and when we dream, we don
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' t know anything, then a little bit. I think rather that what
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is going to happen is this, but I have the hope that, in
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a way, science in part considers that there is something after, even without
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taking into account the religious aspects that have told us that there was a heaven
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for the good, hell for the bad. Before there was purgatory, which
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always caught my attention, because I did not know what to do in that
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place. They told me it was to wait, he hoped to go to
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heaven and then dad I think he said the orgatory, because it was gone.
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It had disappeared, the oprogatory was, among other things, the space
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or place where a child was if he died before being baptized. It wasn
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' t that one, but it was the limbo, the linen. It
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' s true, it' s just that by removing it clearly, that
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was the limbo that followed. It was another ribulous space. You didn'
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t know those kids, but purgatory was, because I think maybe you didn
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' t behave well. The whole thing is to purge, because purgatory comes
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this you were buried something and another and surely if you behaved well, or
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I don' t know what penances you could do in that place, for
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then, then days, heaven is true. In addition, you close,
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the book revealed nothing postulating the different religions that, in the end, death
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takes you to the same place. Yeah, it' s funny,'
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cause, well, some and some of the Greek birds. It was a
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terrible place and they shouldn' t like to think about it. But in
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principle, the great monotheistic religions during the above all of the Christian religion and
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in that they have educated us, do not pose that, therefore, a
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positive compensation for the bad ones and a horrible disaster for the bad ones.
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Above all, I remember the plates of my childhood in the nuns in which
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Pedro Bossio' s boilers were and with those tridents in which they were pinsing,
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you were punctured good by horrifying. You had to behave yourself, because
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you had to be It was very dangerous, it was awful. Yes,
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we go to the family womb where Barbara, Barbara, is born, her
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parents are traveling musicians and a time of years of racial selection is born in
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the United States. Yeah, well, actually, I haven' t finished
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the racial and lived there either. In short, not everything, but either
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we are going to co- president, but there are many blacks discriminated against,
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just like Hispanics, unfortunately, but the time when barbarous is born,
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because that is still more intense. It is the time in the sixty-
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eight, as you will remember very well Martin Luthierkin Tell us that he has
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a dream and it is everyone' s dream. No, and that'
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s a beautiful speech. You also talk about cotton plantations. Well, we
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all remember that picture or what we' ve seen or read about blacks picking
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up cotton under the circumstances. We' ve seen what I' ve been
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living, what I' ve been seeing has been taken away, well,
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that' s mythical. We have seen what I have worked or seen because
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before the previous novel that takes place in Cuba, I was in the wits.
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There it is called only ingenuity, Cuban ingenuity, where good, because
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Cuban geniuses made it possible. Then capital that left Spanish Cuba made the Basque
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Country possible. In a way, the industrialization of the Basque Country and the
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industry of Barcelona. We' re going from Catalonia, that is, Captain
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Negrero, say yes, yes, yes. The truth is, yes.
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Dr Riper is from Barbara to write a biographical text reflecting her own experience.
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Let' s say she has to pull back somehow. But I wonder how
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you can go back to a childhood that you remember almost tiptoe, because I
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guess she' s interested in removing the spider webs from that childhood. Yes,
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and I guess it also happens to that protagonist as well as to all
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of us, which is that when we remember, we remember the facts as
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they were, we remember memories and those memories sometimes lead us away very much
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from that reality. To say, we cannot recover lost time, is not
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true or of plus in its exact sense, always and nuanced by everything we
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have contributed through remembering it. So many times we idealize it somehow. I
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certainly feel I do think there is a very important character in Barbara' s
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life who is Tina, dear aunt uncle, tell me something good. It
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' s a character that comes out at the end of the go- on
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side. It seems to me that it is the third part of the book
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and that character that is in contact with nature that we could say is really,
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well, a hipp of the time and that when barbarous as a child
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her parents leave her in her father, in one place, in a Mallorcan
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village, because the last part of the novel is located in Mallorca. In
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this character let' s say she' s the only person in town where
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she' s speaking English. And that creates a link, that is,
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because the poor barbarian girl speaks only English. Without the Mallorcan people of that
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town, they speak only Mallorcan, which makes it very difficult to understand.
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And then, well, that character is important because he can talk. It
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seems to me that understanding between people is fundamental and perhaps even if they are
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two people, a girl and a Mr Mayor, very far away, because
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they create a single one. It is important because I believe that where this
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second part of the novel happens, it is in nature and the two love
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nature. Now we' ll talk about Mallorca. The abuses were not verbalized,
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not perhaps you were so aware that it was happening. Not because the
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children who now have the children to band about adults in a way above all
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the generation of mothers and fathers acting with young children I asked you back.
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I think wrongly, in my opinion, they' re either telling you or
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they' re making parents see that the children are the ones who have to
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send them. It' s all that lawsuit. Children impose their criteria,
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i e I find it barbaric. As you also find a barbarity. On
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the contrary, then, in this sense, since the relationships that could be
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established with an adult often happened to think that he was an adult could have
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any decision about a boy, the boy or the girl. They did not
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realize that there were aspects that were really forbidden and terrible, that is,
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the acceptance of anything that an adult could do as normal. And that abuse
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is children and it' s something In the recent background, in the sixties
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and seventies, that was just so typified in the code. Yes, he
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would shut up, you would shut up because he was the one who suffered
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it as a subject of shame, of course, and then he wouldn'
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t tell. A horror. We' re going with Mallorca and the White
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Goddess. I' d like you to tell me what they were reading and
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there' s the White Goddess. Well, there' s a very big
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story or volume of Robert Gres who lived in a town near Fosyu, that
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she told us about the white goddess. But the one that appears in my
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book is not the closed Grey, it' s another, it' s
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a legend about the mountain where that white goddess lives. I like that reference
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to the feminine, because there is also another character who is the person who
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in the background helps the girl Barbara Simpson very much, which amazing bumil is,
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who is a character of an ancient diva face at that time gives classes,
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who has also been a teacher of Maria Calas E fictitiously and clearly or
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of other important singers, and that she has a predisposition to the Marian theme,
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to the theme of the Virgin, because the Virgin also raises that wonderful
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mediation with God as that white Goddess poses that wonderful mediation with all that is
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natural strength, with all that is that pure ymit and mythical element of power
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and of but your benefactor to help those who have fulfilled a series of rules
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and a little bit, for I well, I am in Mallorca in summer
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and I realize that the mountain of the test many times the people who want
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to go up to see it, because what it does is leave crap everywhere,
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that is to say, I think good, because maybe the goddess takes
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revenge some day makes them miss it and they fall they pass it very fal
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or there is a flood that clean all that garbage. We' re exactly
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out of mountain, we' re out of mountains, we' re like
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predators. Well, the Himalayas, so is the good thing. Everes,
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for example, is being horrible. All the characters tell their story from the
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point of view of rosadarms. I don' t think the avars count the
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clever is the person who writes, because Barbara tells the person who asks her
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to write the story, that he is the doctor who has told him that
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he has already charted knowledge in the hospital, that he has told him that
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this experience is a normal experience and that it would run away very well to
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her to write about it, is to go along with that and take that
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text to him so that he can compare it with other people' s experiences.
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So what happens is that, of course, Barbara knows about music that
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is wonderful because it has no translation, that is, the tract. You
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can listen to a Japanese concert and understand it perfectly or get excited like here
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or like anywhere. Literature isn' t Japanese. You can' t read
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a white shadow. I wish I could read it in Japanese. But I
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want to tell you your principle is yes, so ros that his secretary,
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who has been a journalist, is the one who will write the text,
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but he will write it with everything that tells him, Barbara, with diar,
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with bits of his mother' s diary, with other references that Barns
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himself records on manetophone or at some point even some notes that he writes,
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that is, she Rose doesn' t know everything much less. He knows
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what tells him, what he values and is objective, which is the interesting
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part. And it' s objective, of course, that' s what
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' s interesting. You appear in the second part of the book. Yeah,
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but, well, I show up that I don' t know,
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I mean, there' s a reporter who has my name on it.
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I would have liked to be a journalist, but I didn' t enroll,
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but I couldn' t because I already taught in college with young children
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and who was a fool and I didn' t decide any work for some
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journalist. Good average overhang, but not anymore. I didn' t go
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to the exams, but then I' ve always liked journalism. Now here
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' s that Galician card that he does. It' s good to work
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as journalists, asking people and making a series of news you say. When
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we die, we don' t go back to nowhere where we' re
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supposed to come from before a zoid sphemate in unequal struggle with millions of rival
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congeners fecundates an obulus. Yeah, well, this is what Rose says,
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because that' s what I think, in a way, too, but
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curious that she' s struggling with millions of spermatozos and of only one pecundes
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the important lobe faces is us, we' re the only ones, because
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they' re not made of people. Yeah, cool. I think also
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that, but what is missing is that when I discovered it, because I
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didn' t know, when I discovered it, I thought well, what
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competitiveness between these spilts. Yeah, what an uneven fight. Yeah, and
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then we' re told we don' t have to be competitive and we
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' re already in it. It' s true. You say perhaps our
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essence, our spirit dwells somewhere before we are born and we are predestined to
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live what we have lived. Well, that' s what they say.
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That' s what they say, sounds a little like the eternal return.
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Of course, that' s a lot of fun because I think it'
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s back in fashion now what I' m saying is that actually writers are
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very normal people. Whoever thinks he' s a bip just because he'
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s a writer is a poor jerk, no doubt, but what we do
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is have like some open antennas that other people don' t have and don
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' t have or why they don' t have, but because they don
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' t have them open, because they haven' t opened them. And
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it' s funny that these days I was picking up a whole series.
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We were seeing, therefore, in a series of interviews with doctors, people,
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other people, apart from the classics that we already know, that pose
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just that and during an era, the era of the end of the nineteenth
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century, twenty, completely fashioned all the theories of the eternal return truth,
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even well, because there is a lot of literature and lots of magazines or
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articles, that is, that are very interesting, exciting. In relation to
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that matter, I mean that at that time it was everyday to talk about
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it. Yes, I made the eternal return. I' m thinking straight.
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Of course, yes, of course, and that is to say,
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but it was done with literature a lot. Yeah, you' ve ever
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been on that line that you thought you were dying. No. No,
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no, no, no, no. No. I' ve had that
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experience. A white shadow, as you rightly say, is not the white
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mountain. It' s a shadow, let' s not say more,
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a wonderful shadow, a pleasure. Thank you very much, thank you very much,