Latest / Carne Cruda Podcast / Derroteros: La Luciérnaga, con Santiago Alba Rico (CARNE CRUDA EXTRA)

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Derroteros: La Luciérnaga, con Santiago Alba Rico (CARNE CRUDA EXTRA) · Carne Cruda Podcast

0:06
Goodbye goes equally course. Leave it well on the way to the middle direction
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taken to reach the proposed end set of data that indicate the way to reach
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a place that we leave, direction that is given in writing for Mary day.
0:21
In addition, end of the book containing a defeatous, then a line
0:27
marked on the tidal map to guide the pilots. Rotate, course, defeat
0:38
courses. Roso think walking with Santiago Alba Rico, Santiago how you are good
0:48
morning, Javier, I am very happy to hear how to me too,
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because with a lot of desire to go out for a walk, because also,
0:56
a sunny morning ago, so where it will take us the light of
0:59
the sun and your defeats, Well you know that we have arrived the letter
1:04
he that I have skipped the K that considered almost as an intrusive and,
1:10
in any case, very easy things and I come and the letter l because
1:15
it offers us, therefore, a huge assortment of gorusinas very appetizing and I
1:22
have discarded levia so tongue, labyrinth, limbo, lemon, lugubre, pencil
1:27
and even freedom, perhaps that I was going to stay, but that it
1:34
has been displaced finally, by a word that I like very much in itself
1:38
and because it allows, therefore, to dialogue. I will bring many things
1:41
closer, which is the word Lucierna, well, a beautiful word, you
1:46
have to say, there were also many other beautiful ones as you said,
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not as gloomy, which is already a word in itself that sounds that darkness
1:53
and firefly. It has something to do with the light. Evidently, where
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the word comes from. In fact, nothing looked like it. It is
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a long and already luminous compass word, which seems to be emitting signs of
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light, as it comes from the Latin Lucerne which means, which means lamp
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and a pre- Roman suffix in ago ruciér naga is a lamp, a
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night lamp. Its Latin name, the name of the species is precisely the
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noctiluca ampidis. It' s a night lamp, a lamp that lights up
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at night to light up the darkness. I remember in Galicia that desire in
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a very nice bagalume way. In Galician I made bagalume, but our friend
2:38
and companion, Celtia, has revealed me an infinite assortment of jewels because I
2:45
not only made badalumes I also made every child podeno cabalino de inferno. It
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looks like meida of it, of thin broth, beautiful, unveiled, see
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me, canteiro, see me, carpenter, see me in the light,
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in short, a huge spectrum of beautiful stops. It is also very beautiful
3:00
in Catalan that exice coca de yum and also luskeras. Even if we don
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' t see immediately. The content of the word phonetically is very beautiful.
3:09
It is and by theory, to mention how it is said, how this
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animal is mentioned in different languages, all of which in some way, once
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again, therefore, already collect the light. The drujula light that this animal
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contains. One thing because you wanted to talk about the firefight. Well,
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then, let me tell you before I tell you why one might suddenly feel
3:44
the temptation not to talk about looking at anything I explain. I mean,
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we obviously identify with the light it emits in the darkness of the fields with
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an ancient and mysterious animal, because it' s not really as beautiful,
4:00
it' s not as pretty as its name. It is a strange animal
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by strange insect that is characterized by a sexual timorphism. It means that the
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male is provided with a wing, which is clearly a beetle, because it
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is the species of the genus to which it belongs. It' s an
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insect, it' s a beetle, it' s not a worm.
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On the other hand, the female has this permissive form, it is a
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sort of larva sometimes very large and it is, however, the female that
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emits the light that does not fly while the male, apparently of elitros can
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fly. The female with the light doesn' t fly and if you look
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closely, she' s a very ugly bug. Anyway, like almost all
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insects that can have their charm, some more, others less, but let
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' s say they look very close to you as they are more threatening.
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And besides, it' s funny because an insect is a carnivorous beetle.
5:04
It feeds on snails, whose shells pierce to liquefy its contents by means of
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a substance that emits at the same time anaesthetizing the snail and then slowly surrobe
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them leaving the shell of the snail. I empty that neither its appearance nor
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its eating habits, because they evoke that idea that we associate with the light
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emitted by the ruciranagas. And well, I remember this I discovered reading one
5:47
of my favorite authors or in literary terms, which is a great French entomologist,
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dead in nineteen hundred and fifteen. Anque I think that already part once
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it is called John Henry fabr has I have the vision of his life of
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insects in four volumes of spasa Calpe of nine hundred and sixty with illustrations in
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pastel color, which is a real wonder, the books of nine hundred and
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nine. He died in nine hundred and fifteen. I have told him,
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and he there, then, dedicates many, many pages to the Luciana,
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to which I have now recovered. And in these pages, then, he
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speaks of these customs, of these cannibal customs, of firefly. But she
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also ends up remembering that, obviously, females use it for loving courtship to
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attract males, but that in reality, the light of the glow is not
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limited to fulfilling that role of reproduction courtship of life. He says this is
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an orgy of light from the beginning to the end of hell. The eggs
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are also luminous, the larvae are luminous, the females, obviously adult,
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are magnificent lighthouses, but also the males keep the lamp that they possessed being
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long. And it says then the trade of the female lighthouse is understood.
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But what good is all the rest of this pyrotechnics. And, in short,
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returning to the firefly, there is a discreet, modest humble pyrotechnic among
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the grass that must ask us some questions and overcome the great flowers. In
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remembering the author of the animated forest this Book of nineteen hundred and forty-
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three, because it has a story, a story that is very course,
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on the one hand, also a bit cruel, in which a firefly,
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before having light, feels very ugly and is trying to justify its place in
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the world. And that' s what he does to do good without stopping.
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And yet, much that they do well, because things go wrong and
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sees that all our animals are provided with majestic asts or claws that at the
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same time threatening are beautiful and that she the lujierna, is a sad worm
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that crawls down the south and in the end asks nature, this gift asks
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this one for a mercy of beauty, a mercy of beauty, a very
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beautiful thing. It has not been expressed as making her the Gift of beauty,
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since she already dedicates herself to doing good and nature, which is cruel
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and then reveals that she does not give the eagles and asses to the servants
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to exalt their beauty, but to defend herself and sometimes to cause evil.
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By nature he gives the light that characterizes the rare looks, but gives it
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to him so that his ugliness becomes more visible. Obviously, the collateral effect
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that nature did not expect is that health not only does not make sociality visible,
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but in some way hides forever. It hides it, at least in
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poetry, in literature, it hides it also from these memories that we have
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of ancient nights in the field in which many Lucarnas at the same time synchronized
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their lights. And then I think it' s important to think through the
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luster, a first thing that has perhaps to do with the human condition,
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that you can' t in any way social, in an automatic, platonic
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way. The light, the beauty and the good that there is like evils
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that emit light, and there are also small goods that do it, although
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seen that close, since they are not so attractive. I mean, humanity
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is rather composed of people who are a fan of light, of ugly people
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who sometimes synchronize lights with totally unexpected effects. And I don' t know
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when I' ve seen a lusion for the last time. What are you
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asking, because you must be doing enough time already, because years I am
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thinking of some visit of some night walk in the forest, but I don
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' t remember it. You' re more rural I' m more urban.
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I' m sure you' ve seen her more recently, but,
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look, not more recently. I' ve seen some isolated loss. You
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enter birds in Habil some summer, because they are in vergen in June and
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July. But the last time I remember seeing snags was in the year nine
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hundred and ninety- five. I wasn' t in Lisbon, in a
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little box with a little garden and I went out with my daughter in early
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July and suddenly we saw as the loose grass of stars shining in the middle
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of the darkness, we were fascinated by fruit. He fought that he was
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then very small, he was three years old, but he was very pedantic,
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remembering the tale of a lamb called stale, who had insomnia and went
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through the night counting different objects or animals. At the time when the lights
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appeared, the lamb said what serene night Lucia was in the midst of this
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scene, for uttering words in spite of her age and we realized, in
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fact, that the night was very serene and of that hierelity they gave it
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to her. These, these, these glows that have since been leaving Djat.
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You know it' s an endangered species. In the Perinsula Lbérica there
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are twelve species of Lampirids. Eleven of them are indigenous and all are in
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danger of extinction. Above all, you know why, by the light of
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paradoxes, by the light yes, it is true, the habitat has changed.
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I do not know in the mangroves of Malaysia that the Lucia ragas leaves
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aside for another reason, but in Europe it is mainly due to light,
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both pollution and light pollution, air pollution, but to lubinic pollution. And
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this is also disturbing because it forces us to think that there are lights that
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turn out lights. Yeah, totally. It is terrible that we think,
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for example, of those lights sinies the apocalyptic ones, one of the workers
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of the aerial bombs that illuminate the night. There are destructive lights, there
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are lethal lights, there are lights instead of generating beauty or fertilizing beauty,
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rather they destroy other smaller lights, which should be preserved. I was thinking
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now of those flashes of light that we see in the night bombings on Gaza.
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True, that kind of deadly fireflies that fall those devastating rays and fall
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on the small lights of the few houses that are remaining in the strip.
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That' s what I was thinking about in this contrast between Lucifer and the
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moon fireflies. And the case of the bombings, the bombings of Gafa is
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very evident and I remembered a poem with Belly in which he talks about children
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who are going to pay fireflies, in fact, because they are going to
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hunt them down. But hunting them means putting out their light. And it
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begins by saying this as old says ancient human trade, this of wanting to
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extinguish the light. You remember the last time we thought we could light the
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night. So begins this poem, which then ends with three verses that I
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will tell you in the end and, in fact, I think you have
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to think about these lights that turn out lights? And these lights that pay
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for lights, and there is something very human in wanting to turn them off
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as a very human GUIs want to turn it on, because it forces us
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to think in some way about politics, about political translation, about the metaphor
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of lucifermedity. And obviously, if we have to transfer the immag in de
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- delaying anything to political analysis, immediately we have in memory a very famous
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article that has given rise to thousands of pages after interpretations and re- significations,
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which is the famous article that Pasolini writes, that Paolo Pasolini, in
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one February of one thousand nine hundred seventy- five, in the run of
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the Wax, just nine months before sum still mysterious murder and writes that article
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that everyone cites as that of disappearance, of the glaring nothing and that in
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reality was accommodated and lugoto of power, the void of power. And it
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is a very, very, very interesting article that has to do with this
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judgment, with Abel and ancient human trade, this one of wanting to turn
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off the light, which is what this article does, which was later collected.
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I don' t know if you' re critical or on Lutheran cards.
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What he does there is to analyze the course of fascism after World War
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II and against those who think that the Christian- Democrat regime is also fascism,
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but it is another form of fascism. Pasolin insists that there is an
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absolute continuity between Mussolini and Christian democracy, which wins the elections with an absolute
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majority after the war, he examines what were the common values and says that
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they were the Church, the homeland, the family, obedience, discipline,
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order, savings, morality, and said that all these values impose them at
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the same time Mussolini and the Church, and they are imposed on a people
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who, in reality, is a little reactionary vision of increasing borderline of popular
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culture and who was, in addition to Catholic communist, saying that all these
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values that have been defined serve me in reality, were authentic, and that
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the popular classes were constantly defending and remeaning, but that they become absolutely repressive
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where they suddenly go on to commission, to embody a past national regime,
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to embody a state policy and in this way that the Church becomes repressive because
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it imposes those values that the people live spontaneously by force, because the same
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Muslim way as in the Christian democracy, because they have imposed them in a
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repressive and disamayera way they have killed them. Well, to say Pasolini,
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the point is who killed them. He killed them at that time, says
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a thousand nine hundred and seventy- five, ten years ago something happened that
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we didn' t realize. Ten years ago the fireflies disappeared from our fields.
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It' s not true. It is true that the number of your
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scoundrels throughout Europe, also in Italy, decreased, but still there are Lucernagas
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in Italy at pasonia. In any case, he is interested in using this
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metaphor to point out the change that has taken place in those ten years,
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a change that leads him to say between the fascism of Museolini and the Christian
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Democrat regime. Until the sixty- fifth year there is a strict continuity of
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values, of police repression, of contempt for democracy. And he says,
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however, what changes from the sixty- fifth year is the form of fascism
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and the new radicalism is immeasurable with phe that assimilated to Christian democracy and Mussolinia
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and what that new jarcism would be, for obviously we already know what he
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is going to call anthropological rupture or anthropological mutation. It has to do with
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consumption, it has to do with television, with the private car, it
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has to do with shopping centers. It has to do ultimately with the consumption
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they have completely destroyed. Vasolinila says popular culture because there is no light more
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glued and less lucid than that of supermarkets, shopping centers. I would not
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exactly say that it is another model of farcism, that Christian democracy has given
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us the realization that it no longer owns power, that it is still in
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government, but it is no longer doña of power and that power is being
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filled with something else. If you think now about what has happened not only
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in Italy, which has been the vanguard of the best and the worst ever
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in Europe, but everywhere in the world, we can see how it has
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evolved from that anthropological education and coincides with the disappearance of the lusters as mutated
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models of the new fascism. I would say, Livin does not think that
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we have passed certain of Mussolini, what describes very well step lines, this
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step, this lineage that goes on one side of Mussolini Andreotti and he announces
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in the year seventy- five, the next step, already after the disappearance
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of the fireflies and as a consequence of this anthropological rupture, that it will
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be verlus comics, but it is that Verluskomi and then it will be overcome
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of the comics that is the television, it will be overcome by the new
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technologies. So, then, Meloni and Salvini will appear outside Trumpi and Box.
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And that' s a little bit the chain that takes us to where
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we are today and now, to this new model that already has more to
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do with the digital, with the social networks, which is Meloni' s,
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which is that of trum that is that of vox, which is that
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of this new rascism in which they have been assumed, because all the new
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avenues of access to crowds totally decomposed by neoliberalism. To the point that I
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have ever said and I believe that even here I have ever said, this
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is that if Pasolini raised his head and realized, how this model of anthropological
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rupture has evolved very closely. Perhaps I would feel a bit of nostalgia for
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television in the face of this dizzying privatization of screens are smaller and less culturally
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shared. I had felt nostalgia for television and how not to feel a bit
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of nostalgia for the mall we used to call our youth, now that they
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disappear in favor of online shopping on Amazon. How not to feel nostalgia for
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this kind of urban pignis, of entire families who had lost the countryside and
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the fireflies made, however, shopping centers where they spent almost the whole weekend,
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then, buying, but also eating and also drinking, in short,
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sharing. This model of the anthropological mutation has accelerated in such a way that
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today we could recall with nostalgia those things that Pasolini found terrible. And Pasolini
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ended his article by saying this, remembering, in fact, that culture that
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is called peasant paleoindustrial, is the one that admired her, as it comes
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to her in all her films, in all her poems, in the meio
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youth, for example, because she ends up saying that I would give the
23:10
whole Montadison in return and a look at nothing? Teddy Son had been founded
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by Edison himself and it was all chemical industry of consumer objects. A little
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window of the new Italian industry and he says he would give the whole Mountadison
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in exchange for a firefly? And I just came back to the poem of
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beautiful yoconda truth that said ancient human trade. This one of wanting to turn
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off the light you remember the last time we thought we could light up the
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night and thus end up with these three verses. Time has emptied us of
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radiance but the darkness is still populated with fireflies. In front of all those
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lights that dazzle us and destroy us on the earth, they barely touch everything
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living in the darkness when we turn our backs, for the glowing ones continue
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to come out and continue to join their lights. At a time when we
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cannot be very optimistic, perhaps it is appropriate to remember this stealthy, silent
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existence of the glowing ones, which at such a point have become almost invisible
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that science does not know how many are left. They' re left because
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we don' t see them, but they exist. And Fjate must do
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one thing, Javier, and not provoke you to wait a little blush.
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This poem I with Dabelli, it seems to me that sums up very well
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your latest novel, the fall of the empire of your first novel, which
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is, by the way, I have finished the second reading and I am
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really excited. They look like a wonderful novel and I think he sums up
25:08
very well You novels these. This poem of me with Dabeli, because your
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novel in some way also describes very well this will to turn off lights on
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one side through an excess of illumination. We want to light up the night
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and in the end we are putting out lives on one side and on the
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other, because this radiance that remains has not emptied the time of radiance and
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the darkness is still populated with fireflies. I think we have to assume right
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now, in front of my more complex caz powers in it is not jabe
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who rules it and increasingly destructive, whose dazzling light, because it intends to
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destroy us than to assume our status as fireflies and try to synchronize our lights
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in the dark