Latest / Autoras de palabra con Rosa / La periodista Rosa Montero: "La mejor ley de prensa es la que no existe, pueden ser una herramientas de censura"

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La periodista Rosa Montero: "La mejor ley de prensa es la que no existe, pueden ser una herramientas de censura" · Autoras de palabra con Rosa

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The greatness of journalism is that it is written about the immediacy of what is
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experienced, traps the fluttering of the seconds as if it enclaves butterflies in a
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cork. And what we see is an economically poor world, lacking many elementary
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rights, without mobile phones, without computers, without Internet, true stories,
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Montero rose in word authors with pink welcome hello, enchanted rose, as a
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pleasure you have recovered works that you wrote in a time of a rather convulsive
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Spain, a decade of seventy- eight eighty- eight and as I spoke
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in the introduction. It seems that it was yesterday that he took advantage of
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this phrase, but it is true that it has changed a lot. Life
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on and means a lot good like flange, they are versatile. True,
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yes, you can say the two things on the one hand, reading it,
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because besides, I have a terrible memory and forget everything that means that
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I have read these works to them almost as if I had not written them
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no, as if they were new then reading it you are amazed by the
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Spain that is transparent, as you have excited in that phrase of mine,
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because with such a lack of rights, with an epidemic of bestial drugs,
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with a stoppage that rose fifteen points in a few years, it is a
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terrifying thing and so full of deeds. But everywhere, I mean no longer
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cases that come out here in the first of the newspapers, but everywhere and
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with completely terrifying state security forces, some catacombs of these. Anyway all that,
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you think it' s forgotten and we came from there. But,
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on the other hand, there is also the feeling of curiously coincident things,
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such as, for example, suddenly there is a report to the blows that
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was mounted in the eighty- three a scary candle because for one song they
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were a punk band of super young Basque and marginal and made want to be
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a slut. And then there was a terrible candle for the poor and they
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really ruined Carlos Escena' s life, who was a presenter who had released
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the song, because they threw him out, they took his show. Anyway,
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there were serious consequences, but now, all of a sudden, we
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have this fake stir that caused the bitch song, which for me now is
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most holy. I don' t know how to explain it to you I
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think it' s the oldest. But that coincidence or suddenly I also make
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a story because they are. Besides, that' s another curious thing that
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surprised me myself that in most pizzas that are collected here have the form of
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storytelling. That' s why it' s called I' ve titled the
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book I really did, because they look like stories taken from a storybook or
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a novel. Then I make a criminal account of a case that was very
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famous at the time, Maria Teresa Mestre, who was a woman who was
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murdered, who appeared also deported by a young boy, which is a case
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that seems very similar to that of Rodolfo Sánchoz' s son and things like
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that. Then, the same thing I quoted before the drug epidemic, that
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there is a couple of mostly a piece of two that appeared dead from the
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drug, one by one over dose and the other cut his veins. Well,
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all of a sudden, I' ve already published a couple of articles
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lately saying I' m convinced that the drug is coming back. And that
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scares me, yes, because I lived that time and it was a very
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hard time. Suddenly, I start to have details of that, because people,
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a couple of people there like lying on the street, drugged that years
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ago I didn' t see news suddenly of a boy who had disappeared,
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who appeared an eighteen- month- old baby, who appeared walking alone and
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naked in an extra radio of petrer from a town of licorice. And it
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seems to me that it is and then the police discovered that it came from
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an address where topsycomanos. All that was the life of that time and it
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had not been lived for many decades. It really starts to appear to me
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that it' s scary, not that I mean a little bit at the
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end of the book, I say that, I say that you end up
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reading the book, I finished it at least, and I left what pride
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all the way we' ve gone, on the one hand, because really
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a lot of society has been built and, on the other hand, what
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a repel because how fragile it seems then that why you think we' re
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going back to all this, because you should know that this is already part
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of one of a world fall. See how the U S is doing with
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the front. In Canada they have another epidemic with a brutal front. Mexico
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is a country that has fallen directly into the hands of drug traffickers. Three
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quarters of the same has happened in Ecuador. It' s very worrying.
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In other words, the level of power they are acquiring and the international networks
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that are strengthening narcos everywhere are super worrying. Man money, of course,
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is a lot of money, money, and easy and vulnerable points like the
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hobby people and they' re not young and not so young. But really
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good young people in countries are more protected as long as your society esteems is
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built and there is no more, as you well have just pointed out,
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there are not all hordes of kids who have no future and who get involved
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in hit men or mules or whatever, drug traffickers, because it is the
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best option, without a doubt that is what happens in many places in Latin
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America. Exactly that would have to get in there, get right in there
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and look for exits for people. Exactly essential, exactly essential. I always
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say that the basis of everything is education. Yes and aside from the very
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agreeable, but if we don' t have a good base we' re
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looking to make money quickly. Right or where you see. Yeah, yeah,
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all right, all right. Saying that you point out in your book
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many things, for example, that the most round text is not the best
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journalistically speaking, but the one that is documented. Now we release headlines images.
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The more morbid or a more called headline, the more it' s
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going to bring us, but maybe there' s nothing behind it that'
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s not clear is that that' s the question is that you can'
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t be, that is, you can' t round up a text and
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you can' t do it as more beautiful if you have to invent things
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or lose the truth of what' s happened. One thing that many journalists
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do in the written press, which is not in these, because these are
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chronic reports, but, for example, in the interviews this you will know.
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It' s been a lot of people who suddenly put questions to themselves
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that haven' t done much better. I don' t mean that'
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s always seemed scandalous to me. Well, if it hasn' t occurred
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to you at the time, you get upset, not then, but the
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other day I heard myself talking about the morbid thing and I saw a terrible
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thing on TV. It lit half a day of two and a half and
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I don' t know what. What he was an informant about. I
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don' t know what it was, because I got so nervous I'
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ll tell you and it was the second game. This one even thought I
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' d write a good article about it. But well, the second fire
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east of Valencia, in which a woman, her son and the grandson or
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the five- year- old granddaughter died and suddenly they put directly the burning
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night pictures and the scream, the howl of the poor woman. They say
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no if Iodine cut that I couldn' t, couldn' t change.
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I cut the TV myself, but it made me so sick, it was
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a howl of pain, despair, anguish so great, so desperate I couldn
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' t sleep even at night, several hours later, I mean, it
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tortured me and right now I don' t think about it and my hair
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gets high and imagine the family of these people. How can the people of
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that damn thaldiary be so miserable to get that out, how can they be
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such bad people. The epic has been lost. It' s just that
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it' s one thing that embarrassed me I' m telling you, and
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I didn' t see what it was, because it can' t even
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change the cut. You laughed to change it quickly, to disturb it,
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because it could bear it. That' s not necessary. That one'
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s totally free. That' s a scoundrel. Doing that is a scoundrel,
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I think, and that' s how you start, this work,
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this book you' ve published. As you said at the beginning, there
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are several stories you wrote, chronic fences, many you didn' t remember.
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I guess by rereading them, I don' t know, you must
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have felt like everything, I mean, well this. How it happened,
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it' s true. I told him because of course you go back to
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the moment it happens. Not as you remember now, so I think he
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must have woken up a lot of things in you. Yes, it was
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many, in fact, in general, I found very exciting, because besides,
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they touch things that are like very much of life itself. For example,
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there are two that I especially like, which are the ones that I
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like the most and that are not perhaps the bad- looking ones, apparently
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that are the one in the Chinese theater, by Manuelita Ché, that I
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spent a few days there and then the gas field fighters that suddenly read them
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and I said I remembered those people, those poor people, who lived on
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the margins of society. And the two stories that are really like two stories
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I remembered them seemed to me as much as people' s eyesights, so
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fucked up lives and, at the same time, so good people and all
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seen so in flesh and diva that I really like they saw so much.
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I wondered what became of them. Most of them will have died, of
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course because they were forty years old and older. The fighters were dead,
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sure, not Victor Castile, but fuck what things. No, I mean,
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it' s like watching you look out to see life beating us like
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no skin. In many cases I had the feeling that I was looking out
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for that, for a throbbing life, which was to a body that you
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had removed the skin and there were muscles and blood. It was interesting.
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It has been an interesting experience that the cabar of the poor is like articles.
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Yeah, more, it' s enjoyed. Yes, yes, for
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that humanity. Yes, le Manuelita Chen, yes, indeed, I am
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also sure that those two I proposed not to make them. And the same
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was hard for me to convince them, because I' ve always had a
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great weakness. Let' s say and I still have it in my literature,
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for the literature and in my life, for example, for topics of
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articles and such for the edges of society, for the border, for what
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is in the shadows, already for the furthest part and no more scoundrel,
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and not because it seems something like morbid, but quite the contrary, because
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I think that there you see in a more direct way what life is,
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is humanity. While in our more or less middle- class life. And
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so, she' s disguised under all the convention makeup. And so,
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but there is in this, in those extremes is the heart open, no,
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and then it is very touching. We changed the record, you say.
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There was a time when the press of the heart existed. What we
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said in the novel Rosa is soft color and is appetizing exact occasion, because
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it says nothing compared to the sale of the wholesale of today is completely agreeable.
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And, well, it' s funny that, that report, it
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' s a report about the first paparaches and I was very funny because it
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' s so good. They' re as good as Alfredo Landa, movies
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are seen in a tree. Yeah, they' re like walking around the
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house. They are also so little poor things, I don' t know,
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and with so many economic difficulties and with so many that it' s
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funny, I find it very funny, more stories, more stories that could
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well be told as a story I would say I almost didn' t have
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a chiller left. Yes, there are several that are like deroela Nage.
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Now it is a word that we use a lot, such as collective death,
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to be tremendous, the death of the carnage lawyers. That was for
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my generation. It was one of the traumas. I' m still feeling
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the scars of what was a C The trauma was terrifying. They were my
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lawyers, mine, in particular, Nacho Montejo, who has already died poor,
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but we have died of major death because fortunately he ran away by his
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hair, that is, he left two minutes earlier, but he knew them
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clearly and it was so terrible that. So, there' s a reconstruction
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that clearly is what I' m telling you to do that is that to
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do this kind of reporting to do a story with this writing as fictional,
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as if it were a story, you have to work the report a lot.
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The job is brutal, because if you say in one line, you
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say the bright Alvar crossed and took a carajillo, you can' t tell.
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If it wasn' t the Var the brilliant and the owner told you
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he crossed and took a carajillo. If not, you can' t make
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it clear to do narratively, I don' t know fifteen leaflets, because
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it requires bestial documentation. Bestial. So, then, this clear report is
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done with everything that the survivors told me with the other profession and then with
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him, with what it is called with the summary. Of course there came,
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for all the things they had declared, what there were, things that
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the super winds didn' t know, like they had waited upstairs for the
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other one to get shot. Not all of that, what a horror,
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what a horrible thing to be brutal. The truth is that feeling must have
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been terrifying. The media was as simple as paper and pen. Having the
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chronicles on time and, of course, not wrong. Believing against the journalist
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was a bitual, very common thing. Now I don' t think it
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' s going anywhere. No, but then of course we came from Francoism.
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Then it was a completely gagged press, that didn' t say anything
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and that all the censorship was going on and suddenly, because in those years
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we started to say and do and denounce and such And then people weren'
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t used to the bad guys in quotes And then they tried to complain because
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of course they said, but that' s what they come and talk about
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my business, they come to and it was a super usual thing, they
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believed they hired me then they loved me several times. Fortunately, no judge
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ever admitted the complaint, that is, that they had no reason or basis
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for it to open, that they could have admitted it and lost it,
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but they didn' t even admit it. You think now you' re
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looking too high, you' re getting too high. Well, there are
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still some and such and there are some that have been convictions, there have
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been no convictions for meddling in honor and such I think it' s okay.
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I don' t think that the best press law is the one that
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doesn' t exist, you know, because press laws can always be tools
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of repression and censorship. Now, I think that the Penal Code and the
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Civil Code, because they have enough measures to do and that we have to
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denounce, that is, if they really tell you something that they do your
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honor and that it is a lie, because we have to denounce and that
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the other has to prove it. Of course, we have to prove it.
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Yes, yes, the chronicle of the 11th century, which reached the
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highest twenty years, is redacted pink bir, for it was chaos. I
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think that as a whole we do, but we have to read a lot.
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You have to read, you have to dig, you have to read
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more than dig. You have to read a lot, because everyone told it
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from a point of view. But that' s the press. That is
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why the crisis in the press has been so terrible and so devastating, that
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is, this one that we have been for twenty years, this crisis for
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the model, the change of model or market, in the face of the
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digital, that it has caused the disappearance of ninety- five percent of the
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world' s newspapers in the last fifteen or twenty years. No, and
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this is what it means, because there are fewer and fewer versions of things,
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so everyone, all media is a version of reality. Some are more
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manipulators in the outrageous sense of the word, that is, in the sense
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of lying consciously for their interests. Some are more manipulators, others less.
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But they' re all a version and a version that goes along with the
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newspaper company. So you have to read, you have to read more for
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that, you have to read more than one medium. That' s why
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you have to be informed, that it' s broken. I remember having
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it on the table. Good to give names, country and old age be.
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If father bought the time, I bought the country, he liked to
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read both. Look how the same news varied. Yeah, that' s
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why, but whatever it is. Okay. One of those things when I
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have given journalism classes and so, sometimes one thing that I had a lot
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of fun making choose the first ones, when they gave the solitudes of the
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sales media, then it was the same. It was a piece of data.
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Each published the waves, for example, of the quarter that suited them
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more than the sea and were completely different. But not completely different, then
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he left them and these are nothing but pure and hard data. True,
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it is true, yes, yes, how you made the selection, because
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it must have been very difficult. Yeah, well, no. The truth
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is, first I don' t keep anything, nothing I' ve done.
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So, as you know, if I count it in the book,
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it was by chance that I did, because those who did Caesar Vallejo and
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Alicia, I don' t remember was her name' s forgiveness. Angel
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Gallardo, Angel Gallardo, b Yes, yes, yes, yes, César
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Vallejo and Angel Gallardo, who are the authors of the documentary about the trial
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of the nanic on Spanish television, which is great, because the trial of
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the Nañez, which was a very important thing in the democratic evolution of our
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country, because it was the first time that he sat on the bench,
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judged himself and condemned himself to a terrifying police magic and really changed the security
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forces of this country. Then they made this documentary and called me because I
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covered part of Nani' s trial by making environment chronicles and wanted to interview
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me I told myself, because it' s phenomenon, but I don'
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t remember anything. I say you' ll have to give me the chronicles
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so I can be because I don' t remember anything. Then they sent
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them to me because I didn' t have them and of course I looked
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up there and I was shocked because it was like it was marting a well
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of reptiles that I had forgotten and I found it so shocking and so they
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told me no no, if I talked to them not that it is very
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good, you should publish it and as it is, but of course they
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were a small thing. It wasn' t a small part. And so
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I said those reports. Of course, I tried to remember some of the
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issues and ask the publisher to send someone to the hemerotense country or whatever it
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is to look for. Then they found me some that I didn' t
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remember. For example, Teresamestre' s did not remember me at all and
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such others, like that of the tour of Miguel Ríos, because I did
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remember very, very good. It' s very thank you, it'
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s very funny, it' s funny, it' s tremendous, yes,
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and you chorizos everything there, there, there, but I hallucinated it.
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I mean, how is it possible that they sell a thing that'
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s not real, or that' s how outrageous it isn' t,
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and that didn' t pay them any more, no, not that chorizos,
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that or chorizos. No, that was the country. In Spain,
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then he keeps seeing this kind of thing, but not so much so.
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What there are are are great chorizos, as it looked now. We always
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have some scandal. But yes, that corruption so systemic that there was then,
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because that, fortunately, is not on the street either, so much
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on the streets. Yes, then, well, others did not remember me
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and so brought me and brought me. And I' m sure that besides,
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for example, then I remembered that maybe it would have been nice to
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end with that that I made the fall of the Berlin Wall. And then,
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instead of number eighty- eight, there may also be eighty- nine
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with the Berlink Wall It is the end of an era for everyone too,
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but I had forgotten. Then I brought myself to let go of eighty-
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eight, such up to the Nani, because it is when yes, when
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you shut down also yes and brought me like four, like these and like
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four or five more just. So I chose or yes, little more and
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I chose are not all that there is more, but they have not found
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them. And then I removed, well, I did a little, a
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clean one because it' s fat enough, that is, but not good
21:37
enough, yes, good size, yes, yes, but let' s
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go that four or five more would have fattened him up too much then because
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I removed them, which seemed less interesting to me, not pact of silence.
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Nani' s body hasn' t recovered. I' m telling you,
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because it' s the one you close up with, and the more
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I' m going to this other pact of silence, not knowing where the
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castle marten is, what terrible and what story? There are not so many
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silences and so many yes, so many good bodies, and the girl Melan
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and the girl who was lost and the boy that boy who was lost in
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the port of Somosierra, who disappeared yes, supposedly disintegrated, supposedly, yes,
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is distressing, it is tremendously much for the atrocious families. Yeah,
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yeah, what a terrible thing. Yeah, what an unlikely situation you'
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ve come to live, you say, you don' t remember anything,
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but I' m sure it' s like that and it' s writing
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already to finish, the most unlikely not that it' s something that gave
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you the funniest or the most that catches your attention. I don' t
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know anything you remember especially because I don' t know if I remember anything
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like that. Everything that was written, man, was really tremendous. Each
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had its own point. It wasn' t very tremendous. During the Nani
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trial, you were very afraid because of what the defendants who were in a
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row like this were sitting on the back benches, as they were free.
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Besides, then I would come back and look at you to fuck you and
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freak you out. Not that it was enough. You' ve got all
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that stuff on one side, but on the other, on the other hand,
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it was so great, and it' s doing the story of the
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coup, because they made me go to the newspaper I called when the coup
23:27
started and I said that something and that they' re throwing at me there
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are a lot of people going home, stay in standy waiting. So I
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did. I didn' t sleep like everyone else at nine o' clock
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in the morning called me to go relieve people and I said okay, but
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I haven' t slept knowing it comes out, not pass. Then he
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gets there and as soon as he gets there I' m told it wasn
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' t over yet. It looked like they were finishing up, but it
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wasn' t over. They told me to write a narrative story with everything
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they were going to send me all and I started writing it in a typewriter
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without knowing how it will do it and as I was writing it, the
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leaflets would take them off and they would take them down and they would take
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the solos and bring them down to workshops because a special was going to come
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out. So that was pretty amazing and doing it without sleeping and I don
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' t know how it came out. And and it' s consistent,
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but you tell it to him just like that. Plus, you count it
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just like that. Yeah, yeah, okay, I write it, but
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I haven' t slept tonces you know, yeah, yeah, sure,
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yeah,' cause I say the same thing, it' s bad for
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me, because it worked out very well for you. You know it incredibly
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well that it makes sense written in those circumstances. Of course, that'
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s adrenaline, obviously youth, because today I don' t think I was
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capable. I think so, but, well, adrenaline was different. Yeah,
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yeah, well, come on in, as you well say pleasure that
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many. Thank you, thank you very much, rasa rasas squared you exactly.
24:48
Thank you.