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Ecosistema de la literatura en la Argentina - Invitado: Gabriel Sunico · Ecosistemas

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Hello from ecosystems. We send a fraternal greeting to all radio environment staff,
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the National Federation of Health Workers and its Secretary, Carlos Adamo, for allowing
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them to be part of this great family that is a radio ecosystem environment under
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the prism of polyhedron. How today' s world works, increasingly complex,
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more uncertain, changing, seemingly chaotic, a world of all against all or
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all for all. Not one thing or the other. The world operates in
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a delicate balance of interacting ecosystems. I propose that you think together about how
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these ecosystems work. A small pocket manual, perhaps just a bunch of thoughts
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and reflections that allow us to accommodate, order, orient, understand how we
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work in these hyper- informed and communicated societies, where it is hard for
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us to discover their senses and motives every day. I invite you to listen
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and discover together these ecosystems in which we are often inserted without wanting to be
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part of them and which, however, are part of our daily struggles and
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disappointments and under the prism of polyhedron, because every ecosystem is composed of different
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faces or sides, with its vertices and particularities. Unity in diversity, where
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the whole is superior to the parties, the agreement superior to the conflict,
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reality is imposed on the idea and time space. This will enable us to
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build a sustainable world in an environment full of humanity, in harmony with the
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unique nature that protects our existence and the generations to come welcome. There are
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ecosystems under the prism of polyhedron. We said in some previous episodes that we
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are in a cultural battle that more than battles, I already think it is
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a war for the edges that has, for the consequences that it leaves,
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for the situation in which we are and for the environment that we are seeing
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in all areas. So this ecosystem of today, somehow wants to do credit
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in the sense that this little trench says shelter. If you want, or
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you will also find from where we can look a little bit further than making
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it ours in this battle. And that' s why I' m very
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interested in talking to someone we' ve been here with in ecosystems and it
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' s really nice to have him back here in the study to think about
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open agenda. But at the same time, now that the book fair is
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over, we have some references about how the panorama of literature is. Part
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of the cultural battle. It' s literary and what I really like about
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what he says about defending the word. Not how we go out to defend
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the word that is symbolic, but that is both real and concrete, that
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is our own identity, our freedom to express ourselves, our way of wanting
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to feel in a more friendly and pleasant environment and not with aggressions, violence
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and abuses that have already become a regular part in the development of games,
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digital media. That is why, today, in this ecosystem of Argentine literature
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li. Welcome, Mr Gabriel, the only one who' s been here
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a long time, I don' t come to the truth that I thank
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you for. I love it. I love this studio, which is to
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pass on to people while doing that show. Yes it is beautiful, very
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goaty and besides, this eequiel, which is very friendly and always accommodates well
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the sounds so that one feels better in the microphone. Like Gaby was born
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in Santa Cruz. That' s Perito Moreno, Perito Moreno, a good
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Patagonian man. I came here to study journalism and stayed as a journalist and
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writer. He recalled a long time ago that he wrote a manual on what
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is journalistic activity in the governmental or state spheres, and a Manuel that even
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has a lot of validity, beyond the fact that the media have changed.
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The substance of that manual remains very useful for him who wants to work in
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that area, no yes. When I worked, I started working in the
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state in the press and well, I realized first that there was a whole
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great trade and that there is no university. There is no journalism university,
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there is communication university, and there are tertiary journalism and press colleges. Now
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it happens as a matter and it mixes a lot let' s say,
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you don' t notice the difference and there' s a marked difference.
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Yes, it' s press and what' s periodia. Obviously, they
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are two distinct trades, each with its own style and above. The press
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was mixed with marketing. When I saw that the Manuels in two thousand five,
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two thousand three came out talking a lot about what I know. The
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color of communication was very marketing was very seeming side. I said I had
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already started working in a thousand nine hundred and ninety- nine in the press,
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in making the press, that I started in the government of the city
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two thousand a Clima Barron two thousand two thousand one to learn to go out
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running and communicating from that abor, which is what I write here on the
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day that it was lit outside the square, I crawled out with a photographer
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from there from the building of culture. But, that' s why I
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wrote that manual when I saw that other things developed there and that in the
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State I had a particular commitment that had nothing to do with the man is
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that there is not too much style manual to know what the limits of ethics
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are, to what extent one does not commit and the pen itself or not,
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because one becomes unnoticed and has no name, but makes a castilla or
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writes the name of others. No, yes, weapons from behind. The
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clear slope, are issues that are very sensitive, which requires in a previous
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study and I even think introspective work on to what extent. I am a
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tool of exactly you end up getting involved, because at first I said when
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I just started in the state, I said good. I do institutional press.
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I didn' t want to stick to politics. And after the third
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year you see you' re in some way doing politics, you' re
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defining what program to communicate, you' re arguing with officials, why it
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suits you, and where to go. I am not always talking about the
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personal speculation of functions, but in pursuit of my case of giving myself even
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that of the State, of a political idea or of a political project set
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in motion from an institution exactly, but I want to bring Gabriel today because
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he is part of another group that is called pen exactly very interesting that are
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these poets poets, he is essayists and narrators, because he is ready an
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international organization. That' s right, he' s over a hundred years
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old. It was created in England, s u u s onora to protect
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and defend the writers who imprisoned and who, well, censored and others started
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as they actually met. They were famous writers. I don' t remember
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now. The writer who started bringing them together to discuss literary things. But
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then, when this happened and they said. Well, let' s do
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something else and do something for these writers and at the end of now,
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in short, it was spread by one hundred and forty countries and in Argentina,
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which in the last stage was led first by Luisa Valenzuela, there was
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now Gabriel. There are fingers here, he put a lot of emphasis on
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defending the word. Luisa gave him that imprint, for the defense of freedom
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of speech and speech. So I formed a freedom of expression observatory in there.
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Abe I on the journalism side, inside the pen, clear beyond the
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writing book as well. Yes, yes, well, I was interested in
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that part, which was what I knew the most and so on, so
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I' m in that organization and also in that of writers and writers that
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they have, because well, it' s dedicated to this defense of freedom
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of expression, imprisoned writers and so on, and the Writers' Union also
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adds up in the legal trade union part. They' ve been fighting a
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lot over the theme of the book project that eventually didn' t happen to
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be presented in Congress. It has a clear element project, exactly yes,
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yes, so good. I' m committed to those organizations, that'
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s good because you found both sides there. You don' t come from
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journalism, but at the same time you love writing. You' re writing
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novel stories. You also developed your side of fiction no and that out there
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is the most interesting game, no more for one that comes from the periods
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that you are so tied to the facts to the Fretoria narrative since what actually
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happened. Try to convey what has happened correctly. Passing into an imaginary field
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where you invent the character and the actions, not like that, where,
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somehow it is at least in the beginning you drive. All those actors,
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the others, they' re wearing you in journalism, but at least in
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fiction. Then they get away from you, they don' t take their
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own life. You played them around in the novel. Well, you know,
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Gabriel' s the only one with us. So this is gonna get
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really nice. As always, I bring some song to accompany this passage and
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the skinny Spinetta with the books of the Good Memory. I think it goes
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if this master respects the words then master, but in lukewarm dreams to his
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mouth sweet greenish and among the books of the Good Memorial he remains hearing like
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a blind man in front of the sea. My voice in my mouth change
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afternoons I' ll trust it was the vestige of the future. Red green
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lights of schidijite master under a what a strange shadow that hid from my Libyan
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you fell the crackle puff, for I will write to you, I will
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make you, I will evocate all cloud, the moon aged or without bullet
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roamed, you will not succeed again as I know you would make some trips
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around here waiting for you all and darkened. Yeah. I don' t
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know if the rested sea will have grown a stem on it. Mos embradugents
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without faith stavotella has been emptied, dreams have sheltered the leco rumor. I
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can' t stop laughing. It is no longer necessary. The tigers are
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already seen in the invisible light, with the Spinetta flank, the invisible era,
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the books of good memories Gaby. We talked about the very particular book
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fair, this buff event that was long linked to newspapers like the nation,
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as a clarín, this year I don' t know how it comes there
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And at the same time it is clear that the State has not contributed its
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own, because there was also a lot of contribution from the State body that
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made it look differently. And this time he looked for his presences and for
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his absences that the President who was going, who was not going, who
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presented the book, who then, when he showed up, no one or
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well, he was gone. What you can sum up about what happened at
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the Mira fair. You started by counting, no, not counting, but
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talking about the theme of the cultural battle. And I' m looking at
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some statements at the writers' fair. Laura No, it' s not
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Laura, well, I' m gonna tell the author, but here'
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s the good stuff. I say I got something that she posed enough to
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define as a cultural battle, that would be better a kind of cultural agreement.
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And while I liked the first part that it is enough to define it
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as a cultural battle, not the second, because it seems to me that
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you can' t agree much, because here when the government, the government
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is the one that is saying most lately that you have to do cultural battle.
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When I say this, it' s not like that. The government
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cannot take Argentina as a battlefield, because you are in the state, you
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are the representative, it is the same society. You' re society.
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He gave you the courage when he voted for you, because you made a
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proposal that he then has to prove for you to govern and the government includes
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all of you. You can' t hold on to that and say good.
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Now ready, I got the abala. Now I can do what I
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want and fight a battle, because I don' t know there' s
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much in between. Let' s say, I' d have to discuss
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a lot of things. I say that battle is also against our own identities.
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It tells us our own tradition against culture, against heroes in school,
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let' s say against the amount of education. Of course it' s
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against everything. So the battle of culture. Actually, the idea they have
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is to destroy everything, because I say out there they' re thinking about
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it well, is that people don' t realize either the intellectuals or the
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progress that this is a new paradigm. And I say I don' t
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think so. What I see is absolutely destroying all cultural places. We all
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have theater cinema. He didn' t leave one standing. Now the fair
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was missing, which ended up turning into a yes, which was a battlefield,
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less that it wasn' t there where I was going to present the
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book, because that was going to be epic. And but well, they
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used a lot of microphones to complain and for and with reason, when we
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look at the numbers at the end, they sold out forty percent less than
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there were a lot of provinces that weren' t with their basket In fact,
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the fair had a much smaller measure than good. Editorials all say that
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there is no exactly an average, because it is not the same to compose
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one editorial with another. But they all so felt it, I say some
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felt fifteen percent of the other in forty. Well, that' s where
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you see it. He wasn' t an expoagro. Let' s say.
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No. No, no, no, no, no, no,
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no, really, but the only tractor this gentleman went through. But no,
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no, it wasn' t pear It was a series of lamentations and
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rightly, I already tell you the people of culture, well, the writers,
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an international fair of but the importance it has seen as well as the
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importance that grape has in the world and in science and what has always been
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characterized by the good visits that it has brought with intellectuals from all over the
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world, that they look like a lighthouse And, moreover, from the educational
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point of view, It is the moment when the children of the interior can
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come to know Buenos Aires because they come to the book fair. We see
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this a lot says those who come from the interior of the country, because
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it is taken as a pedagogical event. If you see the collectives with children
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from the interior, well this time it is a party of the very Argentine
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culture. Besides, I don' t know if this is such a worldwide
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phenomenon. No and with as much movement as you say if that is a
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cultural event, then to give the cultural battle by breaking that at the same
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time is all contradictory, because, on the other hand, I wanted to
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be presenting his book there. The president doesn' t know if he makes
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you go out. On other occasions he has also been a participant in the
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offering and has had a very good impact every time Mira has appeared there.
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Today it was because once I was accompanying peña people and they made a presentation
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and behind me was he presenting his book at a stand or, whether he
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always participated. I don' t know in this case what I was thinking
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of throwing books over people' s heads. That would be a cultural battle,
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but no kidding. I don' t think this is a cultural battle.
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I mean, and it seems to me that what I know we do,
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we have to put ourselves on a level, I say I am very
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clear about my path, which is to defend culture, to defend it.
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I don' t know how many variables to have within culture. If you
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want to call him in some way, but not in pursuit of a battle
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less than we do not have so much chance of against someone who is breaking
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everything that gets your budget out with Sandr Shire we talked about last week about
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what happens to those who present theories that involve situations of abuse, violence or
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discrimination and what space they should have. Let' s say no. I
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think that too can have been seen at the book fair, because there in
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contrast everything. Yeah. Yeah, yeah, yeah. I think of that
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case things that I am a defender of art in general. It seems to
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me that you don' t have to get involved, but to me,
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because I' m a fan of art, I love it. Then it
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seems to me that you don' t have to get in. I don
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' t know if I ever had to see David, for example, and
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hen skins you and out there to give a Mrs Paqueta, I' d
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say don' t take out that statue naked. From there. So,
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before that, I prefer that art be respected, because beyond some things we
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don' t understand and see aggressive, it' s like black humor wears
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last if you want to be able to go on long, but the black
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humor well done, I don' t say the chabacano, but that laughs
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at anything, but the one that makes you think beyond that it breaks your
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head, regardless of whether you like it or not. For me that must
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be respected the same. I think it' s good. On a social
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issue. I would put some slinks, because it' s one thing to
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talk about fiction, art, and that you can imagine how you want a
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violent world, more or less. And another thing is when I touch books
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that I don' t know books, but it' s giving it a
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space, a neo- Nazi tendency that I know clearly, there we can
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discuss. At least, I' m not telling you right now, the
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Europeans have received it quite a bit out there. Americans don' t have
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another look, not much more open in that regard. Yes, yes,
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but they have marked an ethical issue there and be above it because they have
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suffered in their own flesh. Not as understood. That' s why sometimes
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there are cultures to say this well. Not so far from this. Not
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the guilt in the speeches, in the media, the guilt that the Germans
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carry. In the German media. We are talking about books, talking just
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about books Julián Venegas, books like stones to pilé old library that I moved
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weight from the ropes and earrings, of writers, readers, polvarendas de layer,
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books that do not silence their know boats in silence and that it seems
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that they would like to lie down. Open loin and hard lids extend as
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long as you can search, letters of the word Bramon walk around you already
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buy it. They' ve exchanged whatever it' s worth. Pieces of
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my big head- breaker break mondes of complaint always falter. As long as
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I love what I know, I fear what doesn' t hurt and doesn
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' t work. Oh if there were an eternity, books would carry,
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if there were later chests of companion voices, hard of them that read you
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hired the piz, chests of the street landscape voices that read you against pen
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covers. We are in the ecosystem of Argentine literature with Gabriel Sunico. After
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hearing this novisto subject by Julián Venegas, who is just talking about books,
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I was snooping around. I have a few new musical things to share forever
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to renew us. Speaking precisely of this renewal, what is the reality today
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of those who want to dedicate themselves to writing, who want to dedicate themselves
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to literature. You say in reality, in terms of publishing and when it
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will be possible to reach others, because in truth you, when you talk
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about who decides to have a literary work, become a social actor. To
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say exactly I agree, that is to say, that he is part of
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someone who is offering, like the one who puts up a greengrocer and offers
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Kewitz. Yeah, well, it' s just like that. I have
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recently made three books as one of the articles to publish is Righter' s
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writing a book, but you do not appear at all. You stay in
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the shadow of Vos. Ghost writer Wow, for example, had some kind
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of assistants. A friend of mine is coming She went through cancer in the
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pandemic. I had a life story to tell She wrote a diary and told
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me che gavi. I got these because they give you a block. So
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tech can be published clearly that a format I give you as it is then
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I there on the way to a first reading say if this is the truth,
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which is good, I start to guide you and give you suggestions.
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What you do is a link between what the person wants to tell and how
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before what tools he can use. You jumped aside you specialize in the subject,
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because you to help him. You have to get into it. I
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laugh because after that book, more when it' s scientific stuff or it
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' s around with scientists, well doctor, that I was going to tell
30:08
you later that book. I have a character who inherited some fields from the
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father, a boy who studied theater and lived in the United States, New
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York. Hereda from those fields has to come here to attend to him and
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says I' m going to take these fields to the grocology. And,
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well, he had a whole process, because apart from grocology, he changed
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his life, because it' s like that, it changes your life.
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Okay, but half of the book is thrown at him I don' t
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know round two point. Zero making that interesting to the reader is bravo,
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well, but it looks like a series of Netflix, let' s say,
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just as everything also involves today a game with the meeting scripts. Well,
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back to the subject of publishing because I' m interested in telling you
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something that' s the first time in history. I don' t know
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if at least in Argentina the author editions that are said to be the ones
31:07
that you pay for, how you paid them. Independent boards have signed and
31:10
the independent overcame the trade circuit wau at the same fair. No. No,
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no. No. In general, En finada, in Argentina there was
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a study and this year it was exceeded by seven percent. Thirty- eight
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percent of the country' s publications were authored on thirty- one and are
31:32
in the United States. It is already happening, for example, that it
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is a strong fact where it is published a lot and here I myself,
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I was defending it before, because the one had the concept of little less
31:48
that you are not a writer, but published. We started out there when
31:52
Macedonian Fernando said no matter how many books you published, but how you see
31:57
life if you see it as a partner writer written now and we think about
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it and he never published him friends wow, well and here then watching that.
32:07
And for unknown writers, as I began, for example, I discovered
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that you sold many more books, that is, there was no chance of
32:19
giving an editorial a book when you had to publish three hundred copies, no
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more, but they published and already known and installed and with a lot of
32:29
money published a thousand. There wasn' t a difference, say uy,
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but of course how do I throw ten zero copies to distribute across the country
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and it wasn' t little. So one way is that public, three
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hundred and fifty were for friends and what I discovered is that we have book
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fairs to the smallest town in the Argentine Republic where you go book fair at
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some point, that is, that it is a matter of carrying the backpack.
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Or he' s going to give you a flame, I threw away
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you let me put a stand and present the book there. I usually,
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what I propose is to do a literary talk, not just go sell,
33:07
but let' s discuss a little bit about literature and by the way,
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I tell you how my novel and if you want to collaborate. It'
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s where you sell more books for one that has three hundred copies and so
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it goes together and you do another edition and so on until you find an
33:28
editorial that can publish you. But I' m telling you here right now
33:30
and how the situation is. Well, it' s incomparable, but it
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' s very difficult. Yeah, you' re not going to sell,
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and I' m telling you, it' s no use getting caught by
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a mega publishing house that takes you to my example and puts a book of
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yours in every bookstore in the country that hangs there in the Gaby shop window
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and the technology with the new way of reading. How these influence more in
33:52
these times, more influenced by pandemic. People overturned. Although they haven'
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t been so shocked. If you read a lot, you started reading on
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your cell phone, putting books down. There are some platforms. Let’
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s read low books that were very successful in the pandemic, after which the
34:15
books became very fond. You have an average today. Today you start at
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a flat of eighteen thousand pesos and I saw a book at the fair,
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the last one from Harry Potter at eighty- five thousand wow. So imagine,
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dear, I put the postcat with the headphones and you don' t
34:35
have it clear. Well there are people who have turned around, that is,
34:44
the reader reader who likes it, because there are two types, I
34:46
think of readers, the one who likes to read, because if he who
34:51
writes you read and study at the same time, but let' s say
34:58
the reader in general has no problem. It has adapted to read in digital
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as much as a paper and there is also a cross that is podcast.
35:04
No yes, now the free audio is exactly now coming up with that,
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because there are people who like where that does. The same writer can do
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it or he can order it. Depends. There are people who take care
35:17
of you. You chose the speech. Ah you looked to choose voices and
35:24
say I want in this, but good is another. How do you say
35:31
another bra and another support? I support another possibility and another possibility beyond that
35:37
there is nothing more extraordinary to be able to exercise the imagination than only the
35:45
word not on the paper and after the head does everything else, not even
35:51
the sound. Not that is the yacht of literature that learns to write in
35:54
literary workshops and so on. Actually, what you have to learn to recognize
36:00
that key, that is, that of working with the imagination through the characters
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that you believe you realize that I have already participated four years ago in as
36:13
a pre- jured literary contest. Two thousand five hundred hours come at a
36:19
time and I have to read in three months, two hundred and fifty tales
36:24
and on top that sometimes they have no restriction of the amount of leaf,
36:29
for if they were of three leaves and I tell you the longest tales of
36:32
those of fifteen leaves are the buts that we have here God. Not besides,
36:35
but well, what a universe is a universe. And that' s
36:38
where you see it. But it' s very quick to define when it
36:43
' s well written, when he found out what' s making your head
36:51
work, then the literary question goes through there. Between books. We are
36:54
among books fran diver throwing all your thoughts into the air. A baker that
37:20
the wind blew, looking at the matero agarabatos, reading the scream that a
37:30
story fell. Our ideas of flower marilladas in green seas of granage and season.
37:43
They' d like to be Dao baps in your land, who exploit
37:54
every asual waste and wait when the time is right. See the step to
38:00
go into action paste a river and trample and soften rhythms of your arm attentive
38:15
so much kills make friend, go to crazy tuatación yes garil that with meddle
38:25
in oblivion passes up in moving san so our ideas, three flowers marillas in
38:57
green seas of grandajetación want to be going. We go in your land that
39:05
explode everything around it and in the meantime, mater make the river sail rock
39:19
in your veto sigarrillo that consumes in oblivion more than out, enveloping sanso have
39:34
no air all graves, friends, ampana that the wind blow looking line,
39:44
agarabato, timber, reading a cry that a story fell and in the meantime,
39:55
more make you in the river so much belly up winds. I mean,
40:09
that' s good at looking, looking for good music, between books.
40:14
I found this that generates a great imagination, because it raises those afternoons
40:21
there, perhaps in front of the river, reading or drinking mate or imagining.
40:27
There' s a little novel that Gabriel Sonico wrote, which interested me
40:35
a lot because he talks about a character who has a virus and that virus
40:40
makes him lose some, some memories or some part of his memory. And
40:45
it made me remember when the computer or phone tells you that it has exhausted
40:50
capacity and you have to start selecting. I don' t have to erase
40:54
this. Oh what a latium and this photo and you have to start deleting
40:59
so you can select. If you don' t have the device working,
41:02
let' s say that happens to the character in the novel or that happens
41:07
to you in the head because of that I found your character very very creative,
41:12
because that novel came out one day reading a weekend magazine. There was
41:17
a note to me from Nora bar that was always written about specialized in science
41:23
and said that they had discovered that it could be done with a system to
41:31
measure the passage of a thought through neurons, because they produce a very specific
41:37
flash and resonance. Be like that in the brain. Today it is much
41:42
more measured. I did this in the two thousand and fourteen. When you
41:45
think of something like yes, the neurons are happening, I said crazy.
41:50
If that cuts off your circuit and you start forgetting it' s gotta happen,
41:55
it' s a good thing. I was going to tell you illness.
41:59
Yeah, from to six, that was what I did last year I
42:05
had two talks with people who work with six baro cases from the novel that
42:09
well, yeah, because it' s amazing. That novel has taken me
42:13
unusual places, which is a novel, a cloudy one, a little novel
42:17
of a hundred pages and well, the character happens to him because in reality,
42:22
in the background and with this that literature gets to imagine you or tries
42:25
something else that is not exactly what the story is telling you with the characters,
42:30
but that there is something that happens behind it. Yeah, yeah,
42:35
in this case it' s a criticism of being hyper and overinformed, which
42:38
is what' s happening to us all the time, all the time.
42:40
Look, I' m telling you this novel I wrote ten years ago and
42:45
I published it. I went through the window in literature, because I was
42:50
lucky enough that a New York editorial offers me to publish it and travel ten
42:55
days. So it was great. And I come from a town in Santa
43:00
Cruz, that is, I was born in Perito Moreno. I grew up
43:02
in truncated beak of ten zero inhabitants. Then, in a city like Buenos
43:07
Aires, which comes to study journalism, you saw the billboard. It was
43:12
all invasive for me to imagine in those little towns to this a lot of
43:19
stimulation that in a town you have it with the landscape more than anything,
43:22
as it is something else, another thing clear, in this case you have
43:25
an invasion. Then and besides, how useless, how clear. There are
43:30
useless, useless, useless mules there, because I saw marks that said and
43:34
this with what associates me, what happens to the character and then decides to
43:38
start to let first good record what is losing on a hard disk and then
43:46
start to stop living with useless information and start a retrospective. It' s
43:53
very interesting and good I won' t spoil it in case the good ones
43:59
can read it, but it will be backwards. And it was really crazy
44:02
because about six years later it came out that some scientists who studied Alzheimer'
44:08
s in Italy developing a system so that those who have to lose memories and
44:13
things record it on a tablet and that' s written on a page of
44:17
that non- bula had written it because the character, somehow the digital networks
44:23
and Facebook, in particular, by retrotracting some things that you wrote at some
44:30
point that you posted is helping you to make that appear now that what crazy
44:36
it would be if one could voluntarily say no to this. I don'
44:37
t want to remember this anymore. It' s no use to me because
44:44
when the disease comes, it' s not one to decide no. That
44:46
' s right. It' s true And other than he' s not
44:52
like you, you don' t really have a physical space that you say,
44:57
well, I' m filling this thing that you said, no one
44:59
tells you you' re filling the rigin. Over there the disease. You
45:01
saw them jump you. We' ve got a definite stiff. What a
45:05
question. I don' t know, I don' t know. Our
45:07
biological capacity will not end one day and I say so far could and then
45:15
we are very short, because to come apart, the novel is short,
45:19
but I tell you it took me years to write it and I was researching
45:27
a lot in scientific form, consulting neurologists, studying even studying because at its
45:34
first moment I had and this I tell you as notice what is the arming
45:36
of a book. His first moment was longer and he had a second part
45:39
where the character battled with thirteen viruses, because it was a virus that he
45:45
had in the unconscious, where you can' t handle. There, of
45:50
course, well, unconscious as in dreams, in the unconscious, and achieved,
45:54
that is, in what happens to us in the unconscious. And for
45:58
that I had to read to it' s a lot good by pointing that
46:06
side of the virus. I had no chance there, because that' s
46:08
the imagination. And more anyway, when I got to the end and saw
46:12
it whole, I said not all that part is the aborro. After it
46:14
had taken a couple of years to write. This is work as it is
46:20
and the court there. But, well, he does the nice thing about
46:23
literature. That and the friends you make in the world. It has been
46:29
my turn to travel and now every time I try to get together with pen
46:34
centers from other places to exchange experience and it is wonderful, because it is
46:39
a really fantastic world. I was thinking about this, that since we can
46:45
all sing, we can all write and we can all narrate and tell something
46:51
and make a poem. Let' s say this isn' t limited only
46:55
to someone who has the writer' s poster or who has published something,
47:00
and I think that organization of you has that generosity of saying good come those
47:07
who want to join in telling stories or thinking poems How will the next book
47:14
be? What will it be like? Yeah? Yeah? Look at me
47:16
the first time I' ve ever seen like literature. You say the fantastic,
47:22
how it happens with the virtual, what you think happens elsewhere or in
47:27
another world, or how it is far away that reality is the one that
47:29
commands. When I went, I did a small three- month workshop with
47:35
Alberto Laiseca, who said he was writing delirious realism, the writer of the
47:38
greatest novel, the agentine that has about one thousand six hundred pages called the
47:43
Sorias, an old divine who passed away not long ago. He immediately bought
47:50
the characters and suddenly it was like he stopped talking to me and said because
47:53
he has a problem. It says your problem is that he talked a lot
47:58
about psychology or character you started with a psychopath and you ended up with a
48:02
paranoid and then that brings you trouble and I was right and that' s
48:09
why I say fiction is much closer to reality than we think. It'
48:15
s not a parallel world. You saw if you didn' t even sometimes
48:19
when reality fictioned because I' m gonna tell you how it happened. This
48:22
is fictional. That is, when you are also attentive or open to those
48:28
things happening to you, to live that world that is on different planes.
48:34
No yes, and you look at the problems you bring today with virtual reality,
48:39
because in virtual reality the father is that they quote at the door of
48:44
the school to stick and the next day they meet and have to stick.
48:51
I have to meet what' s a danger and there you don' t
48:54
know who handles who this is There' s a Sainfiel joke that I love
49:00
is Enfield. I don' t know if it' s a series of
49:02
yes, of the eighty- nineties he said. If a Martian looks up
49:07
at you and sees that you' re lifting your dog' s poop from
49:13
the coming, he wonders who' s the boss there, that is,
49:15
who' s in charge here. It' s clear, well, this
49:17
is the same between virtuality and real reality. Maybe we' ll take care
49:24
of that again when you come back We' ll talk about it a little
49:29
bit of virtuous reality. Not really the literary and if there is a reality
49:32
after all this is not a story and capable that we are not really.
49:37
I was just going to say if there' s a reality we can handle.
49:40
His name is Gabriel Sunico with us in this ecosystem of literary news Perhaps
49:47
it has been another story. Don' t believe it too much. The
49:52
yellow bears witness to this because it is our operator, my name Luis,
49:55
the giovanino Belina Reboa. In production, this is systems. A delight today,
50:01
a delight enjoy chao c o n o