And I propose that the problem is that a novel that makes you think about what the
reader can be interested in, but the critic is no longer the critic of those other readers.
And above all because the Spanish critics would not say the categories to judge it.
Years later some writers spoke to her, specifically one who is not my friend,
he is a extreme writer.
What did he say that if instead of Spanish the French would have given the world back to the world?
Yes, probably the work that gave me to the most reputation.
But a very responsive reputation, for the young people in the Western countries,
because the readers of my age, in general, they do not forgive me, they do not forgive me.
They have criticized me as a critic and a teacher and everything that is said to be there, because it is unforgivable.
To think of the same thing, another novel, which is a return to realism, but with another sense and a sense of another technique.
With a very good, very good technique, giving the great importance to the
world and the world's best and the world's best.
Without a protagonist, without a six or eight characters of the same entity,
with a gradual development without just a narrative element,
I think that is a false, that novel.
It is called Offside.
I think that is a false, perhaps, on the intelligence and the false,
but also in the world.
And now, this last novel that I have written, is a very difficult one.
There were no such thoughts in this country.
You don't know that I lived in Olvani four years ago.
Olvani in Mucanides, the winter is very long.
And for four years, I died in the Ancovilla.
So my result was the imagination.
But I didn't write, but I chose my tape recorder,
I put it forward and I spoke.
And I was trying a world full of corrections,
of the specifications with a huge material.
And one day I put the writing of the novel.
And I wrote four hundred columns.
And I finished, I realized, well, I wrote four hundred columns,
I took the novel as soon as I started,
and I wrote about 2000 pages.
There are no editors in the world that publish it.
So it is called Consciousness.
And I realized, in addition, that the way I was writing it
was not the way I was made by the materials.
It was also something that worries me a lot.
And my novel seems like none of another.
Because what I look for is to remove the material,
the technical and the essence.
That is to say, what the novel has a way that makes the novel.
In the same way that the way the hand produces the structure of the object,
and I want the way to produce the structure.
And it is clearly not being accurate.
So I spent a long time thinking about it.
And the 70s wrote the novel.
The first part is three parts, three chapters.
In the 71st of the New Gospel, the second one,
the 71st of the Mother, the third one.
And in the novel, I can't tell you.
Because it is very complicated.
I want you to see something.
It's a piece of paper.
It's a piece of paper.
It's a piece of paper.
But it's a piece of paper, so I'm going to write it down.
It's not paper.
What do you do?
The big four years I died in the ankle.
So my refuge was the imagination.
But it's not written, but it was written by my paper recorder,
the paper was written and spoken.
And I was thinking about a world full of corrections,
and specifications with a huge material.
And one day I was writing that novel.
And it was written by 400 volumes.
And of course, I realized that with 400 volumes,
I just started the novel and I was writing about 2000 pages.
There is no editor in the world that publishes it.
So it says that it is a science exam.
And it tells me more that the way I was writing it
was not the way I was writing it by materials.
There is also something that worries me a lot.
That's why my novels do not seem like any other.
Because what I seek is to take out the material,
the technique and the essence.
That is to say, the novel has a way that makes the material.
In the same way that the way the hand produces the structure.
I mean, there is a muscle.
I want the way the structure to be transcribed.
And it was definitely not accepted.
So it has been a long time since I thought about it.
And the year is scheduled, the summer,
the first part is three chapters.
In the 71 in Volvo, in the second,
and in the 71 in Madrid, in the third.
And there is a novel that I cannot tell you.
Because it is very complicated.
And I want many things.
In the world.
But it is an anecdote, isn't it?
It is very interesting to hear.
So I will tell you about the world.
But of course, to tell you about the world,
it means to tell the whole novel, isn't it?
It can't, isn't it?
Maybe I try to describe the way the novel is.
In the third chapter, I want to say that the materials are grouped in three blocks, right?
Which I don't want to say that in the second chapter,
we have the first thing, that in the first,
we have the third thing, and in the third, we have the first thing.
Because the novel transcures in several times.
And it is mixed.
It is a narrative novel.
It forms narrative.
And the narrative, obviously,
allows a libertarian,
novelist, to the procedure that I call,
does not allow, the procedure of presentation,
that is, the philosophical tradition,
and the fiction of the environment,
imposes almost the novel is chronologically organized.
But when you tell things,
then there is no reason for it to be a horror,
you can mix them with the present and the present with the future,
forming a whole that has an interior coherence,
but that apparently is incoherent.
Well, I got a lot of work,
to get to this type of narrative,
to do many rehearsals,
but finally I think I got it,
at least to my judge and what I put.
This is the novel in the end,
there is a final,
divided into two parts,
which is the first and the last,
which are two blocks from a 15-page,
each one.
And among these two blocks,
there are the three major chapters of the novel.
With many, each of these chapters
comes from a poem,
and a narrative poem,
that has a relationship with the material,
with the theme of the novel.
I invent a city,
and this city is the place of my land.
In Galicia,
as the Spanish speaker,
is the island of Spain,
or the British,
Spain is a land of the past.
And this city,
from 14000 years ago,
things were happening,
and all these things
are being converted into the present,
and are being acted by our characters.
But at the same time,
the past character is being brought
from before Christ,
the character of the 17th century,
the 19th century,
and the stories,
all these relationships
are because they are the myths of this city.
So one of the themes of the novel
is the mythification
and the mythification of these myths.
For example, one of the myths
is that of a statue,
it is an admiral
and Dutch to the French service,
which helped the defense of this city
against the tropes of the Spanish king.
So this man has a statue.
And people don't know,
since they know that it was admiral,
they know that it is an heir of the city,
but they don't know who it is, right?
So there is a place
that wants to take this statue,
and this is one of the themes
that the novel develops.
So with this statue,
for example, it happens to be something.
The statue has a statue that says,
the admiral is called Valentine.
And the town is called Valentin,
which appears a bit, right?
The admiral who is Valentine's Day
and the statue says,
to the admiral who is Valentine's Day,
the town has thanked him.
And when he discovers
that he is a admiral
at the service of Napoleon,
that as you know, he was an enemy of Spain,
he wants to take the statue.
And then he doesn't take it,
but what they do is replace it.
So there is a naval battle in Spain,
in the war of Spain, with Peru,
which is called the fall battle.
It was 2-0.
And then what they do at night is
take the statue and put the arrow of the fall.
You understand, right?
You say that they give the statue for me,
but this is an anecdote
from the episode of the novel, right?
In fact, everything is mounted
on a piece of cloth,
a personality-plutual system,
the novel is very intellectual.
For example, there are many parodies.
For example, there is a parody of structuralism,
which is at the same time a parody of
this novel of famous, of Cortájar, of Ralluela.
There are some stories of the 19th century
and a series of formations
are being produced,
if they are read like this,
or if they are read like this,
or if they are read like this,
and we don't know what the third is,
it's true.
In fact, it's full of things,
it's true.
It's a truth that I have very much to write to myself,
I don't know if I will have to write to the readers.
Now what I can't write to it
is more precisely,
because I, myself,
I have already left a little of it,
and I don't know, I have to read it again
to tell me.
Because in any case,
it's an imaginative novel.
Without social intention.
Although it has parts that can be,
well, well, sad,
truth, but not the purpose of the novel,
it's not an ancient purpose.
It's simply the purpose of building a world
with own laws,
where there are some characters
that don't appear to others,
that do things that don't appear to others,
and all this is, well,
a law that I don't know what it is.
So,
to see that you guys are characters,
I can tell you about it later.
There is a character,
this happens in 1873.
This character,
a good day,
invites some friends,
and presents something that he calls,
the topical tribute to the chemical system.
But I don't know if you understand this.
Topical means that it is made of tubes.
And the metric system,
I'm going to tell you what it is.
It's what we use in Europe
for the subway and the kilometers
and the grams, right?
That is, the weight and measurements system.
Well, this man,
through the tube palm
that has 10 centimeters,
full of tubes,
that come out of the windows,
that come out of the roof,
that come out of the floors.
And each added tube has a meaning.
It is believed.
In other words,
every time this man is convinced
to have a woman there of a tube.
Buy it for yourself.
I have to say,
this is an exuberance,
a real self of a tube.
And a day of this tube starts to blow up.
And people think that it is from the house,
but not from the house,
it has them.
And then their friends enter
and they are sent to a high bench,
with some pedals,
to look like a organ,
that they are acting with the feet and hands.
These pedals are related to some calderos
that are in the basement, right?
full of some chemical elements
where we get humus.
Of the fundamental colors.
And the mix,
in a way that comes out
humus of mixed colors that come out of the tubes.
And then what he is doing with the humus of colors
is a concert.
We are,
in a way that the structure of the humus is a structure of a symphony.
In a way that comes out, for example,
some of the colors of the eye,
which are the rope
and then come out to the other side of the yellow color,
which are the metal.
And in the middle comes a violet color,
which is the wood,
as you say.
That means that it is composed with colors,
a symphonic structure,
as if it were with notes.
This is called the story of the concert of the humus.
That is the result of this man
who has conquered a very difficult woman
who can't tell.
And then the way to communicate it
is to give this fabulous concert.
As you will see,
there is something strange.
Where the certain way of being
certain ways of thinking
is not possible.
Do you want to ask something else?
Do you have any questions?
I have no questions.
I invite you to stay well.
Do you want to ask something?
The comment doesn't appear in this novel.
In this last one.
No.
In the adjunct,
it appears in the adjunct,
of course, naturally.
But it's not.
But everything is in the humus too.
No, here it appears in other characters.
But no,
here it doesn't appear in a literary character.
The background of the novel is a realistic background.
But on the realistic background
it is a series of elements in its realistic.
For example,
in a description,
there were full of
keys and head-on keys.
There is a systematic
unrealistic background.
We are in the right position of real elements,
but they can't be married.
It's true.
Do you understand?
The example is this.
There is also another type of
illusions.
For example, I think you are a person
who is hungry and brings food.
He brings a large plate of dishes with food.
And then he looks at the food and says,
there were
raw and mysterious keys.
So this is a direct description
of what there is, right?
There are shadows,
there are raw things,
and there are things that do not know what they are.
But at the same time,
there is an illusion of the distros.
We know that there is a book called the Crude and the Cocino.
This system of two or three different plans
is manipulated constantly,
forming a kind of game.
But always in the most real scenes
there is always a realistic element.
I think that's it.
Then your name goes to the street
and goes thinking,
well, it goes thinking of cranes,
live, right?
They are under the roof.
What is this type of thing?
For example, look at the roofs
and above the roofs there is a layer of horses
that is following a layer of naked women.
We know.
Not real, right?
Today I use all the imaginative elements
possible, right?
Even verbal elements,
purely verbal,
one of the characters, for example,
invent a language.
And because it is a character
that has been in the castle
in the Civil War
and is poor,
and then he is afraid
of a particular character.
And this language is studied
and language in the novel,
because it is a language that has certain particularities,
very long to tell.
But there is a series of poems
written in this language.
And the poems play a role
in the development of the novel.
What else?
Well, if you don't decide
to ask anything,
the teachers are not good enough.
I thank you for your attention
and the silence.
And to have brought me this...
Ah, come on.
I'm going to talk a little more about the art.
Do you have any more art that is a little short?
Why do I think that Spanish
is the Spanish
of Montolito, Cuba,
its American art,
Spanish magic?
Well, look, you
have to be in the language, right?
I can't tell you
in a general way.
That is,
we are not a block
that we think the same.
In general,
the Spanish of the Spanish center
the motherland
is quite stupid.
And it has a perspective attitude
not before the Spanish
that is spoken in America,
but before, for example,
the languages that are spoken in Spain,
the Catalan street,
they are very angry
that the Catalan street is spoken
by their taste, right?
That the Catalan street is spoken
by their taste,
but the motherland is also a very incorrect language.
With you, in a way that
this affirmation
is not an affirmation that has value
more than in certain
social circles in certain means.
In general, the Spanish
does not express in any way
the language that is spoken in America,
in any way
and many learn.
Because there is a series of
vocables that use
America, in the south, that we have lost
and in a way,
syntactic.
That is, if we want to
that it is worth
the way to speak
in Spanish in America,
understand?
In a way that this can be
a gift that is
indeed a gift for the language
for the Spanish of America,
but not the attitude of the Spanish.
That is, we can
lament this other question
that the Spanish
in certain means
is contaminated with other languages.
Do you understand?
That is, the
immigrant who says the market
or the window, is true.
But this is another question,
this is a destruction of the language.
But the language
itself, of Puerto Rico,
of Mexico, of Cuba, of Venezuela,
of Peru, of Chile,
that each of them
has a series of
particularities,
that are supervivences
of the Castellano in its good
time.
When a Chilean
said,
and a Spanish laugh,
Spanish is stupid.
Because, of course, a Spanish
said,
it is ugly.
Do you understand?
I put this example
at least, but
who knows that
they can put other
many more interesting examples.
In a way that there is no
attitude, this attitude
could be an individual
determined.
But not of the Spanish
in general. In general,
the Spanish
anti-Spanish,
does not have a foreigner sensation.
This is known as the
Hispanic-Spanish,
that is, a Cuban or a Chilean
or a Chilean.
They are more or less
like us. There is no
attitude. For example, there is
anti-English,
anti-Francés, anti-Alemans.
Do you understand?
It is much more the Spanish
people are much more
close to you than you think.
Do you understand?
This does not have anything to do with what
I said before,
the Spanish-speaking actors
understand you?
It is in video, right?
What is disappearing?
This lasted two years,
but today it is already disappearing.
We wait specifically
when a American
voice is found that I am interested in
use. And do you have
the case of Bayen Klan?
Have you made a language
with a coine, a common language
of all American languages?
That for now is the best
tirano-banderas, because they have
all come out.
Well, after you had
Bayen Klan
in the center,
the main phenomenon
is not the most important.
If you want Bayen Klan
to be in the neighborhood,
there is the other
way, that practically
is not human America.
The actual
is the concentration of
the history.
The history is perfectly
proven. Bayen Klan
was first in Mexico
when he was 22
years old.
Two years old.
There he born
a novel cut called
Nilla Chole.
And then the Sonata
of Stee.
Well, that is,
the Nilla Chole is a voice
of the Nilla Chole.
And then
he was in Argentina
a trip
that made
his wife, who was actress.
A trip that
didn't influence
anything in her literature.
It was very pre-released.
But then, in the year 21
she was invited
by the government of Mexico
to celebrate independence.
She was not only
in Mexico, but also
in other parts of the Caribbean,
specifically to the Bana.
She was in the Bana in this time.
And I remember
the Bana magazine
where they had photo-graphics
of Bayen Klan.
And there is a magazine
of that time,
called
a very well-known
magazine.
22-23.
For that.
21-22-23.
That's right.
No.
A small magazine
and a poster
that could be
not a poster.
Well, a very well-known magazine.
I don't remember what it was.
That in this magazine
it has published
a Bayen Klan
photo-graphics
that is, the manuscript
of Bayen Klan
that I
perfectly remember
and that is not included in its complete works.
It says,
everything rises the ground
and everything is moved
and everything goes up the sky.
Everything less doubtful.
This poem was published
in the Bana.
I was talking about
the fact that
it was a great poem.
It was a great poem.
It was a great poem.
It was a great poem.
Well, this is a book.
This is a book of this book.
It is perfectly demonstrated.
Because, in addition,
it was a friend of Alfonso Reyes.
And after the trip
there is a correspondence
between Alfonso Reyes
when he is projecting
and he explains Alfonso Reyes
what he has done, etc.
In a way, he had a direct knowledge
of the language of Mexico
and the language of Cuba.
It was a great poem.
It perfectly states it.
But the language is the most important.
Now,
there are other peculiarities
that they know them
by literature.
Because in Tiranobande
there is the Mexican vocabulary
of Cuban and Argentinian
and the Altiplano
and the Patipic.
And all this, naturally,
they know it by literature.
But, of course, he has
a huge simulation of the vocabulary
and gives a unity to this language.
He is joining
the vocals of the pampas
and the vocals of the Altiplano
and the vocals of the Veracruz.
And the vocals of the Bana
makes a general language
that is, of course,
called Tiranobande.
Now, he has an ample experience
in the American.
An ample experience
and he had a great
capacity of vision and dissemination
in a way that, in addition to ample and intense,
in a way that the landscape
describes.
He has seen it.
So many children cry as Tiranobande.
It is a landscape that he has seen.
It happens that, of course,
with 20 images of the Banyan
Plan, then he creates a world.
Of course, he has seen it.
Of course, he has seen it.
He has a privileged retina
and he comes out perfectly, he remains there.
In the end, the color of the jungle, the color of the desert,
the way of the houses, the autonomy of the men,
the pizzas,
all that remains.
He is working with a great ability
because he is a great artist.
A great artist,
he knows what he does.
And, of course, on the other hand,
the type of the bandera
is already having another
complex origin
and from the Opeda Ghiarra
to Tiranofrancia
and the different
granules,
which he had with his own
and even the Mexicans.
Something else.
Diga.
I am not understanding
that the poetry is more than new.
It means that
it is more difficult for
the idea to be understood
and not to be understood that the novel,
as a work of art, is more complex,
evidently that the poet
in his structure
and in his elements.
You understand?
That is, I do not know if I will
be an artist,
but I do not like the poets
that the great poets
do not tolerate the good poets.
I do not read more than the great poets.
And the great poets are exceptional.
Now, even the great poets,
for example,
San Juan de la Cruz,
clatando su de poetas
españoles,
pongamos San Juan de la Cruz
que veró,
congoa,
son tres grandes poetas que yo leo.
Sin embargo,
el quejo es más importante
y es muchísimo más complejo.
The materiality of the elements
and the formalities
that make it necessary to manage the materials
are much more complex,
buying from you.
The comparison that I made
between a small building
is known as the history of French art.
Well, there is a building
near Paris, which is called the Petite.
The comparison that I made
between a small building
is known as the history of French art.
Well, there is a
building near Paris,
which is called the Petitrian.
It is a perfect palace
that is red and perfect.
Like a sonnet.
You understand?
No, no imperfection.
But the cathedral of Paris
has imperfections, evidently.
It can be made a perfect poem,
it can not be made a perfect novel.
But, however,
it is a novel that is always
most important with great power.
You understand?
And this is the most powerful poem
and the most universal poem
that we can learn
from the poetry.
We would have to discuss
something else.
We have to discuss the lesson.
Because I do not believe
that art has no lesson.
You understand?
I do not believe that art has no lesson.
In a way that
I am used to
not being a petagogical art.
You understand?
So, we would have to discuss
with you and me.
And we will not end up.
We have to look for a lesson
in art.
We would have to
remember
what we understand by lesson.
We understand.
Because, at least, we do not
remember what is the meaning of the lesson.
And once we were
able to remember, we had to discuss
why you exist to art,
why you exist to serve.
You understand?
So, I would have to say to you
that, according to my point of view,
art exists
in both how much the man
is imperfect.
If some day the man
arrives to be perfect,
then that will be the art.
If we suppose
and politically that there is a paradise
where each of us
finds its perfection,
I assure you that in this paradise
there will not be.
You understand?
I mean, a perfect man needs to be art.
Neither do it,
nor benefit.
Just our imperfection
I use another word
that perhaps you do not understand.
The least sterility word.
Perhaps you also
know and use
probably the modern word
alienation.
You use it?
Alienation.
Alienation.
A word that uses
all the world now, right?
So, as long as the man is alienated
needs art,
and the man leaves it alienated
with his hand.
Now, this does not mean
there is art of which I derive an
action, right?
Artemoral, artepeda-goji,
artepjemplare, etc.
I know you are not
in agreement with this,
but it does not matter.
Something else?
There is nothing that is said
to the last or the last.
Here is your sterility,
and it is a substance
in the real existence of the life.
I
You, the point of all the point of your
own, is that the mystery
and the Spanish is much more
than the existentialism of the
the historical and traditional
of the Spanish.
Now, if you want
to the existentialism
to be a disaster,
no, I am not a disaster.
No, I am not a disaster.
No, I am not a disaster.
The point of the novel
is that you are a disaster.
Is that clear?
Well, you see,
I am not a disaster.
Do you always seek
the...!
Do you?
Do you?
Yes.
Iicking!
I am the point of all the point.
Do you need any more information?
I...
Do you?)
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