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00:10Subnovelas
00:10What's your favorite story about García Márquez?
00:18What have you known about García Márquez?
00:20What's your favorite story about García Márquez?
00:29I think we all are going to go to García Márquez for his own novels
00:34But obviously, in my condition as a periodist and a periodist of the spectator,
00:40I was interested to know better the periodistic work that, in part, was in the same archive of the period.
00:49So, that was the natural way to have reached the periodistic work of Gabriel García Márquez
00:57and, obviously, the reading of some of his particular texts, periodistic,
01:03which are masters books, such as Noticias de un Secuestro.
01:17Clearly, the first book is this, Noticias de un Secuestro,
01:22because I think it's an extraordinary narrative piece of a crucial moment in Colombia,
01:31because of the periodistic work of the periodist.
01:34And, obviously, this work, which is spread,
01:39which are the chronicles, the reportages,
01:42When it was Felicia Indocumentado, The Viaje by the Socialist,
01:45which recoge a good part, not so much and in all its dimensions,
01:53but also the work of the periodistic work of Gabriel García Márquez.
01:58And, obviously, the other piece of the key of him is also the Náufrago,
02:03which I think is also a very important moment.
02:09And I think, unfortunately,
02:11you have to find it in the archives of the newspapers,
02:14because it doesn't appear a lot.
02:24Well, I think the good periodism really is a work in a team.
02:32There is a very important work of author,
02:36but there are too many details and complementary aspects
02:40that make a really good work.
02:45Always the good work of the periodistic work is the one that is done in a team.
02:54What do you think about it?
02:56In any case, first, we are talking about a genius,
03:00the most famous man in the history of Colombia,
03:04which has no comparison.
03:07And the other thing is that, clearly,
03:11I think the writing is part of a tone,
03:16so the author has to acquire a tone to narrate his story,
03:24and there can be an important work.
03:29What do you think about it?
03:35Well, every generation brings great journalists
03:38and they are representatives of their time
03:41and of their circumstances.
03:44I think that journalism is always renewed.
03:49Today, there is a change of tools,
03:52the technology,
03:53the ways to communicate.
03:56But it's difficult to compare the different levels,
04:01because journalism has very different challenges,
04:04but it has always been at the height of the circumstances.
04:13Well, I think that everything in life is evolution, so it is really hard to admit
04:22what point it can reach, when, for example, the concept of artificial intelligence.
04:31Really, today, there can still be concepts of the topic, but we don't know what will be its reach in
04:42this moment.
04:43Everything in life is evolution, and communication is also an evolution.
04:48The concept of which one grew up in which there was an emissor, a receptor,
04:55it doesn't exist today, today there is an emissor and there is a conversation,
05:00everyone says what they want.
05:07The truth is that I have the first edition of Cien Años de Soledad, the American Editor in Buenos Aires.
05:19And resulta that, obviously, there was an event in Cartagena, in the year 2007,
05:29where I was going to participate García Márquez.
05:32And, effectively, we went to the event.
05:36I arrived very early to do it, and the particularities of the teacher didn't come.
05:46So, that day it didn't come.
05:47And that day, we went to the Rumba, in Cartagena, and the other day,
05:54we didn't want to go there, and that day it was.
06:01I think the only way to divulge it is.
06:05I mean, this has the rights of the author, surely, but digitally can start to divulge it
06:12so that the people read it.
06:13It's a fantastic work.
06:16Because of what we were talking about in the previous edition of the Ritmo Periodistic,
06:23why it's difficult and why it's dispersed.
06:26Because it's also the work of a periodist in the everyday life.
06:30So, cogiendo the events and contándolos and robusteciéndolos.
06:35For a long time, he wrote Gabo as reporter.
06:39So, of course, there is that he has all the strength.
06:41No, not to have sat in a office, but in the street, living the things.
06:47He was a tremendous reporter.
06:49With a work that, obviously, didn't circulate much in Colombia,
06:53but it was transcendental.
06:55So, I think that again, to see it, to read it, to read it,
06:59only rescate, for example, the work that is in The Espectador,
07:02to put it back in circulation.
07:06Now, in digital media, the people realize the portent that there was as a periodist.
07:20What happens is that it's difficult.
07:23Every moment has their interest.
07:28When one is young, he is a reporter natural.
07:32The state that one wants to keep in life is always to be reporter.
07:36But the same profession has a different evolution.
07:41For example, when I finish in the office of editor,
07:44which is an office more inside,
07:48even from the same period,
07:50it's also an office fundamental.
07:53And it's guiding people who are in the street.
07:57But the street is the office.
08:00And Gabriel García Márquez, who is the one that takes care of,
08:03because, of course, the people have the dimensions of their books,
08:06of their extraordinary novels.
08:09But he was also a periodist from day to day,
08:13which is the most important part.
08:20In the narrative technique,
08:23it's very clear the,
08:25let's say, the periodistic style.
08:28There's a precision,
08:30the phrases contundent and short.
08:34There's a periodistic style.
08:38With a linguist's capacity
08:41that is extraordinary.
08:42It's to say,
08:44a writer of another dimension.
08:46So, it's capable of transform
08:48that narrative narrative
08:52in literature,
08:53which is the expansion of the language.
08:59I think it's a challenge for the Academy
09:02and for the same periodism.
09:04I think it's a challenge for the Academy
09:05that has all the tools
09:06to be able to replicate this work.
09:09We're talking about the Gabo periodist.
09:13The Gabo writer,
09:15his work is accessible,
09:18but the Gabo periodist,
09:22he needs to be divulged,
09:24recopilar the work
09:25in digital media
09:27and be able to divulge it
09:28and put some context
09:29because, obviously,
09:31we have to actualize it
09:32to say
09:33why that piece of the periodistic piece
09:36in what moment,
09:37in what context.
09:38I think the other book
09:40that is very important,
09:41which is this,
09:42I think it's a very important book,
09:44that contains a very precise
09:46cronology,
09:49very detailed,
09:50from what was
09:52its periodistic trajectory.
09:55With that time
09:56that exists,
09:57there is a very clear plan
09:59to build a very good educational structure
10:02and divulge
10:04in the centenary of Gabo.
10:11First,
10:13much olfato.
10:14It is to say,
10:16to find the essence of the news
10:18is key.
10:20The other,
10:22the construction of
10:24how to tell it,
10:25it is a creative way.
10:29The news ends up being
10:31a technique,
10:32the that narrate,
10:34the that narrate
10:35in the facultades
10:36of social communication,
10:37but the way
10:38so creative
10:39of telling the story,
10:40always the ingenious
10:41of the surprise,
10:45the characterization
10:47of the characters,
10:49there are too many qualities.
10:51If you look at the basic details
10:54of the construction of text,
10:57with irony,
10:59with a critical power,
11:02to highlight
11:06that Gabriel García Márquez
11:08is also an activist,
11:10committed socially
11:12from the beginning to the end.
11:14It is to say,
11:15one finds very good facets
11:17in the
11:19Gabriel García Márquez
11:20periodist,
11:21without the merit
11:23of Gabriel García Márquez
11:24as a writer.
11:31I have a memory
11:33of Gabriel García Márquez
11:33of Gabriel García Márquez
11:34of Gabriel García Márquez
11:34that I think
11:35is fundamental,
11:36that is when
11:37he has to go to Mexico,
11:41because
11:42they are going
11:42to be committed
11:43here,
11:43in the
11:45Statute of Security
11:46of Turbá de Yala,
11:48and he wrote
11:50a column,
11:51he wrote
11:52in that moment
11:52he wrote
11:53in The Espectador
11:54and he said
11:55in words
11:57more,
11:57in words
11:57that
11:59for those
12:00who are dedicated
12:01to communicate
12:03their ideas
12:04and their opinion
12:05people
12:06have the right
12:07to say
12:07what they want.
12:08That is the freedom
12:09of expression.
12:15Everyone has
12:16their own
12:18little treasure
12:18of GAU
12:19and I can
12:20share
12:21with you.
12:22I have
12:24something
12:25that
12:26gave me
12:27a young
12:28very
12:29dear
12:29of
12:31The Espectador
12:32who
12:32gave me
12:34this book.
12:35He
12:35gave me
12:37this book
12:38some
12:40of my
12:41books.
12:42He gave me
12:43this book
12:43with the
12:45books
12:46of GAU
12:46of the
12:47newspaper.
12:48That is
12:48that
12:49they have
12:50that value
12:52that
12:53are
12:54those
12:54texts
12:56and obviously
12:58here
13:00the
13:01of Náufrago
13:03for example.
13:03The original publication
13:05is
13:05very
13:06beautiful
13:07of
13:07all
13:08this
13:10material
13:10that
13:12obviously
13:13is
13:13photocopies
13:14of the
13:15material
13:16that is
13:17in the
13:17spectator.
13:18But
13:18as I tell you,
13:19this is
13:19another story.
13:23And obviously,
13:24it was very good
13:25of many things.
13:28Homenages
13:28that he gave me
13:29to GAU.
13:29many publications
13:31of
13:32Chromos,
13:32of
13:33Diners,
13:35of
13:37the
13:37spectators,
13:38of
13:41change
13:42also,
13:44of
13:45week,
13:48of
13:50the
13:50number.
13:50I think
13:52that
13:52everyone
13:53has
13:54their
13:55interest
13:56of
13:58interest
13:58for
14:00GAU.
14:06No
14:06forget
14:07that
14:07that
14:07was born in 1967.
14:09It was in the
14:09school.
14:10Then,
14:13they went to read
14:14a Gabriel García Márquez.
14:16They preserved the book,
14:17but not because
14:18at that time
14:19they were able to know
14:20who was going to be Gabriel García Márquez,
14:24but because
14:24it was the book that was in the house
14:26of
14:27one.
14:32This is,
14:33for example,
14:33the special
14:34of the magazine
14:35Dominical
14:36of the
14:36spectators,
14:37when GAU
14:38won the Nobel
14:41in 1982.
14:43This is
14:44beautiful.
14:45Or,
14:45for example,
14:46many publications
14:48of the time,
14:49for example,
14:49the description
14:50of the group
14:52Barranquilla
14:52of the Cuevas.
14:55of the
14:56period
14:56that
14:56are
14:56a little
14:57of the
15:00also
15:00dedicated
15:01to
15:04other
15:04time
15:05Dominican
15:06reading
15:06Dominicals.
15:12In the
15:1382,
15:14I was
15:14finishing the
15:17university.
15:18In the 82,
15:32that
15:33one,
15:33that
15:33one,
15:34one,
15:34one,
15:34the
15:34one.
15:34It was
15:35absolutely
15:35after the
15:37disaster.
15:38After the
15:3983,
15:40the
15:41war
15:42and
15:42sadness.
15:49I will answer it with a moment in my life.
15:53In some time, Alfredo Molano asked me to edit a text.
15:59It was a text from Toros.
16:01First, I didn't have any idea of Toros, but I tried to do it.
16:08I did the maximum effort until I called the son who worked with me, Alfredo Molano and Jiménez.
16:14He said, you can edit your dad.
16:17And with that I said, to a writer, it's impossible to edit it.
16:23I could not use the pencil.
16:28And much less to a writer of the dimensions of Gabriel García Márquez.
16:34It's impossible.
16:35And that's the difficulty that people have to have to do to edit writers.
16:41Or to translate, I don't know.
16:44It's very complex.
16:45A writer is a painter.
16:48Everything is completely united in a magistrate.
16:53That's what the literary art consists of.
17:01For me, I think, to never forget, it's very important to highlight a Gabo.
17:09I think it's a problem.
17:12I think it's a problem.
17:12Because it's a lot of people, as of course, think of this,
17:17that Gabriel García Márquez was in another story and not interested,
17:21that he was in the power.
17:23He had a very responsible relationship with his own cause.
17:28cualquiera que ella fuese, pero me parece que eso hay que resaltarlo también, su momento, su paso por la alternativa,
17:35por ejemplo, ese es un tema que es muy importante, cuando uno lee los textos escritos por Gabriel García Márquez
17:44en el momento del Estatuto de Seguridad de Turbay, pues ve también un periodismo que se necesita también.
17:55Entonces, desde lo más encumbrado de lo lingüístico y de lo literario, hasta la defensa pura de los derechos fundamentales.
18:19¿Qué es la situación de los reporteros?
18:29Los reporteros han sido igual en distintas épocas de la historia, son enfrentados a distintas herramientas.
18:37De pronto hay algunos imaginarios de que todo pasado fue mejor, pero yo pienso que todo el periodismo siempre es
18:43combativo, es decir, le toca la calle y tiene que conseguir la noticia.
18:51Los reporteros siempre tienen que estar y podrán ser criticados, pero con ellos empieza a construirse la historia, porque lo
18:59que hoy cuentan los periodistas y se vuelve noticia, es lo que dentro de 30, 40, 50 años se va
19:06a leer como historia.
19:07Entonces, el periodismo es un notario de la historia. ¿Y lo hacen quiénes? Los reporteros.
19:29Impresionante. Gabriel García Márquez, diciendo esto.
19:33Solo semejantes especialistas de la ciencia represiva disponen de la maestría técnica, de la imbecilidad política, para honrarnos con una
19:42bomba de tan alto poder de consagración.
19:44Cuando le pusieron la bomba alternativa, dicen, no sean tan pendejos que no nos vamos a dar cuenta que son
19:49ustedes.
19:51Eso es periodismo, maestro. Eso es periodismo, maestro.
20:05Pero ahí medio me corcho, porque yo no me acuerdo mucho de los títulos, ¿sí? Pero, por ejemplo, el cartero
20:13llama mil veces, está bueno. Es difícil hablar de ahorita porque no me acuerdo.
20:19Pues, of course.
20:19Sí, sí.
20:19Bueno, bueno.
20:19Vamos a ver, chau.
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