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Entrevista con el periodista español Xavi Ayén, comisario de la exposición en Barcelona por el centenario de Gabriel García Márquez y quien publica el libro “Palabra de Nobel”, sobre sus encuentros con los más consagrados escritores y escritoras del mundo.
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00:09Welcome to Interviews with the Viewer.
00:12My guest today is Xavi Allén, a Catalan journalist,
00:17one of the most renowned journalists in literature in Europe
00:21and also in Latin America.
00:24He has been interviewing Nobel Prize winners in literature for over 20 years.
00:27He's going to tell us why in a moment.
00:29He is visiting Colombia for the Gabo Festival
00:32and also a visit to El Espectador
00:34because he is the curator of one of the main exhibitions
00:39that will be happening next year in Barcelona
00:41for the centenary of the birth of Gabriel García Márquez.
00:45Welcome Xavi Allén, El Espectador.
00:47Thanks Nelson.
00:48How was the Gabo Festival?
00:50What topic did you talk about?
00:51Well, sensational.
00:53I was on a panel about literary journalists
00:55but basically all the energy that you see
00:58One remembers when coming to Bogotá for the Gabo Festival
01:02because he fell in love with this profession.
01:04That's the best thing about the festival, seeing colleagues from all over the world
01:08They share their experiences, and that is priceless.
01:13That doesn't exist anywhere else in the world.
01:14There's a festival like that for journalists.
01:17But is that boundary between journalism and literature still valid and productive?
01:22Despite the digital age?
01:23Sure, yes.
01:24I was pleased to see that at the Gabo Festival
01:27They had workshops on how to apply literary techniques,
01:31narratives, to non-fiction.
01:33And that's very interesting because, well,
01:35As Gabo said, journalism is just another literary genre.
01:39The thing is, we can't lie.
01:41We can't make things up, we have to be very rigorous.
01:44There's a lot of work to be done there, in fact.
01:46But when it comes to narrating them, well, why not?
01:50We can use the techniques that novelists use.
01:53And, in fact, there is a Nobel Prize awarded to an individual,
01:55Svetlan Aleksevich, who has written nothing else in his life
01:57It's journalism, isn't it?
01:59Exact.
01:59Well, you've dedicated your entire professional life to it.
02:04to read and to write about what you read.
02:06That is a privilege.
02:08A privilege.
02:08Since 1991 in the newspaper La Vanguardia,
02:12which is one of the oldest newspapers in Spain
02:14and it's as old as El Espectador.
02:16La Vanguardia dates from 1881.
02:19One, yes, yes.
02:20And you've been working at La Vanguardia since 1991.
02:24Exactly, yes.
02:24Why did you stay there reading and writing about what you read?
02:28Well, it's a privilege, as you know, too.
02:31and be able to live and earn a living doing what you love.
02:35What I always liked, well,
02:37It was reading and being transported to those worlds
02:40when I was a child of fantasy
02:41And then, well, time passes
02:43And also, well, you immerse yourself in journalistic books
02:47Or of reality, right?
02:49It is true that the major newspapers
02:51like you, El Espectador,
02:53or La Vanguardia in Barcelona,
02:55Well, they give you an environment that makes it easier to do that, right?
02:57Because they are newspapers that appreciate culture,
02:59rigorous information,
03:01And so, they create an environment
03:03where we can work like that, in that way, right?
03:06A little more relaxed,
03:08Not always looking for clicks, right?
03:10And in a much more pleasant way.
03:12Because of that persistence in the search
03:16Interviews with Nobel Prize winners in Literature
03:18It's because I met you.
03:20I don't know, I think the first book is
03:22Nobel's Rebellion,
03:23which is from around 2009,
03:25And that's when you start to gather
03:27all that experience of getting to know
03:30and interview the world's greatest writers.
03:32How did you come up with that idea?
03:34And how did it become a vital project?
03:36Of course, that was in the year 2005,
03:39which I started almost by chance,
03:42because I work with a photographer,
03:45Kim Manresa,
03:46that he needed,
03:47for an exhibition I had done
03:48of schools around the world,
03:50I needed handwritten phrases
03:52of great writers
03:53that they talked about the importance of education, right?
03:56And so, since I was dedicated to this,
03:57he asked me
03:58if I could get him a Nobel Prize.
04:00And then, just like that,
04:01I told him, man,
04:02I'm not going to call a Nobel Prize winner
04:03so that I can write you a sentence.
04:04What I'll do is ask him for an interview.
04:06and have him write the sentence for you at the end.
04:08if we've made a good impression on him.
04:10And that was the first one,
04:11It was Kenzaburoe, in Tokyo,
04:14and we spent the whole day with him,
04:16We went to his house,
04:17We toured the city with him,
04:18We got on the Tokyo subway
04:20and we left so amazed
04:21from that meeting
04:22as we said,
04:23We need to continue this.
04:25we can't stay in one.
04:27And then, from there,
04:28So, we started ordering.
04:29Kenzaburoe was very kind
04:31and sent an email to Gunter Grass,
04:32to his friends
04:34who were also Nobel laureates
04:35that they sometimes met,
04:36saying,
04:37Take care of these kids
04:37who are very snitch-like.
04:39And that's how the series began.
04:41I have now interviewed 32,
04:44More than half are dead,
04:46I mean,
04:46That's already a difficult record.
04:47unsurpassed by anyone.
04:48And well,
04:49But one doesn't do it for the record,
04:50One does it because one likes to read
04:52and meet the author.
04:54Clear.
04:54Now,
04:56After that, there was a version
04:58who won international awards
05:00which was called Nobel Planet,
05:02when you completed 30.
05:03Now you have 32
05:05And it's going to be released in Colombia
05:06the most up-to-date version
05:08from that book.
05:10It will be towards the end of the year.
05:12We will be announcing it.
05:13But,
05:14Why is it relevant?
05:16that book now?
05:18What update does it have?
05:19Clear,
05:19in Colombia
05:20the version that's going to be released
05:22It will be titled
05:22Nobel's word
05:23And that's the one that's going to have
05:25more authors
05:26because,
05:26clear,
05:26as this is a work in progress
05:28that is progressing,
05:29Well, he's already 32.
05:31That's where the last one comes in,
05:32The Locras Norcá and the Hungarian
05:34and Moyan also enters,
05:36the Chinese,
05:36that I went to Beijing
05:37to talk to him.
05:38And then there are three other novelists
05:40which is a version,
05:41These are more up-to-date interviews
05:43because I saw them again
05:44between when the book came out
05:45in Spain
05:45and the edition
05:47which is going to be published now.
05:48But,
05:50what are you looking for
05:51beyond the interview
05:53as such
05:53to a Nobel Prize winner
05:55in their lives
05:56and in their works?
05:58Clear,
05:59us,
06:00literary journalists,
06:01well, many times
06:02And that's okay too.
06:04We conduct interviews
06:05to the writers
06:0530 minutes
06:07in a hotel
06:07about his latest book
06:09that they are presenting it
06:09on sale
06:10And that's information.
06:12necessary
06:12What do we do?
06:13and that we give
06:13And that's okay.
06:14But this series
06:15I wanted to go further,
06:17I wanted to see,
06:19visit the writers
06:20on the spot
06:21where they live,
06:21in their homes,
06:22go to their countries,
06:23spend time with them,
06:25Sometimes it's a whole day,
06:27Sometimes it's three mornings
06:28throughout the week,
06:30in some cases,
06:31Well, just like in Vargas Llosa's book,
06:32There were six or seven meetings
06:34at different times,
06:36even the day
06:37who give him the Nobel Prize,
06:38I am in his apartment
06:39in New York,
06:40so,
06:40Well, they are experiences.
06:41very vivid
06:43that I am trying to convey
06:44because people
06:45read these authors
06:47and that they like,
06:47They don't just want to know
06:48things from his work,
06:49but they want to know
06:50how they live
06:52anecdotes
06:53of their daily life
06:54and then,
06:54well the idea
06:54It is also about transmitting
06:55all that environment,
06:56all that atmosphere
06:57that surrounds them.
06:58Clear,
06:59It's not easy being
07:00in the designated place,
07:02at the right time,
07:03with the right character,
07:05as happened with Vargas Llosa,
07:06No?
07:07Why did you have
07:09Any information?
07:10Because also,
07:11Xavi,
07:11He is very well informed.
07:12from the Swedish Academy.
07:14Well,
07:16It must be said
07:17that the Swedish Academy
07:18He is incorruptible,
07:20I want to emphasize that.
07:22that is to say,
07:22Nobody tells me
07:24who will win first,
07:25I know many jurors,
07:26No?
07:26But it is true
07:27that in the case
07:28by Vargas Llosa,
07:30I mean,
07:30I know the process
07:31deliberation,
07:32so,
07:33at the end of May
07:33at the Swedish Academy
07:35only remain
07:36five finalists,
07:37No?
07:37About two hundred,
07:38No?
07:38From the initial two hundred,
07:39exact.
07:40That are presented every year.
07:41Yeah,
07:41so,
07:41at the end of May
07:42only remain
07:43five finalists
07:44and around those dates
07:45or early June,
07:48on one of the trips
07:49that I made to Stockholm,
07:50I saw that an academic,
07:52panelist,
07:53due to carelessness
07:54She opened her suitcase
07:55And I saw that he had
07:56paperback books
07:57by Vargas Llosa
07:58in French.
07:59Ah,
08:00In French?
08:00In French,
08:01Yeah,
08:01I was reading them
08:02in these editions
08:02French pocket watches
08:03And then I asked him,
08:05Ah,
08:05Are you reading Vargas Llosa?
08:06In French?
08:07And he immediately
08:08covered the suitcase
08:09And he said to me,
08:10yes, yes,
08:10I prefer French
08:11because it's closer
08:13to the original Spanish
08:14than the Swede.
08:14My colleagues
08:15They read it in Swedish
08:16But I prefer French.
08:17But that's where it slipped out.
08:18that little indiscretion
08:20that they were reading it.
08:21Clear,
08:21they could read it
08:22just for fun
08:23or by chance
08:23But I thought
08:25that year
08:25He was one of the finalists.
08:26It was in 2010
08:27And then I asked him
08:29to Mario
08:30an interview
08:31just the day before
08:32of the verdict
08:34And he told me,
08:35No,
08:35I can't give it to you
08:35because I'm in New York
08:36And I said to him,
08:37It's the same,
08:38I'm going to New York,
08:39I want to be with you
08:40that day
08:41and interview you
08:41because it also coincided
08:42that published
08:43Celta's dream
08:44which was the novelty
08:45of that month
08:46and then
08:47I took a risk,
08:49I went to New York,
08:50he really
08:50I suspected nothing
08:51and when it was over
08:53the interview
08:53I went with him
08:54to Princeton
08:55where he taught classes.
08:57I mean,
08:57the best moment
09:00at a university,
09:01in a class
09:01that I have had
09:02in my life
09:02It's in Princeton
09:03a class
09:04that Vargas Llosa gave
09:05about Borges
09:05to the students
09:07of their course.
09:07I was able to attend there
09:08as a listener
09:09because it was
09:09doing the report
09:10and I've never enjoyed it
09:12both in a classroom
09:13university
09:14as if listening
09:15to Vargas Llosa
09:16talk about Borges
09:17and discuss
09:18with the students
09:19about him.
09:20He then put it
09:21in a book,
09:21It's in a book.
09:22Exact,
09:22Yeah,
09:23Then he put it on,
09:23exact,
09:24used the material
09:24of those classes
09:25although they were very participative,
09:27He let them speak
09:27a lot to the students,
09:28to the students.
09:30Well,
09:30then I did
09:31an interview
09:32for an entire day
09:32in New York
09:33and at night
09:34I'll leave it at that
09:35in a theater
09:37that I was going to see
09:37a dance performance
09:38And I tell him,
09:39Mario,
09:39if you win the Nobel Prize tomorrow
09:40Can I enter your house?
09:41and laughed
09:43and says,
09:44Don't worry, Xavi.
09:45That train has already left the station.
09:46for me.
09:47I mean,
09:47I didn't believe it.
09:48I didn't believe it,
09:49I didn't have it,
09:49clear,
09:50I didn't believe it at all
09:50and besides, it didn't come out
09:52he's on the lists
09:52favorites
09:53nor anything,
09:54not even in the betting pools
09:54Because, of course,
09:55evidently Vargas Llosa
09:56They could have given it to him
09:57many decades ago
09:58and if we were already
10:00in 2010
10:00and I still didn't have it,
10:01It wasn't a name
10:02that sounded
10:04and indeed
10:05They gave it to him
10:06And then I called
10:07And I said,
10:08Can I come?
10:08And he says,
10:08Yeah,
10:08Yeah,
10:09of course,
10:09You've brought me luck.
10:10and I got there
10:11to his apartment
10:12next to Central Park
10:13and there was
10:15a crowd of journalists
10:16at the door,
10:17all the television cameras
10:18waiting for him to come out
10:19And I was like
10:20I hid the blog
10:21of journalist
10:22and I rang the intercom
10:23as if it were
10:24a neighbor
10:25and they opened for me
10:26and I was able to be with him
10:27that magical morning
10:28in his apartment,
10:31at that level
10:32It is the investigation
10:33by Xavi
10:34in his books
10:36but
10:36You have told
10:38that the interview
10:39more complex
10:41and maybe
10:41transcendent
10:42It was the one you did to him
10:43to Gabriel García Márquez
10:44after a long time
10:45to pursue him
10:47and to be behind him
10:48because it's a moment
10:49definitive in his life
10:51when he decides
10:51stop writing
10:53because I already felt
10:55that Alzheimer's
10:56I was hanging around there.
10:57Clear,
10:58Well,
10:58You know, Nelson.
10:59that almost
11:00in the last 20 years
11:00of his life
11:01He did not give any interviews.
11:03and in fact
11:04I took a chance
11:04the position
11:05from editor
11:06in my diary
11:07because
11:07I didn't have
11:08no interview
11:09arranged with him.
11:10I was a friend
11:11from her literary agent
11:12in Barcelona
11:12Carmen Balcells
11:14and then
11:15on purpose
11:16you did
11:16You were the screenwriter
11:17from a documentary
11:18about Carmen Balcells
11:20the great
11:20the great lady
11:21of literature
11:22Vargas Llosa's editor
11:23by García Márquez.
11:25Yes, yes,
11:25a documentary
11:26is called
11:26The Balcells clause
11:27which I think is still
11:28on the platform
11:30Spanish television
11:31I think still
11:31can
11:32See there.
11:32Can you watch it on YouTube?
11:33It can also be on YouTube
11:34Yes, yes.
11:35And the thing is that
11:37Carmen Balcells told me
11:38look
11:38I have spoken with him
11:39doesn't want to give you
11:40no interview
11:41But if you want
11:42Take my gifts to him
11:43Christmas
11:44And he will open the door for you.
11:45and let's see over there
11:46what's happening.
11:48Then of course
11:49It was a bit risky.
11:50because it was a trip
11:51From Barcelona to Mexico
11:52which I paid for
11:54my diary
11:54I didn't tell them
11:56that there was that insecurity
11:57I said
11:58no no
11:58I'm going to see García Márquez
11:59so
12:00It was a little
12:01really
12:02reckless
12:03for my part
12:04I arrived there
12:05to the street of fire
12:06to the residence
12:07that had
12:07in Mexico City
12:08with a suitcase
12:09that weighed
12:10more than 40 kilos
12:11loaded with gifts
12:12the gifts
12:12by Carmen Balcells
12:13and other friends
12:14yours from Barcelona
12:14that they had put
12:15gifts in that suitcase
12:16Christmas gifts
12:17It was December
12:18from 2005
12:19But you didn't dress up.
12:20Santa Claus
12:21no no
12:22That's all I was missing.
12:23That's all I was missing.
12:24so
12:24but it was
12:25It was a little
12:26Santa Claus
12:27of that year
12:29and then also
12:30what Christmas was like
12:31Well
12:31first
12:32my family
12:33clear
12:33explain to them
12:34that I won't be there
12:34with them
12:35on Christmas Eve
12:36because I have to go
12:37to Mexico
12:37That was complicated too.
12:39personally
12:40oh well
12:40But the fact is, I went
12:42and
12:44and also
12:45His whole family was there
12:46were his children
12:47Rodrigo, Gonzalo
12:47Because of course
12:48They came to meet
12:49the family at Christmas
12:50They opened the door for me.
12:52And Mercedes told me
12:54Well, let's see.
12:54Let's see what I can get now.
12:56Wait for me here
12:57and they made me wait
12:58in a room
12:59It was the worst wait
13:00of my life
13:01of journalist
13:02more than an hour
13:03and I started to sweat
13:05because Mercedes
13:06was convincing
13:07to Gabo
13:07so that he would give me
13:08the interview
13:09and then he explained
13:11Mercedes
13:11that had arrived
13:12to say that
13:12What is this boy?
13:14He's going to be fired
13:15if he returns to Barcelona
13:16without an interview
13:17Because of course
13:18has come here
13:18the newspaper
13:19He paid for the trip
13:20You have to receive it
13:22Well
13:22but it took an hour
13:23in convincing him
13:24then in the end
13:25Mercedes arrives
13:26he tells me
13:27can pass
13:27then we moved on
13:28with the photographer
13:29with Kim
13:30and he was there
13:33looking
13:33plus the news
13:34of the viewer
13:35on the screen
13:36from the computer
13:37in the digital edition
13:38was
13:39He ignored us.
13:40we went in
13:40talking about the year
13:412005
13:42December 2005
13:44so
13:45he was
13:46looking at those news reports
13:47and with the glasses
13:48sunsets
13:48and us
13:49He didn't even look at us
13:49so we stayed
13:50waiting there
13:51that he would tell us something
13:52and in the end
13:53He's looking at us
13:54as if we were
13:55some intruders
13:56and tells us
13:57How much have they paid him?
13:58to my wife
13:59so that he will receive them?
14:02and this that began
14:03so a little
14:04Well, that way
14:05It ended very well
14:06because we were
14:06more than three hours
14:07He wouldn't let us record.
14:09the interview
14:09That is, out of the 32
14:10Nobel Prizes
14:11that I have interviewed
14:12is the only one
14:12I don't have the recording.
14:13because you know that
14:14He didn't like it
14:15that you used a recorder
14:16Well
14:16and he didn't like it
14:17and forbade it
14:18because it said
14:19that we speak very badly
14:21that orality
14:21It is very imperfect
14:22and that then
14:23if the journalist
14:24play
14:24the recording
14:25from the film
14:25that text
14:27It's not that pretty
14:27that if one takes notes
14:29and then
14:29she writes them
14:31between the memory
14:33and the notes
14:33that has taken
14:34that literarily
14:35It's more beautiful
14:36so
14:37well then
14:37I had to be taking notes
14:38obviously
14:39I keep those notes
14:40like a treasure
14:41and well
14:43but if
14:43Yes, they were
14:44then we had to send him
14:46by fax
14:46the text
14:47so that he would approve it for us
14:48and it also took a long time
14:50in answering
14:51so
14:51He made us suffer
14:52also
14:52But that's when he told you
14:54that he had stopped writing
14:55that was world news
14:57that came out
14:58on the cover
14:59CNN
15:01from Al Jazeera
15:02from the New York Times
15:03because
15:04at a moment
15:05from the interview
15:06suddenly
15:07he tells us
15:07that he will not write anymore
15:08who has stopped writing
15:09and?
15:10there will be nothing more
15:11that produces
15:12It had a beginning
15:14already from illness
15:14Alzheimer's
15:15But that's a no-go
15:16He wanted to make it public
15:17She declined to make it public.
15:18the cause
15:18But he did tell her
15:20to the world
15:20in that interview
15:21that he would not write anymore
15:22It was all a little
15:23actually casual
15:24because he didn't want to
15:25grant that interview
15:26but in the end
15:27we were talking
15:28more than three hours
15:28and explained that
15:31Because of course
15:31I didn't stop
15:32to ask him
15:32by projects
15:33for things
15:34I don't know what
15:34And he said
15:35no no
15:35I'm not going to write
15:36never again
15:37And that was the headline.
15:39I have stopped writing
15:40a headline
15:40that turned around
15:41to the world
15:42And then something funny
15:43in the afternoon
15:44We had already returned
15:44to the hotel
15:45we had returned
15:46and he calls me
15:47the phone
15:48He calls me on the phone
15:49García Márquez himself
15:50And me, of course.
15:50I get scared
15:51I'm saying what happened
15:52What have I done wrong?
15:53teacher
15:54and he tells me
15:55no no
15:55is that you
15:56he asked me
15:56one thing
15:57And it occurred to me
15:58a nicer answer
15:59change it
16:01and it was about what
16:02Well
16:02It was about
16:04a Barcelona topic
16:05of his friends
16:06of the people
16:07who had come
16:07there
16:08and then he gave me a
16:10It is true that it was
16:11a more beautiful answer
16:12But I told him
16:13She is more beautiful
16:14But it's true
16:14told me
16:15That doesn't matter.
16:16told me
16:16But I was joking
16:18clear
16:18oh well
16:19Barcelona
16:20now that you mention it
16:21Barcelona
16:22for García Márquez
16:23was one of his
16:25preferred cities
16:26that
16:27which was momentous
16:28in his work
16:29because
16:29it was written there
16:31The Autumn of the Patriarch
16:32And that's what
16:34It will allow him
16:35Xavi
16:36next year
16:36to put on a big exhibition
16:37about García Márquez
16:39on purpose
16:40of its centenary
16:41how you think
16:42do it
16:43Well
16:44if you can move forward
16:44a bit
16:45clear
16:45if I am here
16:45in the viewer
16:46It's because this is
16:47the epicenter
16:48from the story
16:48of a shipwrecked person
16:49which is a book
16:50that
16:51very Colombian
16:53100%
16:53but that
16:54idea in Barcelona
16:56because
16:56He arrives in Barcelona
16:58and there's a friend of hers
16:59Beatriz de Moura
16:59who decides to mount
17:01an editorial
17:01which is called
17:02Tusquets
17:03and then
17:04you'll see
17:04to all his friends
17:05writers
17:06and asks them for a text
17:07for the new publishing house
17:08and García Márquez
17:09it cannot compromise him
17:10a novel
17:10because it already has
17:11some commitments
17:12with their editors
17:13The Autumn of the Patriarch
17:15that came out
17:15in Plaza de Janés
17:16If I remember correctly
17:18and tells him
17:18man no
17:19the novel
17:19I can't give it to you
17:20and Beatriz de Moura
17:22he insists
17:22he tells her
17:23man, but you won't have
17:23some text
17:24something
17:24when you worked as a journalist
17:26that you had
17:27I don't know what
17:27and he tells her
17:28Well
17:28There is one thing
17:29of a shipwrecked person
17:30But I don't know.
17:30if that
17:31enough for a book
17:32Well, that's enough for a book.
17:33It's a best-selling book
17:34of history
17:35from Tusquets
17:36and then
17:37Beatriz asked
17:38the texts
17:40of the viewer
17:42that they would arrive
17:43Then she said
17:44this
17:45It's enough for a book.
17:46Let's edit it
17:47We're going to publish it
17:49And that's the story
17:50It is also the first book
17:51journalistic
17:52by García Márquez
17:53It starts a whole tradition
17:54He was known
17:56as a novelist
17:57And that's where it begins
17:58the tradition
17:59from the journalistic book
18:00that arrives
18:01well then
18:01until much later
18:02clear
18:03But what you're doing
18:05apart from coming
18:06to the viewer
18:06to look for documents
18:07originals
18:08is
18:10rescue testimonies
18:11and documents
18:12in Barcelona
18:13in the neighborhood
18:13from Sarriá
18:14For example
18:14where he lived
18:15Of course, we
18:16we have seen
18:17Well, and here in Bogotá
18:18we have seen
18:18a great exhibition
18:19about García Márquez
18:20which commissioner
18:21Álvaro Santana Cuña
18:22with the documents
18:24from the Harry Ransom Center
18:25in Texas
18:26that the family
18:27donated there
18:28But we have realized
18:30those years
18:31who lived in Barcelona
18:32between 67
18:33and 75
18:34Well, there are a lot of them.
18:35of material
18:35who has it in private
18:38photographs
18:38cards
18:39objects
18:40even the monkeys
18:41work
18:42that was put
18:42to write
18:44or other materials
18:46the Apple computer
18:46with which I wrote
18:48one of the first
18:49Apples that came out
18:50Well, because he continued
18:51coming to Barcelona
18:51after 75
18:52In other words, he always maintained
18:54an apartment
18:55and almost until his death
18:57I came every year
18:58because it was a city
18:59whom I greatly appreciated
19:00so
19:02we are doing
19:03the work
19:04to visit
19:05to all my friends
19:06and known
19:06by García Márquez
19:07and collect
19:08all that material
19:08for a large exhibition
19:10during the centenary
19:11who will be Gabo
19:12and Barcelona
19:12but
19:13What date is that from?
19:14more or less?
19:15That's the forecast
19:16is to inaugurate it
19:17in April
19:18a little before
19:18Book Day
19:19which is April 23rd
19:20for
19:22It will be good
19:23about a month later
19:23of the exact date
19:25of the centenary
19:26clear
19:27and you have been commissioned
19:29based on experience
19:30precisely
19:30what do you have
19:31on a literary level
19:32and at the level of exhibitions
19:34because, for example,
19:34your exhibitions
19:35about the Nobel Prizes
19:37They have even reached Stockholm
19:38clear
19:38Well
19:39We are commissioners
19:39together with Belén Feducci
19:41who knew Gabo well
19:43who were friends
19:44Friends of Barcelona
19:45exact
19:45yes yes
19:45so
19:46Well, we brought the exhibition
19:47both
19:48and Stockholm
19:49It was a curious thing.
19:50because also
19:50It was a bit of a coincidence
19:51I used to go a lot
19:52to the Swedish Academy
19:53well to teach them
19:54what he did
19:54and there was a moment
19:55in what
19:57a person
19:58of the Swedish Academy
19:59told me
19:59Look
20:00is this
20:00already
20:01You have reached
20:02a level
20:02a number
20:03interviews
20:04that no one else
20:05in the world
20:05He has it
20:05We would like to ask you
20:07to give an exhibition
20:08and then
20:09We held an exhibition
20:10at the Nobel Museum
20:11from Stockholm
20:11but when only
20:12we had 19
20:13We now have 32
20:14I mean
20:15time goes by
20:17And yes, yes
20:18and it was really
20:19an exhibition
20:20very
20:21much loved
20:22for us
20:23because
20:23is the one that
20:24that the Swedes themselves
20:26would recognize us
20:27the work
20:28No?
20:28to some that we were coming
20:29from Barcelona
20:29and that in principle
20:31well
20:32we started almost
20:33by chance
20:34Well
20:35It was something
20:35touching
20:36Yeah
20:36Do you know something
20:37of this year
20:38of the process
20:39of this year
20:40as well as
20:40that anecdote
20:41From last time?
20:42No no
20:42this anecdote
20:43Or which ones are playing?
20:45No, what I do
20:46every year
20:47I'm trying to go in January.
20:48because
20:49the deliberations
20:50of the Swedish Academy
20:51They are secret
20:52for 50 years
20:53and every January 2nd
20:54declassify
20:55one year
20:55then I try
20:56go see
20:57and for example
20:58Well, to see
20:58because in the end
20:59They gave it to Neruda
21:00and not before
21:01or the Borges theme
21:02It's very interesting.
21:02But this year
21:03I haven't gone
21:04I haven't been recently
21:05and even if it were
21:06It will not happen
21:07chance
21:08that an academic
21:09opens his wallet
21:10right in front of me
21:11and that has the books
21:12that
21:13I think that
21:14magical coincidence
21:15It is unrepeatable.
21:16And they are very discreet.
21:18and they are very jealous
21:18of his work
21:20I think that
21:21after
21:22Krasnorkai
21:23maybe
21:24It would touch a European node
21:25But that's a
21:26my speculation
21:27that
21:27clear
21:27But you, who are so
21:29judicious reader
21:30which?
21:30To whom would you grant it?
21:32The Nobel Prize?
21:34Well
21:35That's one
21:36Good question
21:37because
21:37You know that the Nobel
21:38It has two types
21:39of award winners
21:40the already established authors
21:42like Vargas Llosa
21:43or Doris Lessing
21:44that
21:45until
21:46There are people who wonder
21:47But they didn't have it anymore.
21:48the Nobel
21:49because really
21:49They've already made a career out of it.
21:51and then there are other authors
21:52well, like Krasnorkai
21:53that last year
21:53or the Korean one
21:54Han Kang
21:54that
21:55that put them
21:57in value
21:58let's say
21:58or how Orhan Pamuk was
21:59in its time
22:00who was one of the youngest
22:02alongside García Márquez
22:03then of course
22:05We'd have to see about that.
22:06Yeah
22:08Yeah
22:09if a model is chosen
22:10or by another
22:11that they alternate
22:12between the author already
22:13who is a global star
22:14and the one who doesn't
22:15I think, for example
22:16that
22:18Salman Rushdie
22:19He deserved it.
22:20and not because of the fatwa
22:21nor because he has been threatened
22:22Not even because I've lost an eye
22:24but because really
22:25I believe he is an author
22:27that his books
22:28They deserve to be there
22:29And among women
22:30which author
22:31seem to you
22:32ideal?
22:34there is
22:34There are several
22:35I think that
22:37It's curious.
22:38This thing about women
22:39what are you saying
22:39because in history
22:40of the Nobel Prize
22:41There are very few.
22:41Yeah
22:42But you have interviewed
22:43Margaret Atwood
22:44Toni Morrison
22:45yes yes
22:46Margaret Atwood
22:47She would be an excellent candidate
22:49She would be an excellent candidate
22:51Furthermore, it now ends
22:52to publish his memoirs
22:53where
22:54Explain a little
22:55the making of
22:56from some of his books
22:57And I think it's a good time
22:58for
22:59would be an example
23:00by an established author
23:01who receives it
23:01But of course
23:02There are many others.
23:04clear
23:04What other events
23:06They have planned
23:07for the centenary
23:07by García Márquez?
23:09that you know
23:09Well
23:10in Spain
23:11It will also be done
23:12a great exhibition
23:13at the Cervantes Institute
23:14in Madrid
23:16well
23:16your publishing house
23:17of the group
23:19Penguin Random House
23:20also prepare
23:20some special editions
23:22of all the books
23:23by García Márquez
23:23with new covers
23:24new editions
23:26and well
23:28And there will be a whole series
23:29of debates
23:30of round tables
23:32of
23:34a little bit
23:36to give the news
23:38to those books
23:38that remain so relevant
23:40as when they were published
23:41No?
23:42clear
23:42in the case
23:43of
23:44of life
23:45by García Márquez
23:46in Barcelona
23:47you wear
23:48a long time
23:49investigating it
23:49or listening
23:50versions
23:52How to make it happen
23:53in documents?
23:54because
23:54Xavi, for example
23:55He showed me
23:56off camera
23:57because still
23:58cannot be displayed
23:59images
24:00which are unprecedented
24:01How did you manage that?
24:03That's what magic is.
24:04to go
24:05to ring the doorbell
24:06to people
24:07No?
24:08Well, if you're going to see
24:09to 10 people
24:10who knew García Márquez
24:11There will be 9
24:12that have nothing
24:13but the tenth
24:14He'll show you some photos
24:15that have never been seen
24:16very personal
24:18very intimate
24:19very characteristic
24:20in which also
24:21aspects are recognized
24:22of the city
24:23that do not associate with him
24:24like the beach
24:24For example
24:25or other places
24:27and then
24:28Well, it's a job.
24:29of patience
24:30of going around visiting people
24:33to know that most
24:35of the visits
24:35They will not bear fruit.
24:37but that suddenly
24:38There will be one that does.
24:38and then
24:39We've been together for a few months
24:40doing that
24:41and they are appearing
24:42things really
24:43Well, I think
24:43that some institution
24:45In the end, he's going to buy it
24:46all that material
24:46because if he stays
24:48at people's homes
24:49in the end
24:49over time
24:50I think it will be lost
24:51And that would be
24:52unforgivable
24:53clear
24:53here in the viewer
24:55as I was telling you
24:55There are documents
24:56very important
24:57of the relationship
24:57by García Márquez
24:58with Barcelona
24:59above all
25:00through the relationship
25:01of the family
25:01by Don Guillermo Cano
25:02that the murdered
25:04director of the viewer
25:05who lived
25:06He lived a long time
25:08in Barcelona
25:09and through letters
25:10was communicating
25:11with García Márquez
25:12when I wasn't there
25:14recounting the entire process
25:15For example
25:15writing
25:16of autumn
25:16of the patriarch
25:17clear
25:17Okay, now
25:18when we finish
25:19I'm going to dive in
25:20here in all documents
25:21now when
25:22when I finished
25:23in the interview
25:24and really
25:25It's very interesting.
25:27the autumn of the patriarch
25:28It's the novel
25:29which he wrote in Barcelona
25:30But there are other books.
25:31related
25:31good story
25:31of an aufrabo
25:32We've already talked about it.
25:33The innocent Eréndira
25:34those stories
25:35They published it
25:36They published it
25:36his friend Carlos Barral
25:37in Barcelona
25:39and then
25:40many years later
25:41in '92
25:42He published 12 short stories
25:44pilgrims
25:44where there are several
25:45set
25:46in Barcelona
25:47or in Catalonia
25:48or that appears
25:48a benchmark
25:49Barcelonan
25:50Decades passed
25:51let's say
25:52until
25:52he wrote something
25:53about the city
25:54where he lived
25:55but
25:56there are stories
25:58specifically
25:58with epicenter
25:59in Barcelona
25:59exact
26:00yes yes yes
26:00Maria dos Praseres
26:01For example
26:03so
26:03Well, we're going to take care of it.
26:04of those works
26:05specifically
26:06not only from his experience
26:07biographical
26:08in the city
26:09and then
26:10of how he maintained
26:10the link
26:11along
26:12of so many years
26:13because always
26:13once a year
26:14at least
26:15or sometimes more
26:15the city was coming
26:17and well
26:18the city was produced
26:19in Barcelona
26:19it occurs
26:19its great metamorphosis
26:21that is to say
26:22He arrives in Barcelona
26:23who is a poor author
26:24little known
26:25One hundred years of solitude
26:26it had been published
26:27in Buenos Aires
26:27and it had been a success there
26:28but to Spain
26:29had not arrived
26:29It had not been published
26:31in Spain
26:31then nobody knows
26:32Who is García Márquez?
26:33and while he lives
26:34in the Sarriá neighborhood
26:37that's when it happens
26:39it becomes
26:40suddenly
26:40in the writer
26:41most famous
26:41of the world
26:42It's the explosion
26:44of the boom
26:44Latin American
26:45which is another book
26:47which I recommend
26:48by Xavi
26:48read
26:49those years
26:50of the boom
26:51that the first edition
26:52It was like 2013
26:53then there is a reissue
26:54until 2019
26:55and with that too
26:56You have won prizes
26:58international
26:59biography
27:00yes yes
27:00It was a topic
27:01of the step
27:02because there were those years
27:03where García Márquez was
27:04He brought her too.
27:05to many other writers
27:06convinced Vargas Llosa
27:07so that he would come
27:08to come to Barcelona
27:09They lived on the same corner
27:11José Donoso was there
27:12Carlos Fuentes
27:13There were a lot
27:15of writers
27:15that passed through Barcelona
27:17and where they were seen
27:18physically
27:19It was in Barcelona
27:20Well, and in Havana
27:21also at that time
27:22because they went to Havana a lot
27:23in the early years
27:24in those years
27:25of the revolution
27:26Yeah
27:27But those years
27:28of the boom
27:28were you able to document them?
27:30also
27:30a little bit with the method
27:32What are you doing?
27:32the exhibition
27:33Yes, exactly.
27:34with a lot of patience
27:35talking to people
27:36and because I
27:37as a literary journalist
27:39in Barcelona
27:39I found myself
27:41constantly
27:41with people
27:42who explained to me
27:42anecdotes of Gabo
27:43by Vargas Llosa
27:45of so many others
27:46the one by García Márquez
27:47that confuse him
27:47with a mechanic
27:48exact
27:49automotive
27:50Well, because García Márquez
27:52he disciplined himself
27:53in Barcelona
27:53professionally
27:54Well, now in Mexico
27:55there already was
27:56had worked like that
27:57but
27:57he felt
27:59a worker
28:00that was going to the factory
28:01to write
28:01and he would put
28:02a mechanical monkey
28:03to get mentally prepared
28:04And then, of course.
28:06well, like
28:06when he was already an author
28:08very famous
28:09and rich
28:10because he had a great car
28:11and one day he was driving it
28:13with the mechanic's overalls
28:14well at the gas station
28:15They mistook him
28:16with an employee
28:17from the car owner
28:18And then something else funny
28:20It's also one day
28:21after writing
28:22She went to a movie premiere
28:23to a premiere
28:23and he was wearing the jumpsuit
28:25and they wouldn't let him in
28:26because he wasn't answering
28:27to the rules of etiquette
28:28And then what he did
28:29the next day
28:30she asked them to sew her up
28:31the Yves Saint Logan logo
28:32in the monkey
28:34because he said
28:34That way they'll let me in.
28:35anywhere
28:37And there are photos of that.
28:38That's part of it.
28:39about what Xavi
28:40is going to reveal
28:40at the exhibition
28:41at the exhibition
28:42We're going to see those monkeys
28:43which have not been seen either
28:44Well
28:45some have seen
28:46in Mexico
28:46on fire
28:47But it's not the blue monkey.
28:49east of Barcelona
28:50with the logo
28:50even in his underwear
28:52You showed it to me
28:53Well, I can't reveal any more here.
28:55correct
28:56What are you reading?
28:58I'm interested in that
28:59Leave us some recommendations
29:00reading
29:00What are you reading?
29:01These days?
29:02well I
29:03I'm getting
29:04a lot per day
29:05of journalism
29:06of non-fiction
29:07because I have come here
29:07to the Gabo Festival
29:08I have read a Filipina author
29:10Patricia Evangelista
29:11which is very good
29:12who was here in Bogotá
29:13also
29:13the one that rebuilt
29:14the dictatorship
29:15by Marcos
29:16and his latest book
29:19It's about war
29:20against drugs
29:21in the Philippines
29:22which served as an excuse
29:23also to massacre
29:25and murder
29:25to a large civilian population
29:27which had nothing to do with it
29:28with drug trafficking
29:30So she's a journalist.
29:32that not only is there a risk
29:33and goes to places
29:34where nobody goes
29:35and tells things
29:36that nobody talks about
29:36but it does so in a literary way
29:38in a very beautiful way
29:39It's a book
29:41which I recommend
29:42Well
29:43and to which novel
29:44you are chasing
29:45these days
29:46Well
29:46I only have one left
29:47All I have left is Bob Dylan
29:48so
29:50How's that search going?
29:52Well
29:52I'll tell you
29:53that in the last concert
29:54that he did in Barcelona
29:55Since you asked me
29:57I snuck in
29:58Well, I snuck in.
29:58I managed to be
29:59in the hallways
30:00that they were taking to his dressing room
30:01me thinking
30:02that way he would see him pass by
30:03and I could tell you something
30:05but it turns out
30:07that he
30:07avoid both
30:08eye contact
30:09with people
30:10that from the trailer
30:11in which he arrived
30:12to the high school theater
30:14which is where he acted
30:15to his dressing room
30:17I was coming out of the trailer
30:18a kind of corridor
30:19with a fabric
30:19And then I saw only
30:21a shadow pass
30:22who was Bob Dylan
30:22but I couldn't see him
30:24directly to him
30:24I mean
30:25oh well
30:25I keep chasing
30:26oh well
30:27taking into account
30:28than in recent years
30:29has only granted
30:30an interview
30:30to Martin Scorsese
30:31Well, I know it's going to be difficult for me.
30:33Well
30:33But since I know you
30:35you will persist
30:36until you achieve it
30:38Thanks Xavi
30:38for these minutes
30:40Thank you very much
30:41I recommend to you then
30:43those boom years
30:45and Nobel Prize words
30:47which will be the title
30:47with which
30:48The book will arrive.
30:49soon
30:50of all these
30:51journalistic adventures
30:53by Xavi Allende
30:55Welcome to the viewer
30:56as usual
30:57thank you so much
30:57Thank you
30:59for continuing
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31:00The Spectator
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