1 00:00:00,800 --> 00:00:03,960 Speaker 1: This is Latino USA, the radio journal of News and 2 00:00:04,040 --> 00:00:07,400 Speaker 1: curture Latino USA, latin US, Latino USA. 3 00:00:07,640 --> 00:00:11,200 Speaker 2: I'm Maria Inojosa. We bring you stories that are underreported 4 00:00:11,560 --> 00:00:12,840 Speaker 2: but that mattered. 5 00:00:12,480 --> 00:00:14,720 Speaker 1: To you, overlooked by the wrestler media. 6 00:00:14,520 --> 00:00:16,320 Speaker 2: And while the country is struggling. 7 00:00:15,960 --> 00:00:17,960 Speaker 1: To deal with these week listen to the stories of 8 00:00:18,000 --> 00:00:22,480 Speaker 1: Black and Latino Studios United, Latino Front, a cultural renaissance 9 00:00:22,880 --> 00:00:25,400 Speaker 1: organizing at the forefront of the movement. 10 00:00:26,120 --> 00:00:29,000 Speaker 2: I'm Maria Inojosa, noan. 11 00:00:30,520 --> 00:00:35,519 Speaker 3: Ola. I'm Andrea Lopescruzsalo, Latino USA, Senior Editor. As part 12 00:00:35,600 --> 00:00:39,120 Speaker 3: of my job, I help producers to identify the voices 13 00:00:39,159 --> 00:00:41,760 Speaker 3: and the sounds that you hear in the stories that 14 00:00:41,800 --> 00:00:44,920 Speaker 3: we bring to you every week. Thank you for listening 15 00:00:44,920 --> 00:00:49,159 Speaker 3: to our work. Happy Trinda Annus to Latino USA, and 16 00:00:49,200 --> 00:00:53,080 Speaker 3: we hope you, dear listener, stay with us for thirty 17 00:00:53,240 --> 00:00:56,320 Speaker 3: more years. 18 00:00:57,560 --> 00:01:02,360 Speaker 4: Everybody has to find the voice to tell the traumatic 19 00:01:02,360 --> 00:01:07,120 Speaker 4: events of their generation, and there's no genre that is 20 00:01:07,280 --> 00:01:12,840 Speaker 4: less legitimate than others. Horror was my language, and everything 21 00:01:12,880 --> 00:01:15,360 Speaker 4: that happened was horror. 22 00:01:19,600 --> 00:01:23,160 Speaker 1: From Fudromedia and PRX. It's Latino USA. I'm Maria nor 23 00:01:23,200 --> 00:01:29,080 Speaker 1: Hoosa Today Marianna Enriquez fun processing Argentina's horrors through fiction. 24 00:01:37,080 --> 00:01:41,240 Speaker 1: The story is Marianna and Riquez rights are populated by monsters, 25 00:01:41,840 --> 00:01:47,640 Speaker 1: which is ghosts and other creatures that refuse to stay dead. 26 00:01:50,520 --> 00:01:55,680 Speaker 1: She writes about people who encounter haunted houses and demonic possessions, 27 00:01:56,320 --> 00:02:02,760 Speaker 1: but her fiction is grounded in reality. Mariana is one 28 00:02:02,800 --> 00:02:06,040 Speaker 1: of the best known writers of a growing literary trend 29 00:02:06,080 --> 00:02:10,800 Speaker 1: in Latin America that uses the horror genre to denounce 30 00:02:11,200 --> 00:02:17,080 Speaker 1: and digest historic and present traumas from the region. She 31 00:02:17,200 --> 00:02:20,080 Speaker 1: was born in Buenos Aire's in nineteen seventy three, just 32 00:02:20,160 --> 00:02:22,760 Speaker 1: a few years before a military hunda took over the 33 00:02:22,800 --> 00:02:33,040 Speaker 1: democratic government in Argentina. A brutal authoritarian regime followed. More 34 00:02:33,080 --> 00:02:38,520 Speaker 1: than thirty thousand people of all ages and backgrounds were kidnapped, tortured, 35 00:02:38,560 --> 00:02:43,200 Speaker 1: and then murdered or disappeared. When the dictatorship ended in 36 00:02:43,240 --> 00:02:47,720 Speaker 1: the early nineteen eighties, Marianna was ten years old. Through 37 00:02:47,720 --> 00:02:52,480 Speaker 1: her teenage years, the brutal repression of the dictatorship began 38 00:02:52,840 --> 00:02:59,480 Speaker 1: to be slowly unearthed. For Mariana, exploring those horrors in 39 00:02:59,520 --> 00:03:04,640 Speaker 1: her writing allows her to exercise the traumas. It allows 40 00:03:04,680 --> 00:03:07,160 Speaker 1: her to speak of the unspeakable. 41 00:03:08,320 --> 00:03:10,120 Speaker 4: It could happen, that the way it could happen, that 42 00:03:10,200 --> 00:03:12,560 Speaker 4: the load was so heavy that I could start writing 43 00:03:12,720 --> 00:03:16,560 Speaker 4: other things, more intimate things. But I think that was 44 00:03:16,600 --> 00:03:22,680 Speaker 4: the first horror, authentic, real horror things that I've read. 45 00:03:23,760 --> 00:03:28,359 Speaker 1: Marianna has published short stories, novels, and nonfiction. In twenty 46 00:03:28,400 --> 00:03:32,040 Speaker 1: twenty one, she was shortlisted for the International Booker Prize 47 00:03:32,400 --> 00:03:36,200 Speaker 1: with her short story collection The Dangers of Smoking in Bed. 48 00:03:37,000 --> 00:03:40,560 Speaker 1: Her latest novel, Our Share of Night, came out in 49 00:03:40,600 --> 00:03:43,800 Speaker 1: English earlier this year, and it's an ambitious book with 50 00:03:43,840 --> 00:03:48,960 Speaker 1: over seven hundred pages that seeks to unravel generational trauma 51 00:03:49,040 --> 00:03:53,200 Speaker 1: and violence. In this episode, Marianna is going to share 52 00:03:53,320 --> 00:03:57,040 Speaker 1: how her connection with horror started and how she uses 53 00:03:57,240 --> 00:04:00,760 Speaker 1: the genre to speak of the reality she sees. She'll 54 00:04:00,760 --> 00:04:03,400 Speaker 1: also read a passage from Our Share of Night and 55 00:04:03,480 --> 00:04:08,880 Speaker 1: tell us all about enough. Here's Argentinian author Marianna Enriquez 56 00:04:09,080 --> 00:04:11,600 Speaker 1: in her own words. 57 00:04:13,200 --> 00:04:17,880 Speaker 4: I'm Marianna Enriquez. I'm a writer and a journalist. I 58 00:04:17,960 --> 00:04:21,920 Speaker 4: live in Buenos Aires. I recognize I have a taste 59 00:04:21,960 --> 00:04:25,440 Speaker 4: for the darkness. Like I did a non fiction book 60 00:04:25,480 --> 00:04:27,560 Speaker 4: of travel, but only in cemeteries. 61 00:04:29,040 --> 00:04:32,279 Speaker 2: I'm comfortable with the horror label. 62 00:04:32,480 --> 00:04:34,880 Speaker 4: I know it's a label, but it's a label I'm 63 00:04:34,920 --> 00:04:37,680 Speaker 4: comfortable with because I like it, because I wanted to 64 00:04:37,720 --> 00:04:41,080 Speaker 4: do it, and because that's what I read. I'm an 65 00:04:41,080 --> 00:04:45,040 Speaker 4: only child, so I'm not shy really. But when I 66 00:04:45,120 --> 00:04:48,719 Speaker 4: was little, I think I was a bit withdrawn. It 67 00:04:48,839 --> 00:04:51,760 Speaker 4: was also a dictatorship, so it was not a really 68 00:04:51,880 --> 00:04:54,520 Speaker 4: fun time to make friends or Alici was in my 69 00:04:54,680 --> 00:04:59,400 Speaker 4: house and I retreated to books. So I started reading 70 00:04:59,440 --> 00:05:05,960 Speaker 4: quite ill, and not necessarily children's books when I started 71 00:05:06,080 --> 00:05:11,040 Speaker 4: reading horror, just casually. When I was very young, I 72 00:05:11,120 --> 00:05:18,880 Speaker 4: felt the adrenaline. Dealing with fear was something very serious 73 00:05:19,000 --> 00:05:22,080 Speaker 4: because it's one of the main things that, you know, 74 00:05:22,160 --> 00:05:26,119 Speaker 4: we have to deal with in our lives, the fear 75 00:05:26,160 --> 00:05:29,039 Speaker 4: of death, the fear of disease, the fear of madness. 76 00:05:29,560 --> 00:05:33,240 Speaker 4: I kind of gravitated to that because that, to me, 77 00:05:33,320 --> 00:05:36,360 Speaker 4: it was very very serious, but at the same time 78 00:05:36,440 --> 00:05:39,920 Speaker 4: it was treated in a very entertaining way. It let 79 00:05:40,000 --> 00:05:49,080 Speaker 4: you have a little fun. Also, I guess it was 80 00:05:49,200 --> 00:05:52,880 Speaker 4: Christmas Day. As a present, I got pet cemetery. My 81 00:05:53,000 --> 00:05:56,240 Speaker 4: uncle gave me pet cemetery, and that was probably the 82 00:05:56,279 --> 00:05:59,560 Speaker 4: most intense. I think it's the most scary of Stephen 83 00:05:59,640 --> 00:06:03,240 Speaker 4: King's books, which is a lot to say. That edition 84 00:06:03,720 --> 00:06:06,640 Speaker 4: had in the cover featured a cat, So I don't 85 00:06:06,720 --> 00:06:09,640 Speaker 4: think he picked it because it was a horror book. 86 00:06:09,960 --> 00:06:12,839 Speaker 4: I think he saw the cat and it said but celler, 87 00:06:12,960 --> 00:06:14,279 Speaker 4: and he gave it to me. 88 00:06:19,800 --> 00:06:20,360 Speaker 2: The next day. 89 00:06:20,400 --> 00:06:25,919 Speaker 4: I started reading it, and I clearly remember throwing it 90 00:06:25,960 --> 00:06:29,000 Speaker 4: away from me like it was some kind of spider 91 00:06:29,600 --> 00:06:32,280 Speaker 4: because there was a scene that was so cruel, a 92 00:06:32,360 --> 00:06:36,200 Speaker 4: scene that was so sick. I don't not only remember 93 00:06:36,240 --> 00:06:38,640 Speaker 4: that feeling, but this I remember really clearly. 94 00:06:38,880 --> 00:06:40,160 Speaker 2: I thought, I wish I. 95 00:06:40,120 --> 00:06:45,919 Speaker 4: Could do something like that. I wish I could do 96 00:06:46,080 --> 00:06:46,960 Speaker 4: this to the reader. 97 00:06:47,480 --> 00:06:51,320 Speaker 2: It was. It's kind of awful, but I really enjoyed it. 98 00:06:51,240 --> 00:06:55,919 Speaker 4: At the same time. That sounds bad, but it wasn't. 99 00:06:56,000 --> 00:07:00,400 Speaker 4: It was very intense. I was leaving that book to 100 00:07:00,480 --> 00:07:04,279 Speaker 4: me in the moment. That book was real, this atmosphere 101 00:07:04,520 --> 00:07:09,600 Speaker 4: that makes you go inside fiction and find some truth 102 00:07:09,680 --> 00:07:12,840 Speaker 4: in fiction, to the point that you live inside it. 103 00:07:14,360 --> 00:07:16,920 Speaker 4: And I picked it up again after a while and 104 00:07:17,000 --> 00:07:17,720 Speaker 4: I finished it. 105 00:07:18,440 --> 00:07:20,440 Speaker 2: I was eleven or twelve. 106 00:07:23,840 --> 00:07:24,080 Speaker 5: To me. 107 00:07:24,160 --> 00:07:28,600 Speaker 4: In Argentina, the public and the political are very mixed. 108 00:07:28,680 --> 00:07:32,080 Speaker 4: With your private and intimate life. I was born in 109 00:07:32,280 --> 00:07:37,080 Speaker 4: late seventy three and the dictatorship started in early seventy six, 110 00:07:37,160 --> 00:07:38,360 Speaker 4: so I was two or something. 111 00:07:38,760 --> 00:07:41,640 Speaker 6: A three man military JOHNA has taken over the government 112 00:07:41,640 --> 00:07:45,720 Speaker 6: of Argentina and a new ruling drugs readers seemed in 113 00:07:45,880 --> 00:07:46,760 Speaker 6: firm control. 114 00:07:47,280 --> 00:07:51,360 Speaker 4: And it ended in eighty three, So it covers all 115 00:07:51,440 --> 00:07:57,040 Speaker 4: my childhood. It really depends on your household, but my 116 00:07:57,640 --> 00:08:02,600 Speaker 4: house in particular. My parents were not in organizations, but 117 00:08:02,680 --> 00:08:04,080 Speaker 4: they have friends that. 118 00:08:04,400 --> 00:08:06,000 Speaker 2: Were involved in politics. 119 00:08:06,520 --> 00:08:11,080 Speaker 4: They knew people that disappeared, some that were involved in 120 00:08:11,200 --> 00:08:15,760 Speaker 4: unions or in more intense things. But also the new 121 00:08:15,760 --> 00:08:19,240 Speaker 4: friends that had nothing to do were just family of 122 00:08:19,360 --> 00:08:22,040 Speaker 4: these people that were taken in the night. 123 00:08:22,560 --> 00:08:25,280 Speaker 6: In that dirty war, men, women and children who were 124 00:08:25,320 --> 00:08:28,800 Speaker 6: labeled left wing terrorists were kidnapped off the streets by 125 00:08:28,880 --> 00:08:32,840 Speaker 6: the military regime, tortured and killed. Because no records were kept, 126 00:08:32,840 --> 00:08:35,199 Speaker 6: the victims became known as the disappeared. 127 00:08:36,000 --> 00:08:39,679 Speaker 4: The world was taken those days. They took someone. They 128 00:08:39,720 --> 00:08:42,640 Speaker 4: would say they were all taken in the night, not 129 00:08:42,720 --> 00:08:46,320 Speaker 4: given judgment of any kind. They were just killed and 130 00:08:46,480 --> 00:08:49,560 Speaker 4: thrown into the river. There was not a war was 131 00:08:49,920 --> 00:08:52,880 Speaker 4: more sinister than a war is more open. 132 00:08:53,000 --> 00:08:54,720 Speaker 2: This was very sinister. 133 00:08:59,360 --> 00:09:03,080 Speaker 4: To me, it was very normal, but I realized it 134 00:09:03,120 --> 00:09:06,720 Speaker 4: was very tense. I had a phobia with my parents 135 00:09:06,800 --> 00:09:10,320 Speaker 4: going out. It was a feeling of being in danger 136 00:09:10,440 --> 00:09:13,320 Speaker 4: all the time. So it was very confusing at the 137 00:09:13,360 --> 00:09:17,360 Speaker 4: same time because also my parents said to me, all 138 00:09:17,400 --> 00:09:20,280 Speaker 4: the things that we talked at home, you can't talk 139 00:09:20,440 --> 00:09:23,280 Speaker 4: outside at school or with friends. 140 00:09:24,040 --> 00:09:27,640 Speaker 2: And I couldn't really guess which. 141 00:09:27,559 --> 00:09:29,920 Speaker 4: Was the part that was a secret and which were 142 00:09:30,040 --> 00:09:33,000 Speaker 4: the things that I could say. I just decided not 143 00:09:33,040 --> 00:09:39,000 Speaker 4: to say anything at all. When it ended in eighty three, 144 00:09:39,520 --> 00:09:44,160 Speaker 4: that was my whole teenage years, and. 145 00:09:43,280 --> 00:09:45,760 Speaker 2: To me, it was very normal to hear and know. 146 00:09:46,520 --> 00:09:52,040 Speaker 4: About the atrocities that were committed everywhere, like really everywhere 147 00:09:52,080 --> 00:09:53,640 Speaker 4: in every media. 148 00:09:53,679 --> 00:09:57,880 Speaker 5: As many as thirty thousand people simply disappeared. Some of 149 00:09:57,920 --> 00:10:01,840 Speaker 5: those were young pregnant women, and estimated five hundred of 150 00:10:01,880 --> 00:10:04,920 Speaker 5: their babies were then given the couples who were often 151 00:10:04,960 --> 00:10:06,800 Speaker 5: deemed sympathetic to the regime. 152 00:10:07,360 --> 00:10:11,400 Speaker 4: And also at home in every house, the parents and 153 00:10:11,760 --> 00:10:15,760 Speaker 4: the families were hearing or listening or reading or let 154 00:10:15,760 --> 00:10:19,320 Speaker 4: the children watch and know about everything what happened. It 155 00:10:19,360 --> 00:10:24,400 Speaker 4: was like a civic duty. It was absolutely overwhelming. It's 156 00:10:24,480 --> 00:10:28,720 Speaker 4: the world. Of course it's in my fiction, because I 157 00:10:28,760 --> 00:10:33,320 Speaker 4: don't see how it cannot be because I started writing 158 00:10:33,400 --> 00:10:39,200 Speaker 4: those years. I started writing when I was seventeen. A 159 00:10:39,200 --> 00:10:41,960 Speaker 4: friend of mine that her mother was disappeared. She had 160 00:10:42,040 --> 00:10:45,880 Speaker 4: many friends that were children of disappeared and they told 161 00:10:45,920 --> 00:10:49,200 Speaker 4: me that some nights they went to the house of 162 00:10:49,240 --> 00:10:54,920 Speaker 4: one of them and played wijaboard, asking where the values 163 00:10:55,000 --> 00:11:00,160 Speaker 4: of their parents were. So that was like, wow, it's 164 00:11:00,240 --> 00:11:03,760 Speaker 4: really happening. So I wrote a story about the changing, 165 00:11:03,800 --> 00:11:07,880 Speaker 4: the names, changing everything. But when I did it, I 166 00:11:07,920 --> 00:11:12,679 Speaker 4: felt maybe they find it disrespectful, but it was not 167 00:11:13,160 --> 00:11:16,920 Speaker 4: from me, but from the public perception. But then I 168 00:11:17,000 --> 00:11:22,120 Speaker 4: realized that everybody has to find their voice to tell 169 00:11:22,360 --> 00:11:26,559 Speaker 4: the traumatic events of their generation, and there's no genre 170 00:11:27,360 --> 00:11:32,480 Speaker 4: that is less legitimate than others. Horror was my language, 171 00:11:32,559 --> 00:11:37,640 Speaker 4: and everything that happened was horror, so to me it 172 00:11:37,679 --> 00:11:42,640 Speaker 4: was very appropriate. To me, it was the closest genre 173 00:11:42,800 --> 00:11:47,160 Speaker 4: to capture what it felt like or what it was 174 00:11:47,280 --> 00:11:47,880 Speaker 4: like for real. 175 00:11:48,360 --> 00:11:49,199 Speaker 2: It was horrific. 176 00:11:54,120 --> 00:11:57,920 Speaker 4: I think magic realism is a term that to me 177 00:11:58,120 --> 00:12:01,480 Speaker 4: only applies to one writer, that is Gabriel Garcia Marquis 178 00:12:03,040 --> 00:12:05,760 Speaker 4: I mean, there's many, but he is the epitome of that. 179 00:12:05,920 --> 00:12:08,800 Speaker 4: And when you read him, and he's the only example 180 00:12:09,040 --> 00:12:12,360 Speaker 4: you need really to understand why what I do or 181 00:12:12,360 --> 00:12:15,680 Speaker 4: what we are doing the writers of my generation now 182 00:12:15,800 --> 00:12:19,600 Speaker 4: is not magical realism. We really insist that it's not, 183 00:12:19,800 --> 00:12:22,040 Speaker 4: and they keep on putting the label on us. And 184 00:12:22,120 --> 00:12:25,600 Speaker 4: it's like he's writing in the years of the Cuban Revolution. 185 00:12:26,360 --> 00:12:29,680 Speaker 4: He's writing in the years where Latin America seemed a 186 00:12:29,800 --> 00:12:34,120 Speaker 4: place that had a future, that was going to have 187 00:12:34,200 --> 00:12:37,960 Speaker 4: a change politically, that was going to be integrated. I mean, 188 00:12:38,040 --> 00:12:42,959 Speaker 4: all kinds of ideals of that generation. And what happened 189 00:12:43,000 --> 00:12:46,960 Speaker 4: after those writers that most of them to me are amazing, 190 00:12:47,640 --> 00:12:51,320 Speaker 4: is the seventies, and it's the dictatorships, and it's the 191 00:12:51,640 --> 00:12:57,280 Speaker 4: economic crisis, and it's the complete ruin of the continent 192 00:12:57,440 --> 00:13:01,880 Speaker 4: in many ways. The year was born, there was a 193 00:13:01,920 --> 00:13:05,920 Speaker 4: cook that had in Chile that had a lot of 194 00:13:06,480 --> 00:13:10,480 Speaker 4: support from the US and put Pinochet in power, and 195 00:13:10,559 --> 00:13:14,960 Speaker 4: that kind of expanded through the whole continent and made 196 00:13:15,000 --> 00:13:19,800 Speaker 4: a disaster, and that then became an economical disaster, and 197 00:13:20,400 --> 00:13:26,760 Speaker 4: everything became worse, not better. I read one hundred Years 198 00:13:26,760 --> 00:13:30,480 Speaker 4: of Solitude and I marveled at the beauty of that book. 199 00:13:31,120 --> 00:13:34,160 Speaker 4: But it's really sad to me in a way. It 200 00:13:34,200 --> 00:13:38,120 Speaker 4: speaks to me of a joy of language that has 201 00:13:38,240 --> 00:13:42,160 Speaker 4: to do with the joy of a future that didn't happen. 202 00:13:49,200 --> 00:13:51,920 Speaker 4: He went down the stairs and saw the first candles 203 00:13:51,960 --> 00:13:55,920 Speaker 4: in the yard, a pass of two winding parallel lines. 204 00:13:57,080 --> 00:14:01,760 Speaker 4: The silence was total, except for nocturnal birds, the lapping 205 00:14:01,800 --> 00:14:06,840 Speaker 4: of the river, a dog barking in the distance. As 206 00:14:06,880 --> 00:14:10,600 Speaker 4: he left the perimeter of portoryshes and started down the pass, 207 00:14:10,920 --> 00:14:14,439 Speaker 4: wrested back from the jungle, he looked down at his hands. 208 00:14:15,120 --> 00:14:18,400 Speaker 4: They were no longer his. Now they were black, as 209 00:14:18,480 --> 00:14:21,600 Speaker 4: if he had dunk them in a tar pit, totally black. 210 00:14:22,160 --> 00:14:28,239 Speaker 4: Up past his wrists. The shape was also changing, gradually 211 00:14:28,280 --> 00:14:34,280 Speaker 4: and painlessly. His fingers were lengthening. At first they seemed 212 00:14:34,320 --> 00:14:38,320 Speaker 4: hit by sudden rheumatism, and in the blink of an eye, 213 00:14:38,600 --> 00:14:44,600 Speaker 4: the nails wore long and hard curved, golden daggers. That 214 00:14:44,880 --> 00:14:49,600 Speaker 4: was his medium's mark, the physical metamorphosis that distinguished and 215 00:14:49,720 --> 00:15:07,520 Speaker 4: condemned him, the God of the Golden claws. Our Share 216 00:15:07,560 --> 00:15:11,280 Speaker 4: of Night is a book that deals with magic, deal 217 00:15:11,360 --> 00:15:16,080 Speaker 4: cult and politics through the story of a father and 218 00:15:16,160 --> 00:15:22,480 Speaker 4: a son in a very particular situation. Funnily enough, it 219 00:15:22,560 --> 00:15:26,880 Speaker 4: started with a very horror idea, like the sect, the 220 00:15:26,880 --> 00:15:29,640 Speaker 4: mean people that I called the Order, and how they 221 00:15:29,720 --> 00:15:32,920 Speaker 4: were invoking this god to give them immortal life. 222 00:15:32,960 --> 00:15:34,200 Speaker 2: That was the first idea. 223 00:15:34,600 --> 00:15:38,200 Speaker 4: And then when I started with the characters, suddenly it 224 00:15:38,320 --> 00:15:42,240 Speaker 4: was in nineteen eighty one, and suddenly this god was 225 00:15:42,240 --> 00:15:45,120 Speaker 4: called the Darkness, and the Darkness was eating people and 226 00:15:45,160 --> 00:15:49,080 Speaker 4: making them disappear, and suddenly all the things I've been 227 00:15:49,200 --> 00:15:53,240 Speaker 4: working on started to appear in a different line in 228 00:15:53,280 --> 00:15:55,120 Speaker 4: the context of this story. 229 00:15:55,520 --> 00:15:59,000 Speaker 2: It's also a story of history. It's kind of a. 230 00:15:58,920 --> 00:16:01,680 Speaker 4: Scar that you can get rid of, and you will 231 00:16:01,720 --> 00:16:05,720 Speaker 4: always go back to your origins, even when you want 232 00:16:05,760 --> 00:16:08,360 Speaker 4: to run away from them. And I know it's very long, 233 00:16:08,400 --> 00:16:11,880 Speaker 4: but this story is so crazy because it is that 234 00:16:12,040 --> 00:16:18,160 Speaker 4: I really needed length to make you live in that 235 00:16:18,320 --> 00:16:22,080 Speaker 4: world and believe in those characters, to know them, to 236 00:16:22,120 --> 00:16:25,640 Speaker 4: live with them, to understand their logic. It wasn't a 237 00:16:25,720 --> 00:16:33,880 Speaker 4: thing that was going to be solved fast, couldn't. The 238 00:16:34,040 --> 00:16:38,280 Speaker 4: child inherited his gift, let's say, as a medium, but 239 00:16:38,520 --> 00:16:41,240 Speaker 4: he's not sure that this is a gift. He feels 240 00:16:41,280 --> 00:16:44,120 Speaker 4: it's more like a curse, so he will go through 241 00:16:44,320 --> 00:16:49,840 Speaker 4: very extreme I would say, methods to take the boy 242 00:16:49,880 --> 00:16:53,720 Speaker 4: away from his family and protect him from his family. 243 00:16:54,200 --> 00:16:57,920 Speaker 4: This is the most dysfunctional family that you could ever meet. 244 00:16:58,480 --> 00:17:01,200 Speaker 4: There's a lot of secrets, lot of lies. There's a 245 00:17:01,240 --> 00:17:06,080 Speaker 4: lot of being bonded by blood but not really liking 246 00:17:06,160 --> 00:17:06,800 Speaker 4: these people. 247 00:17:08,160 --> 00:17:10,160 Speaker 2: The relationship between them is. 248 00:17:10,119 --> 00:17:12,840 Speaker 4: Not just, you know, the pure of a father that 249 00:17:13,000 --> 00:17:17,080 Speaker 4: wants to save the child, but it's a very mixed 250 00:17:17,440 --> 00:17:20,040 Speaker 4: There's a lot of envy, there's a lot of violence. 251 00:17:22,320 --> 00:17:27,159 Speaker 4: The novel begins in the eighties in the northeast of Argentina. 252 00:17:27,640 --> 00:17:31,520 Speaker 4: There is a place that the borders are with Brazil 253 00:17:31,640 --> 00:17:36,400 Speaker 4: and with Paraguay, which makes it very multicultural, but not 254 00:17:36,440 --> 00:17:43,520 Speaker 4: only that but really amphibious region. Some people speak Guaraniita 255 00:17:43,640 --> 00:17:47,000 Speaker 4: is the language of the indigenous and Spanish and also 256 00:17:47,080 --> 00:17:50,640 Speaker 4: a bit of Portugnola is a mix of Spanish and Portuguese, 257 00:17:51,400 --> 00:17:55,960 Speaker 4: but also there's a mix of the mythology of the 258 00:17:56,040 --> 00:18:01,040 Speaker 4: Guaranese that are the indigenous people and Catholics and the 259 00:18:01,200 --> 00:18:08,359 Speaker 4: Afro Brazilian religions. The other part is in London in 260 00:18:08,400 --> 00:18:11,680 Speaker 4: the sixties, is in the swing in London, the sixties 261 00:18:11,720 --> 00:18:15,520 Speaker 4: in general, in America and in Britain. It's an era 262 00:18:15,680 --> 00:18:20,760 Speaker 4: that really kind of started very naive and we can 263 00:18:20,960 --> 00:18:24,320 Speaker 4: want to change the world with the Beatles and everything, 264 00:18:24,359 --> 00:18:26,760 Speaker 4: and it ended with the Rolling Stones in Altamont, and 265 00:18:26,800 --> 00:18:32,000 Speaker 4: with Charles Manson and with several other disasters. Also the 266 00:18:32,119 --> 00:18:36,160 Speaker 4: search of spirituality, very naive search of spirituality, and it's 267 00:18:36,160 --> 00:18:39,359 Speaker 4: called darker. So I wanted that period to be the 268 00:18:39,440 --> 00:18:43,320 Speaker 4: period of the youth of Huanda is the medium and 269 00:18:43,400 --> 00:18:45,879 Speaker 4: all the people in the order, because it kind of 270 00:18:46,320 --> 00:18:54,400 Speaker 4: mirrord their journey. All this comes with a very political 271 00:18:54,520 --> 00:18:58,080 Speaker 4: notion of core or things that deal with the social 272 00:18:58,119 --> 00:19:05,399 Speaker 4: and the political. In Latin America, I think it's important 273 00:19:05,440 --> 00:19:10,040 Speaker 4: that we don't share as a genre the same fears 274 00:19:10,040 --> 00:19:14,080 Speaker 4: to everybody. Literature in English is very self sufficient, like 275 00:19:14,280 --> 00:19:18,919 Speaker 4: there's a lot of writers and very good writers. You 276 00:19:18,920 --> 00:19:22,159 Speaker 4: can live in that ecosystem forever. You don't really need translation. 277 00:19:22,359 --> 00:19:28,239 Speaker 4: But we in Argentina we were raised with translations and 278 00:19:28,280 --> 00:19:33,880 Speaker 4: it was never a problem. A haunted house is not haunted, 279 00:19:33,920 --> 00:19:38,439 Speaker 4: but the same kind of ghosts here or in Portugal, 280 00:19:38,880 --> 00:19:43,120 Speaker 4: it's not It wouldn't be the same kind of situation. 281 00:19:42,880 --> 00:19:44,840 Speaker 2: That brought a goalst to that situation. 282 00:19:45,000 --> 00:19:48,640 Speaker 4: Because the histories are different, there's a lot of horror 283 00:19:48,680 --> 00:19:52,639 Speaker 4: in real life, so to use it in general is 284 00:19:52,680 --> 00:19:55,000 Speaker 4: a way to put a light on it and bring 285 00:19:55,040 --> 00:19:59,399 Speaker 4: it to the original horrific event and a bit of 286 00:19:59,440 --> 00:20:00,000 Speaker 4: a thrill to. 287 00:20:16,760 --> 00:20:20,600 Speaker 7: Him, Maria, This is Miguel from Chicago. I first heard 288 00:20:20,720 --> 00:20:24,359 Speaker 7: Latino USA in twenty twenty on a Sunday, and now 289 00:20:24,480 --> 00:20:27,760 Speaker 7: I listen every Sunday with my wife and daughter Sochi. 290 00:20:28,240 --> 00:20:30,960 Speaker 7: As a Latino here in Chicago. It connects me with 291 00:20:31,200 --> 00:20:34,960 Speaker 7: so many interesting stories all over the world, and I 292 00:20:35,040 --> 00:20:38,440 Speaker 7: just want to say thanks, Say bye Tochi Bye. 293 00:20:44,440 --> 00:20:47,600 Speaker 1: This episode was produced by Victoria Strada and edited by 294 00:20:47,640 --> 00:20:51,639 Speaker 1: Marta Martinez. It was mixed by JJ Carubin. The Latino 295 00:20:51,720 --> 00:20:56,760 Speaker 1: USA team includes Andre Lopez Crusado, Mike Sargent, Daisy Contreras, 296 00:20:56,800 --> 00:21:00,959 Speaker 1: Rinaldolanos Junior, and Patrisa Subran, with how from Raoul Beres. 297 00:21:01,200 --> 00:21:05,000 Speaker 1: Our editorial director is Fernandes Santos. Our director of engineering 298 00:21:05,160 --> 00:21:08,560 Speaker 1: is Stephanie Lebau. Our senior engineer is Julia Caruso. Our 299 00:21:08,600 --> 00:21:13,119 Speaker 1: associate engineer is Gabriel Lebias. Our marketing manager is Res Runa. 300 00:21:13,280 --> 00:21:17,359 Speaker 1: Our New York Women's Foundation fellow is Elizabeth Loenthal Torres. 301 00:21:17,600 --> 00:21:20,679 Speaker 1: Our theme music was composed by Sane Rorinos. I'm your 302 00:21:20,680 --> 00:21:23,320 Speaker 1: host and executive producer Mariao Hosa. Join us again on 303 00:21:23,359 --> 00:21:25,960 Speaker 1: our next episode. In the meantime, look for us on 304 00:21:26,000 --> 00:21:29,080 Speaker 1: your social media and remember not tevayas Ciao. 305 00:21:32,880 --> 00:21:37,720 Speaker 8: Latino USA is made possible in part by California Endowment 306 00:21:38,080 --> 00:21:41,560 Speaker 8: building a strong state by improving the health of all Californians, 307 00:21:41,920 --> 00:21:45,800 Speaker 8: the John D. And Catherine T. MacArthur Foundation, and Michelle 308 00:21:45,800 --> 00:21:47,240 Speaker 8: Mercer and Bruce Golden. 309 00:21:51,240 --> 00:21:55,760 Speaker 4: I remember I picked. I think Borges maybe or Ann Vaulkner. 310 00:21:56,000 --> 00:21:58,760 Speaker 4: You know when I was like, I can't remember nine 311 00:21:59,160 --> 00:22:01,800 Speaker 4: or eight and I was incomprehensible