Interview journalist Luis Marín
Aníbal Ortega Barrera Luis Antonio Marin is a journalist and, as he has undertaken to admit it, their literary forays have a sort of journalistic bias appellant: seek witness of what is unknown circumstances daily. His most recent work, Palace Larraín, is an accurate foray into what might be called the multifaceted and often tragic reality of Chilean youth. Is there a journalistic dimension to the extent that collects facts and circumstances of the daily life of a man who has learned to live with fearless intensity. But Marin is done accurately by the now classic assertion that teaches that the literary work is the effort that makes a human being to tell another human being what it is and how the enigmatic human animal.
On 8 December, the book was presented in the commune of birth, in the Eighth Region, where currently resides Marín. Day 28 next will be the same in the room forced direction of the Directorate of Extension, University of La Frontera. Luis Marín
not forget his long days temuquenses. Lived in these parts since his childhood days, here became a journalist and a man of prodigious intellectual curiosity.
writer and journalist
"Come on, let's start a synthesis, an art in which we could assume that you are a teacher. I ask you to respond in no more than ten words who is Luis Antonio Marin.
"A writer is not yet married (or hunted) with any genre, an intellectual and a journalist without academia unemployed but always working. I fear that, too, the future dramatist of genius. "Let
synthesis efforts. I ask you soon to answer the question: Why write?
-For pastime, vanity citizen, by therapy, in desperation, and the almost Promethean desire to change the objective conditions of social reality through art. That is, from least to most, my personal hierarchy of the literary work.
"Changing the objective conditions of social reality through art." There are many who argue that literature is always an underground political stature. We therefore Luis Antonio Marin to that subject area.
literary vein, can be inferred from your answer that you have interest in the political dimension of the human animal. Is it so?
"Sure, and that dimension is much more than the party system and state powers. I think true art is, paradoxically, from its current objectifying objectification-call to improve what we call reality. People who read or have developed sensitivity to the arts are more tolerant, adventurous, controlled, creative, and therefore do not believe that the only good things in life are the sensual pleasures (the zapping sex, drunkenness or football perennial dipped in marinade) are, as they say now, better citizens.
- Chilean literature is the height of the requirements, say that consensus, the current Chilean society? I understand that the answer may be very long, but I'm asking you as soon as we are facing journalists.
"I think most of the national writers are unable to evangelize their art beyond its dwindling stands or academies: The authors and the institutions that support are rather, and a hit song parody, increasing cultural inequality , elitist. I believe that readers and audiences must leave to find them. I support book fairs and meetings of writers, but I'm more in favor of public writers inquire into new, even illiterate, verbalizing their texts, reenchanted people.
"I tried to do, free and because I like challenges, writing workshops in prison in Temuco and Tucapel Regiment. I thought, but I think the concept is there, or if not, we rot in the dump all of neoanalfabetismo. "
- What Larraín Palace expresses your book? How to synthesize your message?
I do not think you have a message like that to dry. For nothing. I can only say that the feeling that my father was desperate to book a youth (mine and other urchins) wasted, is perhaps a metaphor for the impossibility of art: a horse foundered launched against a cliff.
- What genre is part of your book?
"The matter of literary genres is being rethought from the avant-garde. I see it more as a set of expectations that were generated in the reader, as a closed system of laws and not transferable. Even the theme of literature as an invention, as a mere unreality-as opposed to hard science, social science or journalism that tell "the truth "- has its days numbered.
"My book was born as a set of stories (or letters, testimonials and even possible theatrical and film scripts) having some common characters of biographical and autobiographical claims. Then I persuaded (convinced me) that the direction and spatial order (to be stories engendered in three Chilean cities: Santiago, South City and calving) and time (because it accounts to debit a certain progression epic bildungsroman or novel of formation) did text of my novel with a less orthodox structure. That was why I decided to title Larraín Palace and Other Stories of romance, but my editor preferred to leave the Palace Larraín and the reader decide. "
"Self-destruction?
"It's easy to think that the Palace Larraín call contains a kind of self-destruction. Do you think that might be?
- think "Easy for whom? Why Cuñuñuco Pentecostal pastor? I think that from the very moment when the protagonist Domínguez Montressor sociologist gathers and recreates the disaster, no longer embody, at least symbolically. Self-destruction, which passes through the offset psychic heroes of the story, not an apology for the defeat, but rather a invocation to the fight, to revolt against a social system that objectifies you, who have lost the true meaning of ritual, and where power is exercised in a dehumanized, and not because the building of power has pure heartless, but because the complexity of reality (of the laws, of the numbers of legal entities) makes this almost a pure abstraction.
Why write?
"While you hold that your book does not imply a message, you can not lose sight of something already answered: that is written to" change the objective conditions of social reality through art. " How does that purpose Palace Larraín?
"It is a paradox with books of this kind: the hopelessness that recreate is pregnant with hope. This paradox, of course, not felt the hardest stories to write the book. "Palacio Larraín" I wrote between 1999 and 2004, at a rate of amateur writer, a situation which I hope will change. "
- What about the recent nomination of José Miguel Varas and National Book Award? What you deserve consideration by Andres Gomez said in that it was "no surprise" because they chose a career writer but, unlike Enrique Lafourcade or germ Marin does not generate discord.
"I do not agree with Gomez. What is perhaps claim of consensus politics propelled the year 90 by Patricio Aylwin, and senile, or to reward good people? There were five more writers Literary merit! that Varas (Marín, Lafourcade, Eltit, Allende and Skarmeta, at that precise order), but rewarded with this gentleman. What happened there was that the last winner, Armando Uribe Arce, is a close friend of Varas and influenced the rest of the jury, who know so much about literature as I trigonometric equations.
In La Araucanía
"Well, go back the issues that seem particularly interested. What can you tell me the literary reality of our region of La Araucanía? (I'm sure you do not lack information).
"There is a clear explosion of literature Mapuche issue, which has more to do with a sociological phenomenon of otherness inverted to a matter of intrinsic quality. Dr. Carrasco and his cohorts of UFRO want to express to the world that "I saw them first", in relation to the artists who have surnames that 20 years ago were teased and now rampant. Literarily speaking, the outlook is grim. Guido Eytel do not know if new plan works, but in general terms the writers of earlier generations seem to have lost mine of gunpowder. Of those who are my age rescued Claudio Maldonado, he is my friend (and not "Lex Lutor Marín", as one suffered chronic) and obsessions have enough to write something substantial. The storytellers of my generation who managed to publish before they left here, as Jaime Huenún, one of the best living poets I have known, what it intends to Maldonado and also made the ultimate prize Pablo Neruda's poetry. In Chillan and Valdivia, to name a few examples, the issue is not so. Migration
"I understand you plan inroads into the academic and literary guild currently offered Spain. Why do you think the raid necessary? Rather, you see all the doors closed in Chile?
"That is somewhat inaccurate (perhaps work to develop scripts or washing dishes), but the fact is that if we want to go. My fruitless wanderings in the art and the country-radio programs, aborted management companies and cultural products, columns, scripts, theater, majors fakers (as is almost all generated in academia) - I have absolutely fatigued. Also, the artistic and literary landscape of Chile is a malignancy thick. Is full of lobbyists, merchants, lamepuertas, swindlers, cloistered (speaking of those co-opted by the academy), all packed in the bag of cats that causes the excess people for so little space. In Chile, many writers are emerging for so few readers, this causes overcrowding and shifts the point of interest from the same creativity to the hateful paraliterarias complaints.
"One last question. It seems obvious that you're a rebel, meaning that the word 'rebel' is the noun of the verb 'rebel', which means exactly "stir, lift someone by missing due obedience." Why and how to be rebellious? "Resorting Maybe if drugs?
"I'm rather with that due obedience: Obedience is not necessarily a matter of inertia, a convention, but born of a conviction. Now, I never went to those who kicked the board or scream loudly I was never as (for example with everything I got from my terrible college), but never gave it to understand ... perhaps this aporia gave me the writer.
Aníbal Ortega Barrera Luis Antonio Marin is a journalist and, as he has undertaken to admit it, their literary forays have a sort of journalistic bias appellant: seek witness of what is unknown circumstances daily. His most recent work, Palace Larraín, is an accurate foray into what might be called the multifaceted and often tragic reality of Chilean youth. Is there a journalistic dimension to the extent that collects facts and circumstances of the daily life of a man who has learned to live with fearless intensity. But Marin is done accurately by the now classic assertion that teaches that the literary work is the effort that makes a human being to tell another human being what it is and how the enigmatic human animal.
On 8 December, the book was presented in the commune of birth, in the Eighth Region, where currently resides Marín. Day 28 next will be the same in the room forced direction of the Directorate of Extension, University of La Frontera. Luis Marín
not forget his long days temuquenses. Lived in these parts since his childhood days, here became a journalist and a man of prodigious intellectual curiosity.
writer and journalist
"Come on, let's start a synthesis, an art in which we could assume that you are a teacher. I ask you to respond in no more than ten words who is Luis Antonio Marin.
"A writer is not yet married (or hunted) with any genre, an intellectual and a journalist without academia unemployed but always working. I fear that, too, the future dramatist of genius. "Let
synthesis efforts. I ask you soon to answer the question: Why write?
-For pastime, vanity citizen, by therapy, in desperation, and the almost Promethean desire to change the objective conditions of social reality through art. That is, from least to most, my personal hierarchy of the literary work.
"Changing the objective conditions of social reality through art." There are many who argue that literature is always an underground political stature. We therefore Luis Antonio Marin to that subject area.
literary vein, can be inferred from your answer that you have interest in the political dimension of the human animal. Is it so?
"Sure, and that dimension is much more than the party system and state powers. I think true art is, paradoxically, from its current objectifying objectification-call to improve what we call reality. People who read or have developed sensitivity to the arts are more tolerant, adventurous, controlled, creative, and therefore do not believe that the only good things in life are the sensual pleasures (the zapping sex, drunkenness or football perennial dipped in marinade) are, as they say now, better citizens.
- Chilean literature is the height of the requirements, say that consensus, the current Chilean society? I understand that the answer may be very long, but I'm asking you as soon as we are facing journalists.
"I think most of the national writers are unable to evangelize their art beyond its dwindling stands or academies: The authors and the institutions that support are rather, and a hit song parody, increasing cultural inequality , elitist. I believe that readers and audiences must leave to find them. I support book fairs and meetings of writers, but I'm more in favor of public writers inquire into new, even illiterate, verbalizing their texts, reenchanted people.
"I tried to do, free and because I like challenges, writing workshops in prison in Temuco and Tucapel Regiment. I thought, but I think the concept is there, or if not, we rot in the dump all of neoanalfabetismo. "
- What Larraín Palace expresses your book? How to synthesize your message?
I do not think you have a message like that to dry. For nothing. I can only say that the feeling that my father was desperate to book a youth (mine and other urchins) wasted, is perhaps a metaphor for the impossibility of art: a horse foundered launched against a cliff.
- What genre is part of your book?
"The matter of literary genres is being rethought from the avant-garde. I see it more as a set of expectations that were generated in the reader, as a closed system of laws and not transferable. Even the theme of literature as an invention, as a mere unreality-as opposed to hard science, social science or journalism that tell "the truth "- has its days numbered.
"My book was born as a set of stories (or letters, testimonials and even possible theatrical and film scripts) having some common characters of biographical and autobiographical claims. Then I persuaded (convinced me) that the direction and spatial order (to be stories engendered in three Chilean cities: Santiago, South City and calving) and time (because it accounts to debit a certain progression epic bildungsroman or novel of formation) did text of my novel with a less orthodox structure. That was why I decided to title Larraín Palace and Other Stories of romance, but my editor preferred to leave the Palace Larraín and the reader decide. "
"Self-destruction?
"It's easy to think that the Palace Larraín call contains a kind of self-destruction. Do you think that might be?
- think "Easy for whom? Why Cuñuñuco Pentecostal pastor? I think that from the very moment when the protagonist Domínguez Montressor sociologist gathers and recreates the disaster, no longer embody, at least symbolically. Self-destruction, which passes through the offset psychic heroes of the story, not an apology for the defeat, but rather a invocation to the fight, to revolt against a social system that objectifies you, who have lost the true meaning of ritual, and where power is exercised in a dehumanized, and not because the building of power has pure heartless, but because the complexity of reality (of the laws, of the numbers of legal entities) makes this almost a pure abstraction.
Why write?
"While you hold that your book does not imply a message, you can not lose sight of something already answered: that is written to" change the objective conditions of social reality through art. " How does that purpose Palace Larraín?
"It is a paradox with books of this kind: the hopelessness that recreate is pregnant with hope. This paradox, of course, not felt the hardest stories to write the book. "Palacio Larraín" I wrote between 1999 and 2004, at a rate of amateur writer, a situation which I hope will change. "
- What about the recent nomination of José Miguel Varas and National Book Award? What you deserve consideration by Andres Gomez said in that it was "no surprise" because they chose a career writer but, unlike Enrique Lafourcade or germ Marin does not generate discord.
"I do not agree with Gomez. What is perhaps claim of consensus politics propelled the year 90 by Patricio Aylwin, and senile, or to reward good people? There were five more writers Literary merit! that Varas (Marín, Lafourcade, Eltit, Allende and Skarmeta, at that precise order), but rewarded with this gentleman. What happened there was that the last winner, Armando Uribe Arce, is a close friend of Varas and influenced the rest of the jury, who know so much about literature as I trigonometric equations.
In La Araucanía
"Well, go back the issues that seem particularly interested. What can you tell me the literary reality of our region of La Araucanía? (I'm sure you do not lack information).
"There is a clear explosion of literature Mapuche issue, which has more to do with a sociological phenomenon of otherness inverted to a matter of intrinsic quality. Dr. Carrasco and his cohorts of UFRO want to express to the world that "I saw them first", in relation to the artists who have surnames that 20 years ago were teased and now rampant. Literarily speaking, the outlook is grim. Guido Eytel do not know if new plan works, but in general terms the writers of earlier generations seem to have lost mine of gunpowder. Of those who are my age rescued Claudio Maldonado, he is my friend (and not "Lex Lutor Marín", as one suffered chronic) and obsessions have enough to write something substantial. The storytellers of my generation who managed to publish before they left here, as Jaime Huenún, one of the best living poets I have known, what it intends to Maldonado and also made the ultimate prize Pablo Neruda's poetry. In Chillan and Valdivia, to name a few examples, the issue is not so. Migration
"I understand you plan inroads into the academic and literary guild currently offered Spain. Why do you think the raid necessary? Rather, you see all the doors closed in Chile?
"That is somewhat inaccurate (perhaps work to develop scripts or washing dishes), but the fact is that if we want to go. My fruitless wanderings in the art and the country-radio programs, aborted management companies and cultural products, columns, scripts, theater, majors fakers (as is almost all generated in academia) - I have absolutely fatigued. Also, the artistic and literary landscape of Chile is a malignancy thick. Is full of lobbyists, merchants, lamepuertas, swindlers, cloistered (speaking of those co-opted by the academy), all packed in the bag of cats that causes the excess people for so little space. In Chile, many writers are emerging for so few readers, this causes overcrowding and shifts the point of interest from the same creativity to the hateful paraliterarias complaints.
"One last question. It seems obvious that you're a rebel, meaning that the word 'rebel' is the noun of the verb 'rebel', which means exactly "stir, lift someone by missing due obedience." Why and how to be rebellious? "Resorting Maybe if drugs?
"I'm rather with that due obedience: Obedience is not necessarily a matter of inertia, a convention, but born of a conviction. Now, I never went to those who kicked the board or scream loudly I was never as (for example with everything I got from my terrible college), but never gave it to understand ... perhaps this aporia gave me the writer.
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