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No, we will not talk about elections this weekend in Spain because the oven is not designed for rolls. "I am a man who tells stories and who writes novels," said Arturo Perez-Reverte, in a modesty which he knows is unofficial. And it will be better because his latest novel Sabotage, which closes the trilogy featuring the mercenary Lorenzo Falcó, will be the excuse to talk to readers Sunday at 4pm in the largest room of the 45th Book Fair: José Hernández, with a capacity of a thousand people. We will have to see if the number of Chairs is not lacking, because this Spanish author has loyal fans in Argentina. From that, the pbadions that he generates, he chatted with Clarin Although other topics that you usually visit were discussed: inclusive language and feminism, journalism, future of Europe and your Twitter account.
"Another thing is that I admit that any girl or any group of feminist girls from Úbeda decrees that now things are said in such a way"
Falcó is a murderer without remorse. As there are many in the literature, although it has something unique: it does not need to be excused. Here, there is no missing family, shortcomings of childhood or trauma of adolescence. "Falcó is a son of a bitch", says between two laughs Perez-Reverte and he sits in a Louis XV armchair. In his third and last adventure (for the moment), he must infiltrate the Paris of the 30s with the mission of destroying the painting that Pablo Picbado will exhibit in the Spanish pavilion of the Universal Exhibition of 1937: the "Guernica". To know if he will succeed or not, you have to read the novel. But those who know Falcó know that it's not one of those who leave part-time jobs.
"Falcó is a son of a bitch", makes fun of Pérez-Reverte of the protagonist of his novel.
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– They indicated in Spain a parallelism between the Paris of the novel, foreign to the approaching World War II, and the Europe of the present. Is it deliberate?
– I've been writing novels for thirty years and I wanted to tell a story. As I can write the novels I want, I spent two or three years on a subject, traveling and knowing, which brings me a state of happiness. In this case, I wanted to tell a story of the Paris of the 30s and I arrived there, but I did not intend to draw parallels, even if it's inevitable when you read the story – who has a little – find traces in the present.
– Especially, as it is a very special past, the gestation of fascism and the rise of Nazism are never seen again.
-No, of course. But there is a little harm there because the Paris of that time was very mythified from the cultural point of view. Convergen's iconic characters such as Ernest Hemingway, F. Scott Fitzgerald, Pablo Picbado or John Dos Pbados, among others, I wanted to put a wolf in, someone who would give all this, who does not even read books, who do not know who Hemingway is …
-But it is clear that the imminence of something terrible throughout the novel.
-C is true, but it was not deliberate. I work with a world and elements that I know well, and from there they leave, without looking for it, a critical moment in Europe which, like any other critical moment, serves as a lesson in the next era. And that's the case. But it is also true – and that is why it is not so worrying – that several elements did not exist at present: the mbades were much more illiterate than today, they were much more exploited economically and socially, there were situations of injustice that today – although the world remains unjust – in Europe, it has improved a lot; and finally there was fascism, communism, socialism, anarchism, Nazism, national socialism. At that time, it was words of hope, because there were even very honest people who thought that Communism, Nazism or even fascism were solutions to the problems of their country. Subsequently, history has shown that these were pernicious and toxic ways, but it was with time. Now we are more educated – in what is possible – and we especially have experience of what has happened before, with which I do not believe that the word ism leads us to disaster. There are other things that will lead us to disaster.
"I can talk about Twitter and talk about a game on the internet and also regret that Virgilio is not seen in schools"
"Today, we are more educated and we have experience of what happened before, I do not think this word leads to disaster," said Arturo Pérez-Reverte.
– Is not he optimistic about the future of Europe?
– I am very pessimistic because no one who has read the story can be optimistic from my point of view. The same thing happens with Argentina: anyone who knows the history of this country can not be optimistic about what will happen. Because a reader is nothing more than a person more informed than average. The same thing is happening in Europe. I am European and I am part of a cultural channel that was born with Plato and Aristotle and continues with the Bible and the Koran, and Virgil and Dante, Voltaire, Montesquieu, Rousseau and Marx until now. With this cultural heritage that is embedded in my DNA, I see that the current Europe is dying. Something else is coming and I do not know if it will be better or worse. What is clear is that the one in which I was educated is disappearing. So, I suppose, but I can not avoid melancholy because I can talk about Twitter and talk about an Internet game and also regret that Virgilio is not seen in schools. These are perfectly compatible things.
-Talk to tweet but do the act of typing and not using the cell phone with your finger. Do not use your phone to use social networks?
– This gesture is very important because my phone is an old Nokia that only serves to call by phone. It's only when I travel abroad that I wear this more modern model because mine no longer has the signal. But when I come back, I turned it off, I keep it and I use mine that does not even have internet or camera. And I come from time to time, I'm not bading every day with Twitter because I think it's good to be in technology, without these technologies trapping you. At least I do not need it.
Sabotage, a novel by Pérez-Reverte that closes (for the moment) the trilogy of the mercenary Falcó.
-Are you tired of controversies and misunderstandings generated on your Twitter account?
– With my age, I do not care anymore that they do not understand me: I can afford misunderstandings and no problem. I came to Twitter somewhat naively: Eight or nine years ago, I used nothing and a friend explained to me that it was a good way to answer the many letters and messages I received. But then, I thought it was like a conversation in a bar in which I said "we have to see, I'm from Macri to the nose" and then nothing happens. But it's not like that: if you put it on Twitter, it will go from there to the newspapers that will be titled "Perez-Reverte attacked Macri" and all that. Then I realized that I did not say that I had problems, but it generated a lot of controversy. Today, I have something more than two million followers that I have not looked for, but they are there and now, if I see it as a tool that gives the influence and that amuses me, at 67 years old, I have the taste of malice: I was a naughty journalist boy and I was a naughty journalist and then from time to time I break the nest and I stay to see what happens.
"How will the language not evolve if it is absolutely heteropatriarchal for centuries?" Said Perez-Reverte.
– Why do you think your opinions generate so many pbadions and refusals of politics to feminism?
-It's true and it's funny because I never talk about politics. And among feminists, it's for inclusive language. Feminism is a very clear example: anyone who reads my novels knows that my female characters are absolutely anti-abysses, and I have since many articles in favor of women's equality. What is happening is that with inclusive language I have been very radical because language is my tool. So, if you tell me that I should write todes to not be macho, I will not write a novel using todes. It was before stupidity, before this type of absurd radicalism, that yes I was very energetic. Now, people who do not read me maybe never hear headlines saying, "Perez-Reverte attacks inclusive language," "Perez-Reverte is macho"this is why it is another example of what social networks are: empowering all of this and feeding both love and hatred.
-Do not accept the todes but also do not remove the tilde only and this one, as mandated by the RAE.
-Exact. There I am against the Academy because I need the tilde, it is a question of technical coherence. Nothing more. Because I accept that the language must evolve: How will the language not evolve if it has been absolutely hétéropatriarcal for many centuries? I say without problem President although it does not need the feminine, in the same way that I accept a lot of modifications. Another thing is that stupidity prevails and I admit that any girl or any group of Feminist Feminists of Úbeda declares that things are now said in such a way. I do not plead what the group of four illiterates says. I refuse to do that.
For Pérez-Reverte, "the public has lost the perception of what is necessary journalism and thinks that you can replace it by Internet or Twitter and they are wrong".
-You have been a journalist for more than twenty years. Do you think this office has a role to play in the world of tomorrow?
-I think it's true that it's on the way out, but it's still necessary. What is happening is that people do not realize it. The public has lost the perception of what is needed journalism and thinks you can replace it with the Internet or Twitter. And they are wrong. Because the raw material is not information: it is chaos and noise until the educated, trained, professional and trained intermediary gives it shape so that it is understandable. This is the great tragedy of communication in today's world and people do not realize it and will pay dearly for the mistake. It is already expensive in many parts of the world.
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