"IN DEPTH" A production of
Radiotelevisión Española COMPLETE EDITION and RESTORED - ENGLISH SUBTITLES
with presentation of Joaquín Soler Serrano I am moved when I find, after so long, the name of this extraordinary character: Juan Rulfo Juan Rulfo has been a prodigious but meteoric writer. Actually, at first I felt frustrated because the first editions were never sold - right? ? - They were editions of 2000 copies. Maximum of 4,000 copies and I gave them away more than anything... Remembering all the extraordinary adventures of Pancho Villa or the Cristero War, and so many other adventures in the history of Mexico, is truly feeling penetrated by history and by the emotion of a people that has had the capacity, the strength, the serenity and the drive to always be great and to continue being so throughout all time. I believe that Juan Rulfo is an absolutely specific character to represent in this theory of gigantic characters of letters in our language to Mexico. Four hundred thousand copies of a book of stories, I think it is an unusual record in the history of letters in Spanish . Well, that's right, that has happened. - Has happened? - Yes. There is the whole life of Mexico, the Mexican traditions, the frights of Mexico, the anxieties, the mistakes, the successes. There are the ghosts that come to life and lose it again. It is an endearing world, it is a very Hispanic world, because everything Mexican seems to us to touch us especially in our blood and in our way of being. I have met Rulfo. I have had that honor, that happiness. I have been a man who has found an exceptional character in Master Rulfo. I think that what we are going to have today is a real party. He is a unique character, he is a character that you will never forget. It is also in this "Literary Memory Video Library" so that you can always have it accompanying you at home and have a tequilazo from time to time with Juan speaking there on your television. Well, dear friends, we are here with nothing more and nothing less than Don Pedro Páramo, or rather, with his name and surname, the most excellent Mr. Juan Rulfo of Mexico. My brother. Spanish Radio Television IN DEPTH" with the first figures of the arts, science and letters today, joaquín soler serrano interview
April 17, 1977 edition and restoration 2020 GONZALO HERRALDE
2413 interventions My name is Juan Nepomuceno Carlos Pérez Rulfo Vizcaíno. They piled up all the names of my paternal and maternal ancestors, as if I were the offspring of a bunch of bananas , and although I prefer the verb to bunch, I would have liked a simpler name. In the Pérez Rulfo family there was never much peace. They all died early, at the age of 33, and they were all killed from behind. These are the words of Juan Rulfo collected by María Teresa Gómez in the book "Juan Rulfo and the world of his next novel." It makes us very happy to have the great Mexican master of the novel here. One of the greats of contemporary narrative, and perhaps, and by no means, one of the beings who, by writing, have achieved a universal reputation with a single book. The respect and admiration of the whole world and the consideration of one of a kind. Juan Rulfo is, as you know, the author of two fundamental books: "Pedro Páramo" and "El llano en llamas", about which, about their gestation, we will be talking in the course of this conversation. We are going to start, if it seems to you, Master Rulfo, at the beginning. That is, by that evocation of who his family background was. - Who were the Pérez Rulfos? - Well, the Pérez Rulfos were actually a compound surname, right? Their last name was originally Rulfo. They arrived from Spain, around the year 1790, and settled, uh... originally... One of them, the direct ancestor, was a monk in a convent. He was the eldest in the family, and his father didn't want him and made him a monk. So he went to Mexico to a convent, and from there he went up, and... Originally his name was Juan del Rulfo, as he was called. He did not have the last name Pérez Rulfo. What that turned out to be, turned out later, after this man first married someone, and then became a widow, and remarried, but he was the one who fought in Calleja's forces, who, in turn, was fighting against the insurgents. Perhaps it was the fundamental reason that he appropriated that Pérez Rulfo... Right?... because he was known as Captain Juan del Rulfo in the royalist forces... and naturally he didn't want to... Independence came, and he tried to evade the commitment he had had with the Spanish forces , to go over to the insurgent side... Going to closer stages, it seems that his paternal grandfather was a lawyer, I think... - He was a lawyer, yes. - He was a lawyer, and his maternal grandfather was a landowner. - He was a landowner, exactly - More or less the most immediate origins of Juan Rulfo - you have to look for them in Jalisco. - In Jalisco. - In the heights, right? - In the lowlands... Not in the highlands, but in the lowlands... Well, you were exactly born in Sayula. Well, not exactly in Sayula, but in a town near Sayula called Apulco. Because biographies give different names. They talk about Sayula, they talk about San Gabriel, they talk about Pulco. From Pulco, yes. Indeed, we were born in Apulco, which happens to be a town belonging to San Gabriel, and San Gabriela is in turn from the Sayula district, and since it is a town that does not appear on the maps, it does not appear on the maps, is it? No? This is always given as the origin of the largest population. Was it a small town, then, the town where you were born? - Very small. - What population would it have by then? - About two thousand inhabitants, more or less. - What was that town like, do you remember? It was a town in a ravine, with crooked streets, all steep. My grandfather actually built almost the entire town, the bridge over a river, the church too. He was the author of the construction of his church. He actually created the town, but the Cristero rebellion came later, and then there was a concentration, and all the people from the small towns were concentrated in the larger cities. It was when we went to live in San Gabriel. Why does it seem that the Cristero revolution was indeed especially hard on you? - With us, indeed. - It seems that his parents and other close relatives lost practically everything they had. - All Yes. - There was no choice but to go and try elsewhere. - Clear. - That revolution occurred in the years 1926 to 1928. - Exactly. Did you want to explain a bit why they were called the cristeros? What was the foundation of that name and that revolution? Well, uh, the Cristeros were born when the Mexican construction that there should be one priest for every 10,000 inhabitants was applied. Naturally the people opposed it, right? So the priests closed the churches, and they left the cult closed, too. The people protested, first with boycotts in different forms, then rose up in arms. He took up arms. He went to defend what they called "The holy cause of God", right? This rebellion actually, this one, has a rather matriarchal origin. The curious phenomenon was that women were the ones who made the Cristero revolution, because saying to a brother, a husband, or a son: "You are not a man if you are not going to fight for God, for the cause of God" . That was a very big offense, wasn't it? Then they all rose up in arms. That area where you were born was an area that, in a way, must have already created a sediment in you that we would later see in your books, in a more violent area, an area where looting, fires, revolutions took place. , droughts... all kinds of phenomena, characterized above all by the violence of nature or man, right? Yes, it was a very agitated and very violent area, especially the Christian one, but, uh, the looting. The cristiada was characterized more than anything by looting, both on one side and on the other. It was a stupid rebellion, if you will, right? because the cristeros had a chance of winning, and the federals had enough, uh... enough resources to put an end to these men, who were of the guerrilla type, right? Also, the women were…they had to fight against the women, because their main motive was to attack the man. Because of the woman, she was the one who supplied the part, because the woman was the one who stored the weapons - Was it the administration? in the signa - Yes. She was the intermediary between the man and the Cristero. So, uh, that was let by the federal government, and meanwhile, the women moved freely, right? through the countryside and everywhere, and carrying weapons, because it was difficult, to put an end to the rebellion, right? From there, from Sayula, many men always left, and especially at that time, and later as well, migrating to Tijuana, towards the border with the United States, to look for work as braceros, which was at least safer, right? ? Many, most of the population of Tijuana and Mercal and Jalisco, from that area of Jalisco, precisely. We then agreed that in principle his family was a wealthy family, although he lost his assets in that revolution. In the first months of that revolution you suffered a terrible loss for a child that was your father's, right? - Yes. It was my grandfather and my father. Both. - They both died around the same time. - They were two tremendous blows. No? - And my mother died immediately, a few years later, too. Then your mother died... Were you studying at that time in the Josephine nuns of Guadalajara? - With the Josephine nuns from San Gabriel... - From San Gabriel... but, precisely when the Cristero rebellion came, they closed the schools. So we went to Guadalajara. At the death of your parents, were you practically left with almost no close relatives who could really have the responsibility of taking care of you? - Well, with a grandmother, nothing more... - With a grandmother. And then it seems that he had to live for a certain, long time, in an orphanage. - In an orphanage, indeed. - As you have confessed a few times, the memories you have of that orphanage are not exactly pleasant. - No, not at all... - You said it was like a correctional facility. It was a correctional facility. It was the only orphanage that existed in Guadalajara, and the rich from Guadalajara were interned there, as a correctional jail. We, who were not from there, came from the towns, because we took everything as a matter of course, right? but for many people, especially children of wealthy people in Guadalajara, the way to punish their children was to put them in that orphanage - Let's see if they straighten them out, right? - Yes And actually, do you think that enter was something there or...? Yes. The discipline was terrible. The system was prison, you can say... And there, among other things that you remember, that you have truly learned, that you have to thank those somewhat sad years. Well, the only thing I learned was to get depressed, right? It was one of those times when I... I found myself lonelier, right? Where I got a depressive state that still can't be cured, right? Still haven't managed to get it all over again? - Exactly, yes. - And do you think it started exactly from those years, those critical years? Yes. I do, because it was a difficult year... Before that, were you an open and happy child, like all children, in general? Yes, and there they placated me a lot. Above all, um, we made enemies... There were gangs of boys who made life difficult for each other, right? The truth is that you have a certain, a certain and rare prestige of a man who is very skeptical of people, of a rather timid, introverted man, of a man who is reluctant to face the public, flattery, applause, even With the fans, who may be telling you how much they admire you . Did that feeling also start more or less from that time, or do you think it was already, well, in your genes, in your character? - I think it was character. - It was a matter of character Yes, because the panic that I have of the crowd, of the people, is a natural thing, right? - Congenital, perhaps... - Are you happier in solitude? Exact. I have learned to live with loneliness. You cultivate it as if a great love were better... Tell me, teacher. In addition to loneliness, you undoubtedly have in that solitude, a series of characters that surround you. I am sure that you have your ghosts more or less alive or the dead with whom you maintain a kind of constant dialogue, who may be those characters that you have ripped from the reality network of your people. The concern that you feel in general for man and for violence, in which man...In the state of violence in which man has to live is always constant in all your work . Indeed, but it is violence and a... A means of living, you can say, created, imagined - I have not met violent people. - No? I have not lived either, apart from those years, the first years of the Cristiada, I have not lived in a troubled area. It can almost be said that the first years when the rebellion came, the rebellion, all these things, well I got out of there, right? So, uh, there was always more or less appeasement in the places where I was. They were quiet places, but the man was not. The man already brought a kind of retarded violence, as we said, right? It was delayed spark. He was a man who could become violent at any moment, and the fact is that they still had the remnants of the revolution, and they came with that impulse. This, the revolution had left them, and they still wanted to continue. They had liked it, well, they had liked the assault, they had liked the break-in, the rape, the violence... And they had the impulse. So, this, one was with an apparently peaceful man, with people who did not appear, this, no evil, but inside they were murderers. They were people who had lived, well, many lives, with a long history of crimes behind them. It is impressive to meet these people, who suddenly consider them to be peaceful, calm, peaceful, as I was saying before, and suddenly they know that behind it there is a very long history of violence, right? So those characters, this one, had been recorded, and I had to recreate them, not paint them as they were, but I have to revive them in some way, imagining them how I would have wanted them to be. So, the creation process that I follow in these things is not really based on reality... taking things from reality, but rather imagining them... Reality is only the starting point, and then there is a total recreation . Totally yes. The only thing that is real is the location. By locating the character I already give him a certain apparent reality, right? And then I also have to invent a way of speaking, of expressing themselves, because they don't express themselves anymore. The curious thing is that you are a writer, in short, with a great economy of words, who does not try to say things with too many adjectives, nor not even the landscapes or the backgrounds against which the protagonists of the action are silhouetted, always the landscape, in one way or another, is said, even if it is only in the dialogue That plain, that moor, that quality of the landscape, that luminosity and that violence of the landscape is described almost without wanting it. I think that this is one of the greatest virtues of your prose, in the sense that you have not tried to describe it, and you give it to us. Yes... I thank you very much for your concepts, but I already told you that anyone who tried to find those landscapes, to find those reasons that have given rise to these descriptions, would not find them... It happened frequently. People who have wanted to go see... It happened to us recently. They wanted to do an issue, a literary magazine dedicated to "El llano en llamas." So they wanted to photograph the area, the region. No, the landscape was never found. they wanted to treat the faces of the characters, why not. The characters have no faces. Perhaps you have observed that too. No, well, people are ordinary, right? like everywhere. There was nothing special. It has been said of you, among many other things, that you are a telluric novelist, that you are a man who is, in short, rooted to the earth and who is born from the earth. It has been said of you that you are a bit of a naturalist, too. However... Do you have great devotions for the writers that we could consider within those classifications? - Yes, indeed... - Those who love nature, - those who are devoted to it, a little. - Well, yes, but nature depends on man, right? - Like the case of José María Arguedas, - Exactly. TRUE? that we also have many, many similarities even in the way of thinking. But, uh, the fact is that yes, there is... there is a logical consequence to all of this, and reasonable, and rational, if you will... even if it is a contradiction, right? because, uh... The characters are irrational, they act irrationally, for no reason, and... and uh, you want to give them, simply, you want to characterize them from the point of view of logic, right? Studying people logically, he finds that there are constant contradictions. So, for me, the ideal is not to reflect reality as it is because as it is we have... above all the current reality, we are living it, we are reading it in the press, we are watching it on television, we are living everything our world today, day by day. So we cannot, at least, repeat what is being said, what is being said, and I believe in that... I don't know if I was discussing with you... That idea that Arguedas had, precisely, right? that perhaps the world of dreams should be left to the author, the writer, since he cannot take the world of reality, right? We would say that the world of reality has become information, in journalism, and that therefore the writer has to live in another world, the world of dreams or the world of the past. The world of creation. Not from the reflection of direct reality. Exact. You have to create another reality. Let's get on with your life. It was in Guadalajara where you did your primary studies and you also studied accounting. Why did that study accounting? Well, at that time accounting was studied as one, as a kind of crutch, so that, when leaving school, you would have a means of work that would allow you to continue studying other things. So accounting was the crutch. There were no other practical, or rather functional careers. In the year 33, you were 15, you emigrated to Mexico City, where you were covering various types of rather strange jobs, right? - Yes. - For example? Well, I was an immigration agent, I was a rent collector - Same ball of things. - At the same time that you resumed your studies while working, and you were studying literature at the university. - In the Faculty of Philosophy and Letters. - In philosophy and letters in that famous department of immigration, where you got the job in 1935, - you worked, it seems, for a decade. - Ten years, exactly. - And what things did you do in that office? - Chase foreigners. - Chase foreigners? - Yes. - Foreigners who were clandestinely? - Yes. Illegal aliens, yes. - It's the job of workers and agents... - Immigration officials. - During the war you were dealing with... - I never captured any... You never captured... During the war you took care of the distribution of the crews of the German ships that arrived in Mexico . And how do you know? you all these things? Well I don't know. I have gathered some data and it seems that this is one of them, right? Yes... Indeed, I was in charge of the crew of the German and Italian ships that took refuge in Mexico, in the Mexican ports, during the war. - And you admitted them then? - No, they were not hospitalized. - What did you do with them? - They had the city of Guadalajara as a jail... - Uh huh. Did they live in the city? - They lived in the city freely, right? - And only, every day we would call them. - And the ships were in the capacity of...? - The ships. The government seized them. - The government took over. They were tankers, most of them were oil tankers, with the exception of one of them, which was the transatlantic "Orinoco". And he put them to sail with the Panamanian flag. Then they sank those ships. The "Luchifero", which had been named "El portero del llano", and the other, "El Rin", which was called "Cerro azul". - And who sank them? - Their boilers blew up, because the crews were so good... Our crews were so good at operating these boats... They were very modern boats, and they didn't want to use the tankers, the focus pullers, what's it called? To the original stokers, because they are foreigners. Then their boilers blew up... they sank... but they said they were German submarines that... sank them 300 meters off the coast. That they were the German submarines that had gone there to sink them... - In a reprisal operation, right? - Yes In the year 1940 they say that you took up the pen with a literary spirit for the first time. Perhaps the data is not very precise, but what does seem is that you wrote a novel then, a novel about the city of Mexico that you ended up destroying. Yes effectively. Had you written anything before that, or was that really the first thing you wrote? - The first thing I wrote was that novel. - That novel... A rather large novel, yes, an impressive length, about aid from Mexico. - And why did he destroy it? Wasn't he happy with her? - It was very bad . Did you think so then, or do you still think so now? - I still find it very bad, yes... - Rhetoric and elaborate, full of... - Full of the sins of youth...? - Exact. - from the literary sins of youth, right? Once, when they arrived, I gave Juan Rejano a piece, a chapter of that novel, so that he would publish it in a magazine they made, called "Romance." It was the magazine of the Spanish republicans, and it was never published. , for bad... It was that bad, yes, really. The teacher did not like his first novel. Apparently somewhat hypersensitive novel. School! With which he intended to analyze the loneliness of a farmer transplanted to a large modern city, such as Mexico City, in Different Federal . , "Life is not very serious in its things", which you published in a magazine in Guadalajara... Yes, in the magazine "América". In 1945 another story appears, "They have given us the land", which he will pick up later in "El llano en llamas". In 1947 you started working in advertising, in the sales department of a tire manufacturer... - Goodrich-Euzkadi, yes. And you had to come up with slogans to advertise the tires? Originally yes. I spent very little time in advertising. Later I was a travel agent, sales agent. - Later you were a tire salesman. - Tire salesman, yes - All over the country? - All over the country. - And how did you get on with the sale of tires? - Very good, they sell themselves... - On wheels... - Yes. In 1953 he published "El llano en llamas". A collection that contained then, I think there were 15 short stories, the first edition. - Yes. And of which there have been so many editions, which can display bands like these, truly astonishing: four hundred thousand copies published to date, which is a number that truly amazes and diminishes one... Four hundred thousand copies of a book of stories... I think it is an unusual record in the history of letters in Spanish. Well yes. This has happened. - Has happened. - Yes. And what did you feel when you realized that you had this enormous capacity to reach the public with your stories? Well, actually, this one, I was frustrated at first, because the first editions never sold. - No? - No, they were editions of 2,000 copies, a maximum of 4,000 copies, and they lasted... I gave them away more than anything. The books that circulated were because he had given them away. He gave away half of the edition, in short, things like that. This, even this generation has already begun to read the book, and to look for it... And it is, in recent years, where they have had those printings... Well, of course, "El llano en llamas" is translated into lots of languages. One of the last versions that appeared is the German one, which was presented this year at the Frankfurt International Book Fair, which was somewhat under the sign of Hispano-American narrative. After these types and landscapes of Jalisco, collected in "El llano en llamas", in the year 53-54 you obtain a grant from the Rockefeller Foundation which is what allows you to really dedicate yourself, with a certain calm, to write his novel. - École... - And it really took you a very short time to write it. - Yes, like four or five months. - It was a record, right? - Because you are a rather slow man to write. - Yes, but the novel was already written. - He was totally in his head. - Yes, it was just a matter of transferring it, of giving it development. The novel was born exactly in 1995. There are different versions of it. We don't have more than one here, for example, this one... - I don't know how many editions of "Pedro Páramo" will go. - There's another one. Here is another one, in which it is collected in Spain together with "El llano en llamas" - And that one, the one in the background. - Here we have another "Pedro Páramo". I have another edition, which I think is Venezuelan, and I don't know if I have a Cuban one. - Cuban, yes. - A Cuban, that I couldn't bring, anyway... I don't know how many... About how many copies of "Pedro Páramo" should already be published? - About half a million. - Half a million? - Yes. - This novel, a novel, in a certain way, not considerable due to the number of pages, that is to say, due to its volume, has given Juan Rulfo absolute notoriety, enormous prestige, a prominent position. indisputable within the Spanish-American narrative of our days Certainly done, also well in that you continue to set records, a fact unknown until now. Because writers generally arrive with one, two, three, four works... but you achieved general consensus and success with just one novel. Well, he has had that fortune, this book, yes. Well, we'll talk about "Pedro Páramo" later. Now I would like us to continue looking a little at his life, which is a life, in a certain way, so attractive for so many things - I don't know what you have discovered... - I don't know if we have seen a photo that we had of the parents of Juan Rulfo? I think so. Here we have another photograph that we are going to see now, in which he is with his wife and daughter. In 1970, Maestro Rulfo received the prize, the Prize for Letters from his country, from the Republic of Mexico, which we are going to see there, signed by the President of the Republic, Gustavo Díaz Ordaz. Another president, President Carlos Andrés Pérez, of the Republic of Venezuela, awarded him, in attention to his merits as a teacher of Spanish-American narrative, the decoration of Francisco de Miranda. And perhaps we arrived at the moment that we could consider most critical in the literary life of Juan Rulfo. who has been working on a novel that hasn't just come out for several years now, a novel that was initially going to be titled "La cordillera," and I don't know if that title has already been replaced. - Yes. - Is it still "La Cordillera"? - No, it has already been changed, too... - Has it already been changed? - Yes. - Is it better not to know the title yet? - Yes, it still doesn't have a title... - It doesn't have a title. In a way, in a certain way, very... very curious, very original, when you are asked: "And how is the new novel going?" You say: "Well, here I go, half working on it", which is a very funny expression and not at all compromising, but really: how is that novel that we are all waiting for? Well, the reality is that I rescued some of that material and I'm going to make a short novel, a novel they call, and I'm going to put it together with several short stories, right? I think that if I manage to work hard on that matter, and I have enough peace of mind to do it, calmness, serenity, at the same time, and also because you want it, right?, maybe I'll finish doing it this year. How are you doing now, these days, this year, do you have...? There are writers who say this year I am not at all. Are you also one of those, or is this year for something? Well, no, yes, I have a certain disposition... You are in a good moment to work and to create. There is a record here, a very curious record, of which we have the cover on the stand, and here we have the back, where the voice itself, the voice, the living voice of Mexico, the living voice of Juan Rulfo, is recounting two of his stories. It is an album that has naturally had a great echo in his country, and I think that for all the innumerable followers and admirers of the maestro it is a... It is a jewel, it is truly something very valuable. Let's talk a little about "Pedro Pàramo". Looking at it now, from the perspective of the years that have passed. Are you fully satisfied with that work? Well, actually I've already forgotten her, to a certain extent... I've forgotten her, like a thing of the past, right? Certain concerns have arisen... on the part of,, as I say, the new generation, who barely read it, who are barely reading it, who... They have a series of problems... to understand it... I also had them to write, right? But actually, it was this... I think it's a difficult novel, yes. A difficult novel, but it was made with that intention... to be read... It took reading it three times to understand it. And, as I said before... My generation did not understand it, nor did it ever consider it... interesting. And the current generations understand and appreciate it, as you say, at least that's what I see from the print runs that the book has reached lately. His technique was said to be very complicated - It was said to be somewhat reminiscent of Faulkner. - -Yeah. Faulkner is a writer of your predilections, or not? Well, yes, indeed, but it's not influenced by Faulkner. There was actually a very, very personal way there, of narrating. A way of telling, from all possible planes, from all points, forwards, backwards, sideways, in leaps... It's really almost a Machiavellian approach, isn't it?, of the narration... Yes. It's time was broken... and space, right?... Well, we worked with the dead, and that made it easier not to be able to locate them at any time, if not to be able to give them those transfers, make them disappear at the precise moment, and make them appear not after? It's actually a ghost novel... about ghosts that suddenly come to life... and lose it again... And yes, it's still complicated, isn't it?... It's still complicated, but in a way mode, don't you think that it has been a starting point? Not only so that they understand you, but also for the new generations that are beginning to write? Isn't there perhaps already a group of young writers, 'rulfistas'? that, in a way, you have created a school, you have pointed out a path Well, yes, there has been, but it has been difficult... It has been difficult... Because of the very structure of the work, right? It's hard to write a novel like this again. Because it is structured in such a way that it comes to have, apparently, to have no structure. When it is what sustains the novel, the structure, right? From a technical point of view, what other living Spanish-American writers are you interested in today ? Well, I'm interested in Juan Carlos Onetti. I'm interested in the one we talked about the other day: Skármeta. A young Mexican writer, who is beginning to write. His name is Arturo Azuela. Regarding a very modern technique, and also very difficult, in the sense of using a new language, it is Salvador Elizondo. In Latin America, and even in Spain, I am also very, very interested in Sánchez Ferlosio and Juan Marsé. They are perhaps the ones that interest me the most in this sense, right? And of the great champions of the Boom, of the so-called "Latin American Boom". We are talking here, of course, about Cortázar, Vargas Llosa, García Márquez, etc., etc.... Well, Cortázar and Vargas Llosa, I like them a lot, yes. Cut more than any of them, and I think you can learn a lot from him. Difficult writer also when he sets his mind to it, and with a complex technique. In his short stories he is very simple, surprising as well, right? What do you know about Spain, Master Rulfo? Well, I know a lot about Spain. Some very interesting cities, such as Segovia, Ávila... Toledo, Barcelona, Gerona... I am particularly interested in the Romanesque area of Spain. One of his hobbies, if I'm not misinformed, is photography. I think that you, camera in hand, walk through the landscapes of your town, and I suppose that now you have taken to ours, portraying monuments, archaeological and historical memories, yes? I did it at one time. Yes. I really liked photography, I like it a lot. - Do you like television? - Of course, yes...quite a bit... Master, you don't know how pleased we are to have you here, that you have accepted our invitation, and that finally, and after months, we have seen you sitting in this chair , who was willing to host you for a little while, and also knowing what it costs you, in short, to expose yourself to the curiosity of people, we doubly appreciate this courtesy, this difference that you have made towards us. It has been a great honor for me... Now we just have to wait for that new book of yours to arrive soon because, as you can see from the circulations, in Spain you have as many readers, at least, as in Mexico and any other country. Yes, well, true... For me it has been a great honor to be here with you... - Thank you very much. - Especially with you, whom I am so thankful for... this opportunity... And that has driven me crazy, since I am not used to... Perhaps it is the first program where I have participated. That is precisely, that exceptional character and that generosity of yours that we want to thank you especially teacher. - Thank you so much.
- Thank you. have you seen ENGLISH SUBTITLES (Pending review) "IN DEPTH" director and presenter
joaquín soler serrano A production of
Spanish Radio Television edition and restoration 2020
GONZALO HERRALDE
