El viento (T4 E37)

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Nothing like a book? It isa podcast sponsored by the Canary Islands Library
of the Government of the Canary Islands, conducted by Juan Carlos Saavedra and Daniel
Martín. The wind is the creatorof life, when it drags the seeds
from one side to another, whenit pushes the ships by seas, when
it lifts flying objects for our enjoyment, when it carries insects from one place

(00:23):
to another, when it drives theflock of birds between different continents and pushes
the waters creating paths in the ocean. We also know that when you open
a book and let the air transferit, you always take words with you
from here to there, and thewind helps us understand what we are,
because without it it it would beimpossible to hear us. Hey. Juan

(00:49):
Carlos, Buena Dani how about andconnect anything like a book, the thirty
- seven episode that we are goingto dedicate to the wind, very interesting
the proposal. I' m goingto start with an interview that says Eduardo
González Pérez, author of a bookthat is titled What the Wind Writes to
Us, and is set in thesouthwest of Gran Canaria, an area where

(01:12):
the wind, as it is presentevery day and in this case, relates
the wind to the life of thetomato tree. Well, I don'
t know if you know what themost famous hurricane in the cinema is,
and we' re going to revealit in today' s Nava episode like
a book. But I' mgoing to give three clues because when we
talk about the relationship of cinema withliterature, of literature with cinema, we

(01:34):
' re going to talk about abook where these three words appear. A
tile, a tote and an emeraldcity, for one must not wait for
the mystery to be revealed. Thereare so- called cursed books that have
been born of the imagination of awriter and that have become a bek seller,
as is the case of one thatwas invented, Carlos Ruizzafon, and

(01:55):
that bears the title, in thiscase, the cemetery of forgotten books.
Well with Elisabel López Caballero we metin the space mind health, psychology and
education to record the conversation we hadaround Emilian Mirian Tirado' s Sensible illustrated
album. Let' s see howthis album tells us and expresses to us

(02:16):
how everything that happens around us sometimeswashes us with a slight breeze and sometimes
as if a tornado were passing overus, for from our particular trunk I
recovered a literary magazine edited in theyear nineteen hundred and twenty- seven in
Tenderife, whose title is The Roseof the Winds. It is precisely from

(02:38):
líe José Serpa and thanks to thecoordination with the teacher Patricia Hernández that new
videographic recommendations arrive to us, becausein March we also left the birth and
death of two authors whose work refersto the wind and that perhaps dani will
be the most remembered for what theyare listening to us. We are talking
about José de Espronceda and Miguel Hernándezon the island of San Brondán. We

(03:00):
remember a writer linked to the wingsfor her poem The Cloud and the Sun.
We talked about Isabel Medina and alsotook advantage of it to recover an
interview that we conducted with Luisa Machado, who when she was in the taburiente
group, because she gave voice tothat song that is part of our self
I believe that from our personal musiclibrary, in the space dedicated to the

(03:23):
women who have left a mark inthe literature, we recovered the writer Dorothy
Scarburo, who was born in theyear 1, 800 seventy- eight and
whose novel El Viento is considered asa protofeminist work in which for the first
time a feminine vision of the faraway is given. This good and in
the decade of one thousand and ninehundred and fifty, Octavio Paz published four

(03:46):
fundamental books and filled in one ofthem freedom on parole. We find the
poem Wind, with which we finishtoday' s episode and we will also
hear it in the voice of theArgentine composer Fernando Polowenner, because if it
seems to you dani we let itbe carried by the wind and we start
the podcast. We start our nothinglike a book at all like a book.

(04:12):
We don' t like to travelalone. That' s why Eduardo
González Pérez, writer, author ofthe book What the Wind Writes Welcome to
Nothing Like a Book Nothing, accompaniesus today. Thank you so much for
this invitation. In your work youimmerse yourself in the world of the Perceria,
in the southeast of Gran Canaria,what about autobiographical in this book.

(04:38):
Well, look, Juan Carlos,I' ll tell you what' s
autobiographical is an excuse. Well,an excuse is like a way not to
waste the line of time. Ifit' s true that I' ve
used my own line, my ownlife cycle. No, but it doesn
' t mean that it' sreally self- diomatous, or in fact,

(05:02):
in the book there' s onlyone name Grandma starts with is Minia.
After that, there are no morenames. Not then about that character
that we haven' t invented,which is the one who listens to the
wind, who tells her their stories, let' s say that I have
put yes life micronology, but inthe character we have put not only memories

(05:24):
that I could have, but remembermy older brothers, remember people who were
coetanes to me and we have putit together in the same character. That
' s right, the character hasbeen tossed out of that temporal chronology.
Let' s say for a little, to give more credibility to the matter.
No, but it' s notlike I didn' t pretend to
make an autobiographical book. I don' t think my biography is that important.

(05:46):
We have invented a character that yesto a lot of memories of different
people and it is true that yes. I' ve taken advantage of my
timeline in the life cycle. Let' s say to sustain it, to
give it a basis that people,when they read it, understand that yes,

(06:06):
that it' s stuck at thesame time that it' s told
no. But it has not beenan attempt to make an autobiographical work,
much less the title what the windwrites to us is that it obeys.
What a reason he got you toput that title on the play. Well
obey a little, as in thesame play I tell it. Not this
little boy, because grandson of agrandfather who did have the wind fixed under

(06:30):
the halls as his wife said,not because in that morning he will be
still in a place, to aparticular island, but the boy, instead
of the wind moving him from goingto the island or from place to place,
rather he got used to hearing itbehind his ears. We have used

(06:51):
the wind, as we say,the real rapporteur of this story. The
wind is the one that tells theboy things that does not tell him,
things that even the wind could crossfar space, no, but also even
able to pass through time. Notthen a little bit. The wind is
the narrator, that wind that wewere born here, in this southeast,

(07:14):
that has always been a constant inour life, because we have used that
idea as an editor and it wasthat the kid, let us say used
when you are in this area thatthe wind sometimes silves on the patio plates
or you hear it through the courtyardof lights and the wind tells us things

(07:34):
then a little bit. That wasthe idea, let' s say the
one with which the story was born. This later, well, it'
s gone a little good. Idon' t know other than the wind,
because there were other things I toldyou in stories. But the wind
is a very important protagonist in thisstory, and not only of the story,
but, as you say, toeveryone living in the neighborhood area of

(07:56):
the southwest of Gran Canaria is notlinked to that wind that, as you
say, always accompanied by little ones. Yeah, it' s a little
bit. I make a simile.I don' t know if Atahualpa Yupanki
told this story about the flutes,the quenas, the flutes, these South
American ones, which are of reeds, not like the wind blowing on those

(08:20):
hollow reeds, because it even producedmusics and different notes. So I think
the little changers in one are windconstants. I think they' re used
to hearing it in many ways.It' s true that nowadays it doesn
' t sound like it used tobe in those cane sockets or those cucañas.
Not today it blows at us differently, but so everything keeps blowing and

(08:45):
keeps telling us stories. Let's say with sounds very different to those
that atahual payupanc if he told us, with musicals, and today, because
we have another music that the windcontinues to bring us. But, well,
they have sounds, let' ssay different sounds. No. The
book has different illustrations. As Isee it, quite pretty in the sense

(09:07):
of also playing with black and whiteand color. Who is its author and
what was your self- intention tointroduce them into a literary work Juan Carlos,
because I think it was a thingfrom a very small age. I
mean, the illustrations are about thissame one that' s talking to you,
which is the same one that he' s written then I think since

(09:31):
he was a kid. Imagine inthat time that we are talking about,
that is, the decade of theyears, in the mid- sixties at
the end of the sixties, theearly seventies, for those little boys having
the role was a very vas thingwas a discovery that made archaeological. I
remember that when we were in thetomatoes, sometimes when the boxes came from

(09:52):
the warehouse, they were forgotten insidethose wooden boxes, those fine papers with
which the fruit was wrapped before.And of course that was the first time
that, for example, this littleboy lived the paper and didn' t
even have the v because he stilldidn' t have the pencils, he
learned with the laces of a bonfire. So let' s say that the
illustrator, who are people talking toyou, also learned to draw at the

(10:16):
same time that he learned. Idon' t know if I learned tea
just like writing, but I thinkthese are things that are a little inseparable.
No, a drawing is not aphotograph. A photograph is perhaps an
instant, but in a drawing thereis perhaps a sub- last of time,
a little longer. You don't have time to be looking at
a picture, for a while.I don' t know it' s

(10:39):
almost like a verse or paragraph youhave to read for a while, you
have to be looking at that illustration. So, for me, drawing and
writing are things that I always had, I had inseparable. In fact,
it cost me a lot of broncsat the time of this school, not
because I sold the teacher and yousaw that I had the notes written,

(11:03):
but they also had a lot ofdrawing on those sheets. No, then
I think it' s a littlebit of drawing wanting to tell a verse
or taking a verse and trying todraw a picture of these things that I
haven' t been able to separate. A devoted in the look that you
make in the book about what isthe world of parcería, with different stages,

(11:24):
as you just commented on what predominatein that look. I don'
t know when you get close tothat period. There' s sadness and
spite I hate the chief yearning.I don' t know what you get
sentimentally from reading. You think you' re telling me about feelings right now.

(11:46):
I think I remember Victoriano Santana fromSan Burgo. I think he'
s a common friend, our doctorin philology. It' s not when
I was introduced to the book there, officially from the Azafras Museum. He
said one thing like this book hadbeen written for a long time according to

(12:09):
his way of seeing it, andI think so. Juan Carlos, I
think when you' re writing,you' re putting in a lot of
feelings, a lot of memories.Then, then, there are parts where
feelings are of sadness. There,too, the feelings are of joy,
because in a very large field,perhaps when you were a child. You

(12:31):
felt that freedom that you could crossthe band from one fence to the other
and you had no awareness of whoowned those grounds. You didn' t
take it like it was your bigplayground. Then there were also feelings of
happiness, of course, and Ibelieve that feelings are also changing us with

(12:56):
the growths of the character. They' re also changing no. And there
' s a lot of crying.There are moments of laughter, there are
moments of resentment as well. True, there is that grudge a little because
perhaps our grandparents and our parents werenot recognized all the effort they made,
the great burden of work they hadto carry out our little ones. And

(13:22):
so, it is true that thereis a part of the best we could
call a grudge, considering that thesepeople are not remembered in the way they
deserve. No yes, and well, there is also a slight grudge against
the steward, the employers, themasters, as they told them, also

(13:43):
against the people at that time.It' s not true. There'
s a mixture of feelings that's impossible, let' s say,
or I haven' t been ableto get away from those different feelings.
We have forgotten the canaries and perhapseven the canaries of the surroundings, of
the neighborhood area, of the tomaterosarea, the hardness of that life of
the sharecroppers. I rather than thehardness that we have forgotten that hardness and

(14:09):
that workload, is that I thinkwe have forgotten one very important thing in
the days that are happening to usfor example, the latest news from these
last few weeks, to say thatwe have seen how or are coming out
the news of when we were inthe time of that pandemic. We are

(14:30):
now realizing that there were certain peoplewho wanted to enrich themselves at the expense
of the most that others were goingthrough. No. I think it is
more than forgetting the workload, thehard work that our elders had, is
that we have forgotten the ability thatthey had to dignify both their lives and

(14:50):
our lives, as well as thoseof their future and those of their progeny.
Not then, yes, I thinkthat we are not aware or that
it was very difficult for us tobe in a situation that we have now
come to. We are talking ifin the time of the sixties, one
still lived under a dictatorship and therewere still many things that could not be

(15:13):
said. And then I think ourparents made a great effort to dignify us,
to gnify us as they and usas people as well. And then
more than the hard work, becauseyou know that today, because hey we
don' t have jobs that requireus. My own brother who takes me
six years, he nations in justin the sixties, even when we speak,

(15:39):
he tells me that they treated usas servants. Then check it out.
It' s a little almost unbelievableto say not to say it that
way. And we' re almosttalking slavery. And then I think they
were hard without a job. Butabove all, it was harder to try

(16:02):
to change the social circumstance in whichwe lived and I think that we have
to thank him. Juan Carlos,we did here under, in Saint Lucia,
we didn' t have any highschool. Now we have lots.
Not then. I believe that wemust remind the generations, ours already and
those who are coming after us thatthey hear that there was a great sacrifice

(16:22):
on the part of our predecessors andthat we owe that sacrifice to them in
the way we are now in society. Our well- being cost them enough.
Yeah, pretty much. I thinkso. In the book you also
include what was a change in tomatocultivation in all areas, tourist work.

(16:44):
I, when I do you havevisited the Azafri Museum when there are the
different monocultures. I always say half, a very serious means, that there
was a missing apartment at the endto make that tour. How you value
that economic and social change brought aboutby the world of tourism. You mean
he stopped growing tomato to grow parasols, for example, on the beach and

(17:04):
the people he left also who changedto what that new monoculture would be.
I didn' t exactly live thatpart of the hotel. That' s
what got to other people. Let' s just say they got ahead of

(17:25):
my decade. Not that of course, they already tried to escape a little
when the hotel industry began to appearin the south they saw that the work
was a little softer, that moremoney was being made, because at that
time we are talking about the 1970s, the currency exchange, the tips,
because sometimes a boy who went towork as a waitress down to the south

(17:49):
with his tips because he almost earnedmore than a family of sharecroppers. Not
then, of course, they sawagain, just like our grandparents and our
parents, they saw that with theparcería they improved their say, economic life,

(18:10):
as when the other generation came tolive that time, they saw how
their family economy also changed. No. And then, of course, many
who could have left the bale,left the strips of banana, left the
boxes of tomato and took the tray. Not that they went to that incissionous

(18:32):
south that was starting and well,it was another crop, another form of
another hen, of golden eggs let' s say and clear the most spavised
ones that made them take advantage becausewith less work, let' s say
it made more money. If someonewho listens to us, then he wants

(18:52):
to make himself a copy of whatthe wind writes to us, how he
can make it good. The bookwas also a bit of an effort to
have it published well by a printingpress here in Saint Lucia, which was
the publishing house has been edited withthe Neighborhood Publishing House. The Neighborhood Publishing
House has also been working with theNeighborhood Bookshop since almost the end of Christmas.

(19:19):
The book is available in the neighborhoodbookstore. I imagine that from other
bookstores from the island or even fromthe island or that a lot of colleagues
from Tenerife have wanted to ask mefor copies and we are getting contact from
the neighborhood anibedia of what can bemanaged that the book can travel to other

(19:41):
bookstores of the island, even toother islands. I don' t think
there' s any problem with that, because Eduardo Gonzáles Pére, thank you
so much for sharing this time ofliterature with us here, nothing like a
book. Well, nothing, thankyou very much, nothing like a book.

(20:04):
We follow the footsteps of women inliterature. In the year nineteen-
five hundred and twenty- five,the novel of the wind was published anonymously
in the United States. It isnow considered one of the best Gothic works
in English. Its author was Dorosand Escarburu, a woman born in Texas

(20:26):
in the year 1, 877 andwhose studies were conducted at the Universities of
Chicago and Osford. Her working lifewas developed at Columbia University as a professor
of literature, an activity that matchedthe delivery of creative writing workshops. The
wind was received with disparity of criteria. On the one hand, he received

(20:48):
a lot of praise and, onthe other, he generated quite a lot
of criticism for the way he relatedWest Texas life. Doros Escarburu placed his
novel in the 1980s to tell thelife of Letti, a young woman who
lived alongside part of her family inthe deepest Texas. Everything indicates that Letti
is bitten to be a woman ofher time, submissive and self- sacrificing,

(21:11):
wife in a landscape dominated by thewind, lack of water and the
aridity of the earth little by little, the novel evolves into gothic terror mixed
with the essence of western on aroad to madness, while the wind and
sand take over the landscape. Letti' s character is considered an unthinkable protofeminist

(21:32):
role in a United States immersed inthe so- called happy 1920s. Until
that time, the wild west hadalways been shown from a male- centered
point of view. However, inthe wind it is described from the point
of view of a young woman bornin a totally different environment, to which
she had to live. Escarburu diedin a thousand nine hundred and thirty-

(21:57):
five suddenly on his feet, eventhough he lived only fifty- seven years.
His example is now considered to bea model to be followed by women
of his time who did not giveup their ambitions, always fighting for them.
Thanks to their success In a worldof men, many other writers did
not renounce the passion of writing.Such was the success of the wind,

(22:21):
which was taken to the cinema innineteen hundred and twenty- eight by director
Victor Sostrom in a film starring LilianGisch. Within the world of cinema,
the wind is considered a masterpiece,although the ending written by Doros and Escarburu
was changed as it was considered inappropriate. Nothing like a book. It is

(22:49):
a podcast sponsored by the Canary IslandsLibrary of the Government of Canaria, conducted
by Juan Carlos Saavedra and Daniel Martín. Nothing like a book. Forbidden damn
books full of legends and mystery.There are real cursed books, books that

(23:22):
have cost the lives of those whohave written them or read them. There
are also cursed books that have neverexisted, that were born of the imagination
of a writer, but that theplot that was generated around them launched the
great stardom to its author. Asan example of them, we find a
so- called cursed book written bya Julian Karaks. Its content led someone

(23:45):
nicknamed the devil to try to destroyhim and any work of his author.
His title was The Shadow of theWind. This mysterious book served as an
excuse for Carlos ruiz Zafón to writehis novel Las sombra del vino. Around
him, Carlos Ruizzafón built a historicalone captivated millions of readers, mixing different

(24:07):
literary genres. It all begins inthe year one thousand and forty- five,
when Daniel Samper accompanies his father tothe Cemetery of the Forgotten Books.
There he is invited to take abook from his shelves, choosing for his
misfortune a work entitled The Shadow ofthe Wind. Once the copy is in
his hands, the protagonist of thenovel is dragged into times of intrigue and

(24:30):
secrets hidden in old Barcelona. Suchwas the success of the novel The Shadow
of the Wind, based on ahypothetical cursed book of the same title that
became a tetratrology known under the genericname of the Cemetery of Forgotten Books.
Behind the shadow of the wind camethe game of the angel, the prisoner

(24:53):
of heaven and the labyrinth of spirits. The great acceptance of the fictional works
created by Carlos Ruiza Ffoe from afictional book classified as Cursed, is another
example of the fascination that awakens thepossibility that there are books that hide mysteries
or legends. Carlos Ruiz Afón diedin the year two thousand twenty years old

(25:15):
with only fifty- six years ofage. Before reaching fame with the shadow
of the wind. He wrote severalhigh quality and highly recommended youth novels,
such as The Prince of the MarinaFog or The Palace of the Midnight.

(25:47):
I am Victorian Santana, San Jurjodel and is José Zrpa and I am
pleased to offer you in this briefpodcast, a reading suggestion to the crime
of Melan de Luis Socorro. Thisis a very entertaining police novel starring Inspector
Melania Calzada, who tries to closea case that actually happened years ago in

(26:14):
Las Palmas de Gran Canaria and wasnamed after the crime of the container.
Even if the event is real,we are facing a work of fiction.
Luis Socorro, a journalist of greatexperience, uses only the murder that filled
with news and news and that shockedthe city at the time to shape a

(26:40):
literary history in which Inspector Calzada managesto close a police file that had been
suspended for many years. This isa very visual novel, of prose,
simple and agile in the development ofThe plot is read quickly very recommended for

(27:07):
those who wish to have a goodtime discovering the adventures of a police heroine
who will certainly carry other cases infuture novels by Luis Socorro. Grenita has

(27:38):
the magician, she' ll explaindrama to us. The film The Wizard
of you is based on the children' s novel, Frank Bawnd' s
wonderful magician. The film was releasedin a thousand nine hundred thirty- nine.

(28:02):
Dorosi is a young woman who livesat her uncles' house in Kansas.
When a tornado crosses the region,the young woman' s house is
absorbed with it inside and when thehurricane to hormina loves it it discovers that
it has landed in a strange andwonderful world where there is the magic and
eager to return home. Doros beginsto walk the way of yellow tiles.

(28:25):
Remember well that you don' thave to visit, but this similar rubies
take you away for a moment wouldnot be at the faith of losing the
Witch of the West. Not tosee had you seen life a path that
leads you to the city. Emeraldhome of the greatest magician who inhabits us.
Only he can return her home.By send, rue go the whirlwind

(28:51):
sweeps away the area where your uncles' farm is located. The tornado that
lifts the house does not destroy it. It takes it far away as another
dimension and leaves the dwelling in themagical land of you, where it released
it and accidentally dropped it on theevil Witch of the East, killing well

(29:17):
guan. We' re going toread this passage from Frank Bawn' s
book and we' re going tolisten deeply to the scene of the movie
to see what they think. Somesay it' s the most famous cyclone
in film history. The house turnedtwo or three times and slowly went up

(29:47):
the Doro air. If it feltlike it was going up on a balloon,
the north and south winds gathered atthe place where the house was and
made it the exact center of thecyclone or in the middle of a cyclone.

(30:12):
The air is generally quiet, butthe great wind pressure on each side
of the house took it to moreand more height until it was left at
the top of the cyclone and thereit was kept running miles and miles away

(30:42):
as easily as if it were afeather. It was very dark and the
wind howled horribly around him, butdorosy discovered that he was traveling quite easily
after the first twists and turns andof i or some other bad swinging felt

(31:02):
as if he was being mesida softly, like a baby in sucurio, at
nothing, like a book. Weopen our trunk of memories, curiosities and
literary novelties. Searching in our privatetrunk we find a literary magazine that emerged

(31:30):
in Tenerife in the year nineteen hundredand twenty- seven and that bore the
title the rose of the winds.This initiative was an idea of Juan Manuel
Trujillo Torres and had the collaboration ofAgustín Espinosa García,Ángel Balbuena prat Elias,
Serra Raffot and Ernesto pestanan obrega duringthe year that was being edited without
first five issues, all following theguidelines of their faithful founder follower of what

(31:56):
was called the ultra- ist current. His disciple sought to give a new
aesthetic sense to poetry, uniting differenttendencies of the time, such as creationism,
Dadaism, Futurism, Cubism or Expressionism. It was about focusing poetry on
these pictorial tendencies. From the magazinehe screened the work of Ramón Gómez de

(32:17):
la Serna and, to a lesserextent, Juan Ramón Jiménez, although he
also felt in admiration for Luis deGóngora. Gómez de la Serna met the
magazine and said of it the roseof the winds. It seems to sum
up everything as an appearance of synthesis. As a phantasmagorical synthesis, it seems
that there are all the winds init and all the colors turn. The

(32:40):
rose of the winds tends for eachof its points in a different direction.
It goes long, flies, lives, notes this magazine and its pioneers remind
us once again that the islands havebeen able to keep up. As for
the literary tendencies that dominated the internationalcultural landscape, nor psychoeducation, two zero

(33:10):
bibliotherapy, psychology, education and bookswith Elisabeth Lopez, Well, we are
here at nothing like a book inthis space that is called mind and health,
psychology of education, and we arewith Elizabeth because we will also talk
about that, literature, health andmind Hello. Elizabeth Pala dani To see

(33:36):
how we fit a children' sliterature book into a space where we have
been relating different aspects of literature,with the wind, with the wings,
which so conditions not only our climate, but also another way of being.
And it had occurred to me thatman who one has a certain sensitivity.
And now you' ll tell themwhy we' re talking about this in

(33:59):
order to be able to withstand ahurricane or to be able to detect an
air blade And why I' mcounting everything on Isobeth, I think you
' re singing all this, becausetoday I bring you the sensitive illustrated album
And I think that sensitivity, althoughwe live in a social moment where it
seems to be sensitive is, it' s weak, I think the sensitivity

(34:22):
that helps us perceive that brigna beforethe brigina arrives, that sensitivity that helps
us detect everything that' s aroundus and know how to respond to it.
For me, sensitivity doesn' tgive and you don' t think
it can happen that in that socialenvironment where we are we have the sensitivity

(34:42):
excessively it' s like everything Iwant to be too careful about everything or
it has nothing to do with sensitivity. It is that I would differentiate the
sensitivity as a characteristic of personality,from the sensitivity that we are seeing now
with everything about social networks, thatit seems that we have very sensitive skin
and that everything is or is incorrect, that is, when I speak of

(35:02):
sensitivity or, for example, whenwe speak of sensitive a story to embrace
what we feel, we mean,for example, those people who do not
have to hide their essence, whocan show that they are sensitive to a
foreign emotion and who are able tofeel it, who are sensitive to nature,

(35:23):
who know how to be touched witha sunrise. And it' s
very complicated to be with a personwho is moved by a sunrise and lives
it with that intensity, because it' s like seeing that it' s
just him rising sun. Maybe it' s just him coming out for you,
because maybe you' re less sensitive, you' re not bad,
you' re not very sensitive orless sensitive. And I want to make

(35:43):
that clear from the beginning. Butthere are people who are very moved,
who feel everything, who live it, who are able to listen, to
empathize. That is what is sometimesnot so well seen, because it is
that you are too sensitive that Iseparate it to happen anything social networks and
everyone comes out to manifest their opinionwith super sensitive skin, which has nothing
to do with what is a featureof a personal personality- level feature,

(36:07):
which is sensitivity, that is,that you mean about everything that has happened
to me once a friend was takinga cut, was going through a ray
of sun through the window and tooka picture and says look at what moment
someone so cute of that kind ofsensitivity, kind of simple. So this

(36:27):
book that' s going to helpus be sensitive, because look, first,
this book is going to help usaccept ourselves, because people are sensitive
they spend time feeling weird. Idon' t eat good. It is
that perhaps my sensitivity, because itbothers first is to accept and embrace what
we feel. It' s goingto help you identify and get to know
part of you that maybe you didn' t know because you refused, because

(36:50):
you learned to say good. Youdon' t show yourself so effusive or
so sensitive, or so sad orso empathetic, because it' s like
everything has to be in its rightfulmeasure. If you get out of there,
because running away is already badly seen, then it will also help us
to accept those parts that we rejectfrom us. The author, for example,
begins the book by dedicating it toall sensitive people, small and old,

(37:14):
because I believe that the older onesare also sensitive danis, but we
hide it. No, no,no, no, no, no,
no, no, no, no, no, no, no, no,
no, no, no, no, no, no, no,
no, no, no. Theyhaven' t taught us to be
sensitive, they' ve taught usto be hard, not to wear is
that you' re big the sameand now how hard that? If you
laugh so much, look what aclown looks like a little girl. It
' s histrionic. It' shistrionic, it' s like good then

(37:36):
Miriam' s sensitive pulled. Yes, yes, well, nothing, well,
thank you very much for this recommendation. Many thanks to you went in
nothing like a feverish book, literarymoments for history and literature. The month
of March brings us the memory ofseveral ephemerides related to writers, whose references

(37:57):
to the wind are widely mos Thefirst of them occurred on the 25th of
March of one thousand eight hundred eight, the day when José de Espronceda,
son of military José de Espronceda,was born, studied at the Colegio de
San Mateo in Madrid and from avery young age was linked to liberal politics,
which cost him five years in prison. After the hanging of Rafael de

(38:21):
Riego, however, he spent onlyseveral weeks confined to a convent. When
he turns eighteen, he decides tomove outside Spain and settles in London and
Paris. From France he returned tohis country with a French revolutionary expedition,
after which he was captured and banishedthroughout his life. He continued to act

(38:43):
to establish French revolutionary principles in Spain. Among his literary works are Canto Teresa
Blanca de Borbón or Sancho Saldeño.However, the work that elevated him among
the great writers was his famous songof the Pirate Cun whose verse or s
is s so are perhaps one ofthe references to the best known wind.

(39:04):
With ten cannons by wind band astern all sail does not cut to the
sea, but flies a vergantile sailboatdown the pirate who call for his bravura
the feared in every sea known toeach other. At the end of the
second femeria and decrelation in March withliterature and wind occurred on the 28th of
March of one thousand nine hundred forty- two, the year in which the

(39:27):
great poet Miguel Hernández died. MiguelHernández was born in nine hundred and ten
in Alicante. His education was self- taught and his beginnings as a poet
date back to the year nineteen hundredand twenty- five. At the time
of the outbreak of the civil warin Spain, he spoke out in favor
of the Republican side, which costhim a death sentence by the fascist government.

(39:49):
However, the intelligentsia of his timehad his death sentence commuted to thirty
years in prison. He' dnever get out of jail, since he
died of tuberculosis in it. Amonghis poetic work is the poem Winds of
the People, which begins with thesefamous verses. Winds of the village.
They carry me, winds of thevillage, drag me, spread my heart

(40:12):
and thrust my throat into nothing.Like a book, we travel to a
place called Samborondon to talk about children' s and youth literature, stories and
stories for all audiences, or thewings cause in the Canary Islands a particular

(40:44):
climate and, therefore, condition thelife of the islanders. This fact has
not gone unnoticed for the artists whohave wanted in their work to portray this
singularity. Nor has literature directed children, who also enjoy the elderly. Isa
is a writer born in La Gomerain the year nineteen hundred and forty-
three. From a very young age, his family moved to Tenerife and resided

(41:07):
in Wimar in Tenerife. She studiedteaching and practiced for several decades in different
schools on the island of La Gomeraand Tenerife, and realized that there were
hardly any Canarian stories for her schoollibrary, so she decided to write them
herself, one of the most importantwriters in the Canary Islands. Many of

(41:29):
his poems have been musicalized by groupssuch as his own daughter, Marisa Delgado
Medina, the verode group O Tallercanario of the song his book Fantastic Journey
through the Canary Islands, invoke thewater genius who would take them their fantastic
journey in the following way, spiritof the waves of wind and tides.

(41:54):
Genius of the water make that teasingis This reference to the wind and its
power not only appears in this work, but certainly in his poem, the
cloud and the sun, which areverses that have served to make the boys
and girls understand what the alicio meansfor the archipelago. Thanks to Elizabeth,

(42:15):
we look at the sky in differentways and when we see a cloud we
ask ourselves if it is gangle ornot, and when we look at the
sun we imagine it talking to thecloud. The poem begins as great stories
do. Once upon a time thesun pressed a cloud to discharge its precious

(42:36):
liquid onto the dry and weary earth. It warns the silly cloud rise up
already Gandula, See that the aliciois coming, see that it goes to
the moon and the sun recriminates thecloud that does not face its destiny and
let pass the streak of wind.The dawn of the afternoon, Foolish Cloud

(42:58):
wants to take you on his journeyso that you slowly open your heavy belly
over the evening sky walks Cloud,See that it goes to the ellipse,
See that it goes crying because yourcloud, Gandula, you do not want
it at his side until the cloud, convinced expresses. Brother Warm Friend,
I want to open my big bellyin every blade of grass on this earth.

(43:22):
In an instant, in the firstseason of nothing like a book,
we talked to Luisa Machado, becauseher voice, when she was part of
a taburiente, is the voice ofthe sun of the alicio cloud. His
interpretation of Isabel Medina' s poemis part of the musical library of many

(43:46):
of us. That' s whywe recovered this interview from our files,
which we think is very interesting,that we remember it and that we put
it back in value Hello. I' m Luis to Machado singer, a
cordial greeting to all. It isa pleasure for me to communicate with you

(44:10):
through these messages and some questions towhich I will answer with great pleasure and
with great affection. Well, theyask me why I think music and poetry,
because they' re also called true. Okay. I think it is
that poetry itself already has sonority,musicality, intonation, a rhythm in each

(44:34):
of its verses, as much asif they are read as if they are
sung in truth and good. Butof course, in order to take it
to the field of interpretation, forme, in particular, it acquires a
dimension, because it is almost ethereal, because it is the way I feel
it. I carry through my notes, my voice, those verses and give
it a little emphasis that the feelingaccompanies me to take it and to move

(44:59):
it for everyone. True, inmy way of being I do not conceive
of singing without emphasizing every word.That is why it is so important in
itself, as I said before,it has sonority and intonation. But when
one sings it, one must interpretit justly, with that strength or with

(45:21):
that utility. Also true and good, because it has special light and the
sun, because simply because it ispart of my life at a crucial moment
at a time when when when werecorded, when I was in taburous those
songs, among them the cloud,the sun, I, well, I
think we were not we were awareof the scope that our repertoire was going

(45:45):
to have. All the songs,including this one that is, are very
pretty. It had a reach forthe children in particular, very very nice.
It made me retouch myself, becausein my childhood it is a very
nice way. And well, becauseit is innocent I would say no and
record it in turn with musicians ofan incredible size, you the orchestra symphonic,

(46:10):
violins, violas and then under themastery of the piano and the arrangements
of my beloved and that I cannotforget, Enrique Guimera died very quickly for
us, but good is that heis an unforgettable footprint for me, specifically,
because more than musician, he wasa friend. But, well,

(46:32):
it' s those anecdotes that remainthere that people keep the voices, with
that, but when there' sa background of creation, he helped me,
for example, with the chorus ofthe fifth Green. He was the
one who let me fly and mademe some chords and I created that melodic
line when to get those sharps sobeautiful. And well, how does it

(46:52):
feel that my voice is still beingfollowed, because look at this beautiful song
by Isabel Me, who is theauthor of the lyrics, because it is
still used in many schools in theCanary Islands, because it is an honor.
It still has the same freshness ofa lyrics and music that bring children

(47:12):
closer to our nature and to theunderstanding of our characterizing elements, the cloud,
the sun, the alicios, etcetera. And in a way the day
I that precious to me it iswonderful that they stop me in the street
still and maybe that marriages or peoplewho tell me mine, their daughters already
grown up who turn red or childrenlook, she is the one that sang

(47:36):
the cloud and the sun. Andwell, for me that is precious and
indeed, in some schools he stillcalls me to the best for the Day
of the Canary Islands and asks meto please sing that song, because,
dear friends, I hope I havesatisfied you with my words and with my

(47:57):
small and good simple definition of whatit has meant, because of what you
were asking me in little time aroundthe cloud and the sun. So with
all this I send you a verybig hug from the lagoon that is my
city and nothing more, a verybig hug. And even always verses to

(48:30):
the wind poems until the next encounter. Octavio Paz lo Sano was a Mexican
poet and essayist. In a thousandnine hundred and eighty- one I have
been awarded the Cervantes Prize and awardedthe Nobel Prize in Literature in a thousand

(48:53):
nine hundred and ninety. In thedecade of one thousand nine hundred and fifty
he publishes four fundamental books and inone of them, freedom by word,
published in one thousand nine hundred andforty- nine. We find this windy
poem with which we finish today's episode and hear it in the voice

(49:14):
of the Argentine composer Fernando Bolonuer.They sing the leaves, they dance the
pears in the pear, they turnto the pink rose of the wind,

(49:37):
not the rose rose. Clouds andclouds float asleep seaweed from the air.
All space rotates with them no one' s strength. All that space vibrates
the rod of the poppy and anaked one flies in the wind of wave.

(50:02):
I am nothing body that floats lightwaves. Everything is the wind and
the wind is always travelling air.Nothing like a book. It is a

(50:30):
podcast sponsored by the Canary Islands Libraryof the Government of the Canary Islands,
conducted by Juan Carlos Saavedra and DanielMartín

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El viento (T4 E37)

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