Benjamín G. Rosado: «Scripture is the most affordable flight form»

In the same story, Rosado tells five more. Diego Marín, a writer who tries to complete his second novel after the success of a prima opera, ends up mixing with a perpetual literary simulation: fictional facts that come alive in reality, a scientific finding about the birth of language, two disappearances, two books and two failed loves. An ode to the flight. A vacuum jump. The return to the world in 376 pages.

“Is the novel the ideal flight artifact?”

—The novel is a metaphor for writing and imagination as the most affordable way of flight. It allows us to get away from things and understand that what we write can never approach reality. Every novel is condemned to be a hoax. As reality cannot contain, adultera.

“There is a repertoire of plots that overlap.” “Byzantine adventure novel,” you say.

“What this novel could have an adventure, perhaps, that aroma of whom she has written while traveling.” But neither does it rigor at the end of the Byzantine novel or adventure. It has, of course, a kind of drive that makes everything surprise you and that the engine of the narrative is not suspense, but curiosity.

“We don’t like it because it’s brave, but because it’s ready.” Does the same thing happen to your writer?

—The protagonist is constantly exceeding evidence. Being very different stories, just as Ulysses does not want to return and that is why it entertains both in each site, Diego Marín does not want to understand the true reason that led him to write that book. I wanted to write a kind of narration that would illustrate delighting.

“What authors part?”

“I really like the books Ian Mcewan and Paul Auster, which has been a toolbox for me.” In Bolaño I do not recognize me so much, although ‘distant star’, which also tells the story of a pilot, has a volcanic style in which I recognize myself, but from the naivety of someone who is starting to write and wants to get attention.

—’T the flight of man ‘also alludes, or above all, to the void jump.

“When I finished the manuscript, all the characters had a name except the protagonist.” I thought about leaving it that way, but I decided to look for one among the pioneers of aviation. The story of a Spanish inventor from the late eighteenth century called Diego Marín Aguilera, which was mounted on a plum, iron and wood and jumped into the void came to my hands. The book has that permanent jump. The protagonist writes the book, because there is a vacuum that cannot be revealed. The same goes for the pilot Lucho Ortega.

—It is his first published novel, but not the first written.

“I worked like black.” That helps. And then, the book has several books, one of them a novel that I wrote with 20 years and resumed. It happens to me like Ian Mcewan. He said he is not one of the writers who enjoy writing but of those who enjoy having written. My way of preparing writing influences. I’m collecting things like a Urraca. I have narrative inflation. I have material left over. This novel is pure fiction. I prefer imagination.

—What anxiety and what fear can develop towards writing?

“He goes to the protagonist, there is a permanent choice between literature and life. The first lesson I learned after a long confinement is that what one writes is not what happens, but everything that is being lost, because he is locked up writing. Very soon I understood that literature, especially if it has some impact and success, is a resignation. To the family, to the routine. When winning the prize, many people have told me: this will change your life. But I don’t want my life to change. I don’t have the slightest intention.