Approaching Gonzalo Suárez is trying to embrace the unbeatable and not touch the surface. In his 90 years – who does not appear – there are as many lives as that of a animated boxer, a footballer who never finished off his head, a hidden down after … A pseudonym of success, a filmmaker who began to shoot without knowing how to make cinema, a painter attentive to the line more than the canvas, a writer who typed ideas that does not know where they come from … of all of them – and several more – seems to flee a Gonzalo Suárez who, despite having the memory full of glorious memories, juicy anecdotes, friendships with his own epigraphs in libraries and pantheons, he only knows to look at the future.
“What question has you never answered and would you like to do?”
“Well, what am I going to do as older.” But I would like to answer me, and that will be more difficult.
The answer is loaded with more seriousness than irony and less melancholy than is transcribed. Because there is something unbeatable in the energy it gives off, as much as the adventures that you have never stopped undertaking. The aphorism with which his friends, followers and disciples define him was coined by Juan José Millás: “Suarez has always arrived first everywhere and the first has always left, so that he has always been alone.” And, of course, only Suarez could catch himself in a game that, obvious, could only occur to him. It evidences, although he promised that he had not thought about it, in ‘The case of the cut heads’ (Nordic Editorial), his new newly published book, in which his 90 -year -old self is reunited with the 24 -year -old Gonzalosuárez from a chance, a miracle or that ‘intruder muse’ that he coined in one of his essential titles and that he has now illuminated him.
This noon has in the tavern of the hall of Madrid, his second home only a few steps from the first, which defines as “the African jungle of my dreams”, which in an old blue folder appeared some drawings that it cost to recognize. First, I was not very clear where they had come from, because Gonzalo Suárez swears and perjuras that the ideas that come to his head are external shipments, but one thing is that and another that the muses put on the Amazon vest and send things in the form of quarters to the family hall. Discarded the miracle of transutation, he recalled that they were drawings he made in Paris, in 1958, with 24 years, when he worked on the periphery of the capital putting tubes of the gas stations in ditches that he, from the indelible memory tattooed by moisture and the exhausting physical effort, defines as “trenches.”
Located the finding, and already shaken the cold of the bones, the 90 -year -old Suarez ordered Suárez’s drawings of 24 to form the story of a detective who has to catch a guy who cuts heads in his neighbors block. He added some thug texts and full of sarcasmos and youth. And also, present. “The second of the second implored the detective so that it would not be disheveled because it came from the hairdresser – he reads next to a vignette. He had only six hairs on his head and less on his tongue, spoke by the elbows and confessed his murder with hairs and signs, ”writes Suárez. It shapes a kind of comic, a graphic story with which Javier Cercas screws the idea of his pioneering spirit in the prologue that writes to him: «It is conceived before the comic began to claim well advanced the 60s as a serious art: ‘Tebeans and mass culture’, by Luis Gasca (1966) and ‘The comics, art for consumption and popular forms (1968). As always, Suarez was the first to arrive ».
“Then, what will you do more?”
“I would like to, and in fact you are likely to try, return to journalism.” But as an interviewer, not as a commentator, that I had a stage of comment and I don’t like that. What really interests me is the moment, neither before nor after. And try to capture it. The advantage of cinema is that it is the closest, after the prehistoric caves, when capturing the moment … well, in short, that I would like to capture the moment, to live it suddenly. That everything suddenly.
«I would like, and in fact it is likely to try, return to journalism. But I as an interviewer »
Suddenly, in that sudden that does not stop looking, he cuts the phrase when he no longer wants to reach the place that he took that concatenation of words and makes a required to talk about journalism – “I like it because he continues to maintain that option of action” -, of literature – “… that action I have also looked for it in literature, typing as if I touched the pian Take outdoors, to find someone with whom you can exchange gloves. That is, I realize that I long for my boxing steps, which was never professional » -. And so. A paused submachine gun of exact verbs, precise nouns and improvised thoughts that seem elaborate.
–And who would like to interview now, considering that years ago he published ‘The sole of my shoes’ [un libro con las entrevistas, crónicas y reportajes que hizo este pionero del Nuevo Periodismo bajo el pseudónimo de Martin Girard a gente como Dalí, Buñuel o al general Batista].
– It is that the characters had more space and relief than now, in which communications are so overwhelming and confusing that it is difficult to find like such characters. Now that space is missing, on the one hand, mythifier does not give time, and on the other there are now those things that are called ‘networks’ in which I do not plan to enter because I am not fish or let myself catch. I would prefer to interview anonymous people because I don’t consume news either, I prefer to live from ears because I have no solution in my hand to the things they tell. I also have the feeling that we fall into a trap where they anticipate describing the reality and formed, and well, once again, we are dedicated to believe it. So, I know it is absurd and I repeat myself, but I would like to find a moment and discover a slot where you can look and not be seen.
Go, see, succeed … leave
It is curious that someone who has done so many things so visible in so many places that he does not want to be seen. Perhaps, and it is speculation, hence the quality of having left on time from all trades. A skill that fascinates – by unusual – and the one that any aspect of epic subtracts. «It’s not that I left, it … I found something else. Nor was it that I got tired, because that would also be a petulance. No, it suddenly had the feeling that I saw the back room of everything I did, and the backlights, as it happened to me with the theater, sometimes looked like sinister offices.
The require of Suárez, or the feint, for following the pugilistic simile, comes now, when he jumps out of the burnings of the culture of which he has always refused to his other passion, football, which in addition to some bargain delivered hours of work. It was when he signed reports for the Inter Milan of Helenio Herrera, who took it to Italy and gave him several tips that he later applied to his things, from painting to the cinema, such as when Helenio told him that he did not have to look at the ball, but to space. “Soccer, sport, has the astonishment of the moment, the stupor of the goal, the purity of surprise,” he says, clarifying something obvious: “I do not like the mass gathered, nor the forofos, but I do find it stimulating the fact that luck depends on one centimeter. I like, I repeat, the action, and I do not consider myself an intellectual. For example, I regret every time I have written something as a commentator and I have sinned as a literary one ».
“I have the obsession to start because I have to confess that I have bored myself, what I do”
And there he will return to this ‘case of the cut heads’, to his friend Adolfo García, who went to the first one he called when that folder was found with drawings that “had radically forgotten”; To the editor, Diego Moreno, who got excited about them: “It was a love story despite the fact that I work telling chaos,” says Suarez, pointing out the orange cover with which he travels to his memories of 66 years ago. “I have the impression that today another fight begins, another streak,” he says, categorical. «I have the obsession to start because I have to confess that I have bored myself. Yes, I am bored successively of what I do, how much or more of the culprit, of the repeated, to return again. Apart that is also impossible to return. You always have to go a step forward, ”he says at 90 lived years to, after a while, in another similar reflection, cut himself:” But well, we are already philosophizing, right? Do not fuck me that I will be there for an intellectual, ”says everything serious, because the slying is escaped in each right -wing soap and in each left hook.
“Do you have any thorn stuck with something that has been to do?”
—The spines stuck are the scripts that I have not been able to do. But now they bore me. I would not rebuild them again, no. Yes I would return to my first three films, when I didn’t know how to make movies and stubbornly. Because then, that happened, I invented … I had seen cinema, but I had no idea. So now I want to do something I have no idea. Yesto [señala el libro] It can be a signal, although not from heaven because I hope the sky does not take care of these nonsense. Now what I am looking for is that, something new, but it is not easy ».
That is Gonzalo Suárez, not stop looking unpublished, unusual. And that’s why it will end like this: «I just look for what is impossible. That is the key. I say it more seriously than it seems, in addition, that perhaps I have shown it without wanting because I have not wanted to be someone who is not where he is looking for him. No, that has been natural, a downt boxing, a space outside the pitch. Don’t know. Well, in short, they are pretensions because … the truth is that I don’t know anything. You are welcome. But not knowing anything about anything … It’s already knowing too much, ”he finishes as only a sage of 90 years, with a laugh full.
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