Jorge Fernández Díaz is the great Latin American figure of the novel and current journalism. Nadal has just won, but I want to talk about the pulse of a writer forged in journalism. He is the master of the necessary distance from power. And, of course, power – then and now – has never forgiven him. He was a whip against the corruption of Kirchnerism that led Argentina to its deep crisis and now, with a logic that is difficult to avoid in this profession, he is on the lists of the most uncomfortable journalists of Milei and his libertarians for everything, except for criticism. . Last December he once again disfigured the foul ways of the Argentine president and the intimidation of businessmen and politicians by those in power and separated the undoubted successes of economic management from the continuous harassment against democratic courtesy. It is worth remembering that Milei insulted him personally live on TV and his advisors have circulated any kind, any hoax to silence him. But Jorge’s strength is in his career. That is why he is a reference for that large number of citizens who voted for Milei but do not approve of his bad ways. Every Sunday, for years, he has published the most important article of political analysis in ‘La Nación’ (which is published days later in Spain in Zenda) where current events gain greater depth because he organizes the facts while asking for help from the library in which he inhabits (or that inhabits it) to get to the bottom of the issues and the most pertinent questions. Not all leaders star in Shakespeare’s works, of course, but all the betrayals and fights and abuses resemble those told in history books and old chronicles. Whoever has read so much, has seen everything and has thought about everything. And only he knows how to play with that mirror of narratives in a world in which speed and technology, added to the vulgarity of politics, offer us a couple of Ides of March of costume jewelry every month. Related News CONTACT IN BUENOS AIRES opinion Yes Journey to the white tombs Jorge Fernández Díaz Argentine society, with a bad conscience, for having supported that disaster, wanted to erase it and condemned its combatants to ostracismTo show a button: in its latest chronicle of ‘The Nación’ told the epic of the profession in Argentina from the 90s to the current polarization, and after that journey it provides a complete idea of what it still means for society. democratic, that there is journalism that is distanced and critical of power. All of this is due to the death of the great independent journalist Jorge Lanata, who even when he died did not respect the polarization. And considering how difficult journalism has been, more than ever, or as always, power. Jorge started as a reporter on the street, something that has less romanticism than it might seem. His first editor at La Razón, Jacobo Timerman, was murdered by the dictatorship. Shortly after, he left Buenos Aires to found a newspaper in Neuquén, in Patagonia, as he told our readers two days ago. In the small Pampas society he practiced what he calls close-up reporting, recounting crimes at the risk of crossing paths with criminals and their mothers and other family when crossing the street. From there, he observes, he learned how important rigor and humanism are for the journalist. And he tells the most improbable stories about his former bosses and editorial colleagues, all of them true, from bullets whose trajectory would make the author of the Warren report pale to small, tiny triumphs in a profession that is not made of victories, precisely. This jumps out. seen in any conversation with the brand new Nadal award. For example, I remember that when Sergio Ramírez had to leave Nicaragua due to the persecution of the dictator Daniel Ortega and his wife Rosario Murillo, it was Jorge Fernández Díaz who gave us a new key: «He is the first writer who must go into exile for having written a novel. black (in reference to the police film ‘Tongolele did not know how to dance’) and that forces us to give much more importance to this genre that was considered a minor genre and now in Latin America is almost the only one in which a “A writer can tell about the corrupt reality and violence of States, not just dictatorships.” On the other end of the phone, I was aware that there was a cover of ABC Cultural, and we did it. His articles in our supplement and in ABC’s Tercera are always wonderful. Not infrequently he has advanced realities such as the polarization that we experience in Spain from his experience in Argentina. We are honored that he wrote a column in which the germ of the novel that Nadal won could be seen, which fictionalizes the life of his father, Marcial. Like the greatest, whenever he sends his collaboration, he expresses some doubt: «This is well known here. Will the Spanish reader understand it well? »No one is capable of exercising both professions, that of the novelist and that of the journalist, with such elegance. Needless to say, in the latter, journalism, he has done it all, editor, director, founder, writer, columnist, reporter, interviewer… and even today he is capable of directing and presenting one of the most successful radio programs in Argentina. , absolute leader for years in current affairs programs and today transmuted into a weekend magazine: ‘Pensalo bien’. It continues with the unbeatable share in its segment. He has combined the worlds of fiction and journalism with such apparent ease that one, who knows to what extent Jorge knows the streets of politics like the back of his hand, where he conducts himself with the utmost rigor and the most far-reaching lights. , he wonders how it is possible that, at the same time, he knows all the tunnels and exits that, almost at every corner, lead to the worlds of the imagination. And yes, he goes through them and his novels are colored by what he has experienced. That shows. Before this award-winning novel about his father, curiosity led him to write about the story (the drama, which he was unaware of) of his mother. She was sad and went to therapy. One day Jorge asked him: How about the therapist? And she responded: Well, she cries all the time. And the writer must have asked himself as a son: Does Mom make a professional of human suffering cry? So he decided to interview her, for about 40 hours, to be able to tell the true story of his mother: ‘Mom’ is the name of the book, which she wrote for her family and a friend to read. Until someone convinced him of the great story it contained, like the one Nadal won, a portrait of a society and an era. A portrait of us. Kundera said, and it is good to remember it in times of cancellation, that the writer should only be accountable to Cervantes. A writer like Jorge Fernández Díaz must train as a journalist in the careful scrutiny of data, readings and giving testimony, as the best reporters do, with the borrowed voices of others. That’s why I think it’s possible that maybe he also went to see Don Miguel with some report. That would better explain his enormous expertise, his important footprint.
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