While he looks disgusting lies, the truth is that the Spanish writer Javier Cercas admits that “humans lie enough, as demonstrated ad nauseum psychologists, although most of our lies,” says the author exclusive interview with MILLENNIUM, “are tolerated lies, socially tolerated and without them we could not possibly live.”
The Lies of Enric Marco, the protagonist of the latest book Fences (Cáceres, 1962) The impostor, just published in Spain under the Literature Random House label, are, however, “monstrous lies” he says, “lies that transgress all our moral standards.”
The author of Soldiers of Salamina, the speed of light, Laws of the border or Anatomy of a Moment , reports that the most visible what this book has to do with the nearly nine thousand Spanish deportees who were in Nazi concentration camps, of which many survivors were grouped in the 60s in a partnership that still exists today called the Amical Mauthausen, whose president, Enric Marco, during the heyday of that that “the recovery of historical memory” was called was devoted to pronounce hundreds of conferences and give dozens of interviews in which chronicled in great detail and profusion of emotions his experience in a small German concentration camp at Flossenburg, becoming a kind of rock star of that historical memory, to the point that it would be the only survivor who speak, before the whole world, on the 60th anniversary of the liberation of Auschwitz and the end of Nazism.
” But that happened about the work of an obscure Spanish historian named Benito Bermejo allowed to know that Marco had never been in a concentration camp, which was a huge impostor. In that sense, the book tells the fictional story of Marco and his real story is even more exciting, and it’s kind of Thriller and inquiry about a truth amidst a web of lies and herrings “he says.
But basically adds Fences,” this as common as all of us monstrously character reflects our nature, our humiliating and distressing need to be accepted, dear and admired, and also shows our inability to live alone with reality, because reality is poor and miserable, and we are poor, cobardones and little else, and we need fiction to survive and somehow we novelists of ourselves. ”
Do we live in times of excess transparency; ie requires that all show your true that there are no secrets in our lives
do not think it so bad, the truth: if so, we would live in a gruesome nightmare.
You say that the idea of ”historical memory” is not accurate. How is assumed and can understand and then transmit the past?
With the memory and history, but without any confusion with the other nor to usurp their role. We live in times in which memory tends to supplant the story, and I find very dangerous: the perversion of Marco is just a fruit of that confusion. The memory is essential, but history also; and both must play their part and support each other. Moreover, the term “historical memory” seems as diffuse and ambiguous minimum; in fact, it is an oxymoron, because memory is individual and subjective, whereas history is collective and should aspire to be as objective as possible. I do not understand that in Spain historic to what should be called just reparation for victims and full acceptance of our past worst memory is called. The “historical memory” seems an understatement.
The Mexican writer Daniel Sada titled one of his novels “Because it looks lie the truth never know”. Do you agree? What implications and resonances in this phrase and how much reflects societies such as Spanish or Mexican, riddled with lies
Look, I’m a bit dated, I fear: I think Truth exists, and that there is little or nothing as noble as chase; but I also think that whoever believes possess entirely is a fanatic or an idiot or, more commonly, both at the same time.
What other aspects besides his great deception, define Enric Marco?
It is impossible to summarize more than four pages on a single response. Just tell him that we all have a little frame, but Marco has a exageradísima, monstrous, immoral manner; but all carry that monster inside. That is why it is so interesting framework. Actually, the impostor of my novel The impostor is not Marco but I, you and everyone we are reading. And those who do not we are reading.
What could be the harm caused to the victims of the Holocaust by the imposture of Enrico Marco?
A enormous damage to the victims and all because Marco widely divulged a version of the Holocaust and the history of the twentieth century false from top to bottom; because the data were not always false, but because it was a watered history, sentimentality, digestible by all, a falsified history. kitsch history
What subject lines or concerns cross his work narrative as a whole; something that can be considered your spine?
That will have to put the reader, which is the ending of creating books.
Finally, what author feels indebted to “The impostor”, whom cite as an influence or trough?
I do not know, but it seems legitimate to see in this book a humble reading of Don Quixote, among other reasons because Marco has a lot of Alonso Quijano, who invented a fictitious life to live all you could not live in the real world.
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