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<v Speaker 1>This is Latino USA, the Radio Journal of News and

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<v Speaker 1>Culture's Latino USC latins Latino USA.

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<v Speaker 2>I'm Maria Nojosa. We bring you stories that are underreported

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<v Speaker 2>but that mattered to you, overlooked by the wrestler media,

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<v Speaker 2>and while the country is struggling to deal with these.

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<v Speaker 1>We listen to the stories of Black and Latino Studios United,

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<v Speaker 1>Latino Front, a cultural renaissance organizing at the forefront of

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<v Speaker 1>the movement.

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<v Speaker 2>I'm Maria Inojosa, nose Bayan.

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<v Speaker 3>Writer is always a kind of foreigner, wherever he's moving

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<v Speaker 3>and wherever he's writing about.

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<v Speaker 1>From Fudura Media and PRX, It's Latino USA. I'm Maria

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<v Speaker 1>nor Hoosa Today the strangeness of everyday life in the

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<v Speaker 1>writings of Argentinian author Samantha Schweblin. Writer Samantha Schweblin was

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<v Speaker 1>born in Argentina in nineteen seventy eight, a couple of

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<v Speaker 1>years after the start of a violent dictatorship in her country.

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<v Speaker 3>I was a baby when the military coup was happening.

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<v Speaker 3>Of course I couldn't understand what was going on, but

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<v Speaker 3>I have a very vivid memory of denture darkness.

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<v Speaker 1>More than forty years have passed, but some things have

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<v Speaker 1>stayed with Samantha.

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<v Speaker 3>I remember once being in the car with my dad

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<v Speaker 3>and my mom and just the look of a woman

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<v Speaker 3>who was at the back of another car. Something very

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<v Speaker 3>weird was happening with this woman. There were two men driving,

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<v Speaker 3>she was alone at the back. She was crying.

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<v Speaker 4>I mean, it's like.

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<v Speaker 3>I was so I don't know, maybe five or six

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<v Speaker 3>years old, and I still remember that phase.

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<v Speaker 1>In her writing, Samantha considers the sense of eeriness that

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<v Speaker 1>I come eat her childhood. Her work has been compared

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<v Speaker 1>to the surrealistic movies of David Lynch or to the

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<v Speaker 1>absurd tales of Franz Kafka. The unexplainable events in her

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<v Speaker 1>stories don't quite cross into the area of fantasy or horror. Instead,

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<v Speaker 1>they reveal the uncanny of the every day. Samantha's books

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<v Speaker 1>have been translated into twenty five different languages, and the

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<v Speaker 1>English translation of her short story collection A Mouthful of Birds,

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<v Speaker 1>as well as her novel Fever Dream, were both long

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<v Speaker 1>listed for the International Booker Prize. In this episode, first

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<v Speaker 1>Samantha shares how she started writing, and later she talks

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<v Speaker 1>about where her fascination came from. To focus on those

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<v Speaker 1>blurry lines, the ones between what we believe is normal

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<v Speaker 1>and what we find strange. Here's samanta' Shuvlin in her

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<v Speaker 1>own words.

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<v Speaker 4>I'm Samantha Schevlin.

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<v Speaker 3>I'm a short story mostly a short story writer. I

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<v Speaker 3>also write the novels. I grow up in Buenos Aires, Argentina.

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<v Speaker 3>In the last ten years I have been living in Berlin.

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<v Speaker 3>I'm particularly interested in what we call literatua alextrania, mieno,

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<v Speaker 3>or like the uncanni. I wouldn't say in literature, I

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<v Speaker 3>would say in life, what is jancannie? What is the

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<v Speaker 3>strange things that.

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<v Speaker 4>We have in life?

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<v Speaker 3>When people talk about my work, they usually say, oh,

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<v Speaker 3>these stories are so full of monsters, But where are

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<v Speaker 3>the monsters? Because this is not a horror story. It's

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<v Speaker 3>just the feeling of this is a horror story. There's

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<v Speaker 3>no monsters, but they are there. Where are these monsters?

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<v Speaker 3>Are they in the reader's mind or where are they?

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<v Speaker 3>And I I think something very deep happened in that

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<v Speaker 3>childhood that was those were the monsters. I grew up

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<v Speaker 3>in the suburbs. We belonged to a middle class family

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<v Speaker 3>and I was living with my parents. They have been

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<v Speaker 3>a great influence for me because they were artists, both

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<v Speaker 3>of them, and my grandfather in particular from my mom's side.

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<v Speaker 3>He was a painter, but not only that, he was

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<v Speaker 3>a teacher of a whole generation of artists in all

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<v Speaker 3>Latin America, so people from abroad came to study with

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<v Speaker 3>my grandfather. He has a huge attillier in the middle

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<v Speaker 3>of the city in Buenos Aires.

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<v Speaker 4>In San Telmo.

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<v Speaker 3>He was not so close to the family by then,

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<v Speaker 3>but he called my mom and said, okay, I want

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<v Speaker 3>to meet Samantha every week, and.

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<v Speaker 4>My mom said, okay, let's do this.

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<v Speaker 3>So I met him for the first time when I

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<v Speaker 3>was I don't remember, like five or six years old,

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<v Speaker 3>and he told me when we were alone, okay, we

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<v Speaker 3>are going to tell to you a mom, that this

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<v Speaker 3>is about going to the carousel, it in ice cream,

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<v Speaker 3>and all those things that kids are supposed to do,

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<v Speaker 3>but this is going to be the training of the artist.

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<v Speaker 4>I was six years old. An artist.

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<v Speaker 3>We need to train you for this because life is

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<v Speaker 3>going to be very hard.

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<v Speaker 4>For example, he.

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<v Speaker 3>Taught me to travel without paying the tickets of the

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<v Speaker 3>train or the bus, because he said that an artist

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<v Speaker 3>should be capable to live without westing money. He taught

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<v Speaker 3>me how to steal books from bookshops. Of course, we

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<v Speaker 3>also went to the museums, went to the theater, so

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<v Speaker 3>everything was exciting and amazing and unbelievable. And I started

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<v Speaker 3>to write with him because all these things that we

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<v Speaker 3>were doing, the main goal was to record all the

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<v Speaker 3>activities in a diary. So we have to write down

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<v Speaker 3>what had happened during the day.

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<v Speaker 4>But there were some rules.

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<v Speaker 3>He said that doesn't have any sense to say I

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<v Speaker 3>had a good day or I'm very happy doing this,

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<v Speaker 3>or that things should be accurate enough and well described

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<v Speaker 3>enough to be capable to move some feelings from the

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<v Speaker 3>one who is writing to the one.

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<v Speaker 4>Who is reading.

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<v Speaker 3>So this amazing exercise was for me the beginning of

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<v Speaker 3>the writing. I remember I went to a particular workshop

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<v Speaker 3>where they were reading Raymond Garvet and Flanneling O'Connor, all

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<v Speaker 3>this North American traditions. By then I had read a

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<v Speaker 3>Kafka or for example who sat the more European author,

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<v Speaker 3>But mostly my author were the author of the boom,

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<v Speaker 3>you know, like Abria Garcia, Marges Bargahosa, because these were

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<v Speaker 3>the books that my family had in the bookshelf. And

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<v Speaker 3>I remember when I discovered for the first time these

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<v Speaker 3>authors and North American authors. It was so shocking for me.

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<v Speaker 3>I loved them, and I wouldn't say that it was

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<v Speaker 3>the stories that really trapped me. In fact, I remember

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<v Speaker 3>the first time that I read the Raymond Gary was like.

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<v Speaker 4>What is this about?

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<v Speaker 3>Just drunk people smoking, getting divorced. Nothing is happening here.

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<v Speaker 4>I was a little bit like, where is this.

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<v Speaker 3>It took me time to understand how his mind is

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<v Speaker 3>working and how their machineries are working.

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<v Speaker 4>But what I love is the way they were doing it.

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<v Speaker 3>I think I learned to write reading them.

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<v Speaker 4>Very careful.

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<v Speaker 3>People who don't read usually short stories. They have this

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<v Speaker 3>idea about short stories like being a different kind of genre.

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<v Speaker 3>I don't understand that.

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<v Speaker 4>For me.

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<v Speaker 3>The only difference in my mind between a short story

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<v Speaker 3>and a novel is that one story last ten twenty

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<v Speaker 3>pages and the other two hundred. The kind of tools

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<v Speaker 3>that you used to write are the same, The relationship

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<v Speaker 3>that you build with the reader are the same. The

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<v Speaker 3>kind of deepness that you can go through with some

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<v Speaker 3>moments in life of the characters themselves are the same.

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<v Speaker 3>I mean, whenever I have an idea, my first instinct

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<v Speaker 3>is go to the short story length and then sometimes

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<v Speaker 3>doesn't work.

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<v Speaker 4>It's a kind of failure.

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<v Speaker 3>I can't manage to be super effective and strong enough

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<v Speaker 3>to tell the story in twenty pages. Then I need

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<v Speaker 3>two hundred more, and I have a novel. When I

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<v Speaker 3>started to grow up, we started by little to do

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<v Speaker 3>different trips with my grandfather, first and the outside of

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<v Speaker 3>Buenos Aires. Then we traveled to La Plata. Then we

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<v Speaker 3>traveled to other provinces in Buenos Aires. When I was sixteen,

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<v Speaker 3>we came to New York. It was an amazing trip.

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<v Speaker 3>You can imagine. With him, he was always inventing things,

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<v Speaker 3>inventing stories that were not true about things. I remember

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<v Speaker 3>he brought me to the Saint Patrick Church and he said,

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<v Speaker 3>this is the church of the immigrants, and this is

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<v Speaker 3>the saying of the immigrants. Whenever you want something, you

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<v Speaker 3>have to come here and ask for whatever you.

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<v Speaker 4>Want to Sant Patrick.

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<v Speaker 3>Patrick is not the god of the immigrants at all,

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<v Speaker 3>but he was like inventing these things.

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<v Speaker 4>And then I told him.

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<v Speaker 3>We were in the Brooklyn Bridge and we were crossing it,

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<v Speaker 3>and I said to my grandfather the moment that I

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<v Speaker 3>will be capable to support myself and had the money,

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<v Speaker 3>I will came to New York and he said no, no, no, no, no,

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<v Speaker 3>your place is Berlin.

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<v Speaker 4>He knew. And of course I didn't move to Berlin

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<v Speaker 4>because of that, but it's very curious that I'm there.

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<v Speaker 3>Moving to Berlin from the beginning was a great exercise

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<v Speaker 3>of estrangement because I was a foreigner, and I will

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<v Speaker 3>be a foreigner even if I stayed there my whole life.

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<v Speaker 3>It's so clear the difference between a Latin American citizen

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<v Speaker 3>and a German citizen.

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<v Speaker 2>But I like that.

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<v Speaker 3>Writer is always a kind of foreigner, wherever his moving

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<v Speaker 3>and wherever he's writing about. His main exercise it's to

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<v Speaker 3>behave as a foreign earth because in the moment that

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<v Speaker 3>you are convinced that you are not completely understanding what

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<v Speaker 3>is going on, then you have a more.

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<v Speaker 4>Objective perspective of what is going on.

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<v Speaker 3>I'm very amazed and surprised about how the concept of

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<v Speaker 3>normality works in our everyday life, because I just don't

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<v Speaker 3>believe in normality. It's so crazy, so it doesn't have

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<v Speaker 3>any sense, and it's so important for us. I'm so particular,

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<v Speaker 3>so unique, and you are so particular and so unique,

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<v Speaker 3>and the normality rule says that there is a point

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<v Speaker 3>in between you and me, just in the middle. That's normality,

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<v Speaker 3>and we keep the whole life trying to go there.

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<v Speaker 4>But there's nothing there. It's absolutely empty.

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<v Speaker 3>It's a complete fiction the area of normality. For example,

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<v Speaker 3>there's a story where there is a teenager who is

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<v Speaker 3>eating a bird as a food, and of course there

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<v Speaker 3>is a big mess in the family around this. But

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<v Speaker 3>we eat birds every.

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<v Speaker 4>Day, sometimes twice a day.

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<v Speaker 3>So what is the problem is because it's a bird

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<v Speaker 3>and it's not a chicken. Chicken is bigger than a bird.

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<v Speaker 3>It would be more logical to eat a bird and

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<v Speaker 3>to e a chicken.

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<v Speaker 4>You know what is the problem here?

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<v Speaker 5>Really?

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<v Speaker 3>You could say, oh, but the bird is alive. Chinese

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<v Speaker 3>people eat food that is alive.

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<v Speaker 4>I have been there. I mean food can be moving

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<v Speaker 4>on the plate and.

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<v Speaker 3>They eat it. So what is really the problem. It's

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<v Speaker 3>a social agreement, nothing else than that. It's just a

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<v Speaker 3>social agreement. But we took this as an absolute truth

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<v Speaker 3>and it's not. And the moment that you disassemble it,

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<v Speaker 3>then reality doesn't have any sense. I have heard here

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<v Speaker 3>and there things like, for example, or women's are writing

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<v Speaker 3>so much better than men these days. This is not

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<v Speaker 3>only something that is happening in Latin America. I'm saying

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<v Speaker 3>because I thought it was only in Latin America, But

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<v Speaker 3>then when you start to travel around festivals, in international

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<v Speaker 3>festival around the world, this is a topic that is

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<v Speaker 3>floating around. Suddenly women's are publishing the same or even.

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<v Speaker 4>More than the men.

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<v Speaker 3>And this is very interesting because some people call this

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<v Speaker 3>a boom, and this is not a boom. This is

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<v Speaker 3>what the half of the other half of the humanity

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<v Speaker 3>have been writing. It's just that now they are publishing them.

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<v Speaker 3>So I feel like grateful maybe or exciting about the

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<v Speaker 3>idea of sharing this moment with these authors.

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<v Speaker 4>We are so different.

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<v Speaker 3>You have someone like Gabriela Cavison, who is playing in

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<v Speaker 3>such a brave way with language, or Claudia Pineiro, who

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<v Speaker 3>goes through a completely different perspective, or Margaritaria Robaso, who

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<v Speaker 3>has this super subtle and intimate realism about women. Or

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<v Speaker 3>you have Gabrillabinar, who doesn't have anything to do with

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<v Speaker 3>the three that I have just named. So it's very

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<v Speaker 3>hard to classify us as a movement. What is true

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<v Speaker 3>is that women in literature have been a minority up

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<v Speaker 3>to very short time ago, and as a minority, you

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<v Speaker 3>always came to the canon with a lot of new news.

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<v Speaker 4>You know.

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<v Speaker 3>It's like, we have this to say, and that's to say,

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<v Speaker 3>and we have this story about this weekend, with our

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<v Speaker 3>own stories, with our own paints, even I would say,

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<v Speaker 3>with our own tradition.

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<v Speaker 4>So it's not better, it's just new.

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<v Speaker 3>We have so many things to say.

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<v Speaker 1>This episode was produced by Victoria Estrada and Martin Martinez.

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<v Speaker 1>It was edited by Sarah White Scottochak. It was mixed

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<v Speaker 1>by Julia Caruso. The Latino USA team also includes Renaldo

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<v Speaker 1>Leanos Junior, Andrea Lopez Cruzado, Flodi mar Marquez, Mike Sargent,

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<v Speaker 1>Neur Saudi, and Nancy Trujillo. Penilei Ramidez is our co

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<v Speaker 1>executive producer. Our director of engineering is Stephanie Lebau. Our

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<v Speaker 1>marketing manager is Res Luna. Our theme music was composed

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<v Speaker 1>by Ze Ruinos. I'm your host and executive producer Mariao Josa.

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<v Speaker 1>Join us again on our next episode. In the meantime,

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<v Speaker 1>remember look for us on social media. I will see

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<v Speaker 1>you there and as always and forever bye.

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<v Speaker 5>Latino USA is made possible in part by New York

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<v Speaker 5>Women's Foundation. The New York Women's Foundation, funding women leaders

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<v Speaker 5>that build solutions in their communities, and celebrating thirty years

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<v Speaker 5>of radical generosity, the John D. And Catherine T. MacArthur

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<v Speaker 5>Foundation and the Ford Foundation, working with visionaries on the

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<v Speaker 5>front lines of social change worldwide.

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<v Speaker 3>L Cafe, Caffe Caffe, Combintias Unco