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| 0:00.0 | You are a human animal. |
| 0:07.7 | You are a very special breed, |
| 0:11.6 | for you are the only animal. |
| 0:15.1 | Who can think, who can reason, who can read? |
| 0:18.1 | Hi, this is Michael Silverblad, and welcome this afternoon to Bookworm. |
| 0:21.9 | My guest is Eduardo Galliano, the author most recently of the Book of Embraces, perhaps best |
| 0:28.0 | known for his three-volume fictional history of the American continent under the title |
| 0:34.8 | Memory of Fire. |
| 0:37.2 | First volume, Genesis, the second volume with faces and masks. The third |
| 0:41.4 | is Century of the Wind. This book, the most recent, published by W. W. W. Norton in hardcover, |
| 0:49.9 | is like the others, a book composed of fragments. |
| 0:55.7 | It's made of dreams, of anecdotes, of bits and pieces of observation. |
| 1:03.6 | And I began to think about the form of this kind of writing. |
| 1:07.4 | The first time I saw anything like it was when I was in college and I read |
| 1:13.9 | Julio Cortazars Crenobios and I thought I'd ask you about that kind of writing, now essay, |
| 1:21.9 | now poetry, now incantation. Yes, I suppose I'm strongly influenced by Julio, not only in my way of writing, but also in everything else. |
| 1:33.8 | He was my friend, and he was a very magical person, contagious person. |
| 1:50.0 | And this kind of text, this patchwork, where does it come from? I don't know. It comes from a process I made inside me, you know. |
| 1:56.0 | And I remember the first time I began working with this sort of collage of short texts was in a book. |
| 2:03.6 | I wrote at the end of my period of exile in Argentina, |
| 2:11.6 | 1976 called Days and Nights of Love and War. |
| 2:16.6 | And later I developed it in the three-volume work about history, you just mentioned. |
... |
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