ESTRICTAMENT CONFIDENCIAL - Manuel Monroy Correa escritor editor profesor - 26/01/2026

[Music] [Music] Hello friends and friends, I'm also a confidencial, I'm going to watch an interview with you more. I'm invited today with a very long curriculum, here we will only announce some points and we leave the remaining information in the department that both IBOX and Spotify offer for those who want to consult with science. It is what in Spain we would call licensed in modern letters because of the American University and Dr. also in modern letters because of the same university. As well as made courses in other disciplines, throughout its dilatated form, in different universities from all over the world, such as the Jewish origins of modernism or modern, in post-modern, scientific thinking, as taught, and many more. In addition to Castellano, which is its maternal language, speaks English, Hebrew, modern French and Italian. Its research lines, which we will talk about, will be based on literary theory, as well as teacher, editor, writer, translator and founder of Curatoria, corrector of style and public of different publications, and by understanding different congressmen in unions. We are referring to Manuel Monroy Correa, who has not said that he is Mexican, because he is Mexican, right Manuel? Yes, yes. And where? What part? Well, I believe that in the State of Mexico, a region called Silas Ateliten, and that today it is a area that is practically, it is very close to Mexico City, but you already know how it grows in the cities, and it is common all over again, so it is a region or less like that, and yes, I believe in another very beautiful place, called the Arboledas, which I can say that it is a very privileged place because it also has been designed by Luis Barragán, the architect. Yes, yes, yes, yes, yes, yes, yes. Yes, it has a beautiful area, then there are also many of those very beautiful images of that place, which from the childhood I have, because it is also part of a political imaginary universe, in occasions, right? It seems to be that in Mexico, although it is not a matter of what we are going to deal with, what we are going to tell you, that they are starting to get a lot of people from other countries, because they work via internet, and then it is even provoking difficulties at the time that you found yourself living to be able to live properly, they are going up the buildings, they are going up in the whole world of all kinds, in Spain, it is scandalous, but it seems that it is in the whole world. Well, let's see, we have been interviewed in which I do not know what time in Mexico, now here is the 11th, it takes two minutes for the 11th of the night, I do not know what time it is exactly there, because it takes two minutes for the four of the afternoon, then you have finished your work, it seems to me, well, the question of the million that I always do, especially the creative people, why is it written? Wow, it is a beautiful question, and the first one, yes, yes, yes, well, it seems to me that the question is, well, I think that several reasons, one of them is the love for words, that words really allow you to build a world and realities in which one can navigate, I think it is not a coincidence to think like this, and say it in that way, so simple, I feel that it has also been very reflected in a very deep way, because of the philosophy, for example, I have put 20 to here or from before, in short, but it is a reality, for me, words are things that exist, that insist on the realities of the people, and well, I think to enunciate oneself, it is one of the ways that one can also exist, in other places, in other places, in no one else, that maybe it is also because it is not in another time. Do you have family parents who have dedicated themselves to writing, literature? Well, writing in general, it does not have to be because it is a narrative. Do you have them? Yes, well, a guy who had studied in conservatory, he was dedicated to music, he loved music, and I remember that he came to me, in my case, he was playing, for a long time, he did his practices, and he always lowered me to listen to it. My grandfather had bought the entire library of the Mexican reading that had published the CEP, so then he was part of the economic culture, then when I found works because of authors like Rosario Castellanos, as an Octavio Paz, well, of course, when I was called like that, all the authors and the authors were Mexican. So it was my first approach to literature, that collection that I had back then, and over there, the grandfather wrote as a reflection, I returned to paterno, I wrote reflections, I returned to materno, it was more like that of occurrences that I said and songs, that was invented, things like that, but no one was just writing, as you are dedicating that, no, it was more like something that I was discovering. I always think that there is a family bond of type of reason that makes, and then I ask all of you, why are you? What are you? And yes, there is a family relationship. Well, you are also an extractor, do you think that currently the producers say "actually", they already have a few years, they have a more recognized role within the world of culture, the cultural ambition? I think yes, I think that today also the day of today, because the theory of the production has allowed us to see that the work of production can be converted, it can not be converted, better said, it can be seen as something that comes from the person who produces something that is very close to the creative, and then I can understand it, especially when the production is done, because one is putting in the world of who writes for some way, and at the same time, it does not just happen from one language to another, but to see how this words do in one, and how the incidence can be possible in the language that one is producing, that's a form that you activate, very, very, very, how to form part of the language, the language also allows us to do things and say things and build them. I think that yes, I think that the producers and the producers are also having an important day today, there are books that do not put the name of the producers or the producers, sometimes in the legal page, but the day of today has been seen what we are going to present. Yes, yes, yes, you put that note in all the way, you do not think that the producers pay us little and that in addition, in the case of the poetry it results very difficult translation of some languages to others, the narrative perhaps not so much, but the poetry of some languages to others does not seem complicated in some cases. Yes, in some cases, I had the opportunity to translate from where he produced the Langston Hughes, and there is another book "The Get On Other Poems" by Lola Rich, and recently came out this year in 3D or GDHP, and the truth is that yes, the styles are very different, I think that Langston Hughes looks a lot for the rhythm, Lola Rich is a lot of images, I do not know, she gave me you too, because you were the producer of Lola, she told me that it is not a wonder, and also, well, I think that GDHP by another type of gyros, then I think that from my experience, which is a very particular thing, of course, that you can never consider it as a rule for anyone, in my case, in the approach, poetry has allowed me with, I do not know if it is easy, but having a more more confidence in my part to produce poetry, because of course, poetry, in front of you, has a tension in some meanings, there is a complexity, a policy, obviously, also, that one cannot let it be perceived, and one could already notice the text that has translated, but well, I think it is a very point that can be, I do not know if it is difficult, but if a bit laborious, that can take you time, one has to meditate with the poem that is producing, it does not have to be language with the language with which it is talking about relation, what have you seen in the modern letters, is the tunnel, which is the one that you have dedicated fundamentally, within the modern letters, well, of course, it has just been in 2021, I like it a lot, thinking, well, in the modern thinking, the modern literature, since the beginning, it is possibly 17th or so, but with philosophy, but from the modern letters, I think it is basically what is described in Spanish in Castellano, in Latin America, yes, properly, and well, I have also dedicated, or as I see there, what I do not see that is described, a little far from the press, of course, one has to wait for the author or the author to die to be able to read it, and consider if he works on the pen, which seems to me that it is not a key to be able to enter the work of the one who is writing now, for example, no, yes, yes, yes, and of all the research that you have in several, and I have already said, I will comment on the people who are listening to us, that they can consult all that at the end of the basic information by writing that I give to the person who has interviewed, that can be consulted, and they can also look for it in the internet perfectly, that is, that is, it is simply said that your grandmother, the royal moon, they can find information on the internet, which of those research lines is the one that has more worked or the one that has more been interested, although he has worked less. Yes, well, I have been interested in a lot in literary theory and in relation to poetry. In fact, I need to turn around to think about texts that are between the philosophical and poetic discourse, especially authors of Latin America, such as Hugo Mujica, the Chilean poet, who is alive and José Le Zamalima, the Cuban poet of the first half of the 20th century, depending on the same thing, well, that research line that has always been how to reflect on poetry, about the poetic work, because it comes from the literature in the university that I studied, this also was a poet named Hugo Gola, who was in charge of editing a magazine that was called poetic poetry, and well, it was an appointment at the time that the numbers, because the important numbers, they were editing in the university, where other latitudes came from, and where friends, as it is called, they also lived with a lot with what was published in the case of poetic poetry, so this perspective approach, as in a way to put forward the poetry and the thought around poetry, what poets said about their own work of writing, it seemed fascinating to me, so I think that, and as I also like philosophy, I think that the relationship between the philosophical and poetic is very, is very narrow and well, a Spanish philosopher like Maria Sanbrano had already there, of course, this relationship, I say, it does not exist before, but Maria Sanbrano made it a magnificent way, it has a perspective that I always liked, and well, she also had a certain correspondence with José de Samalimma, which seems fascinating because both are sharing with their own perspective a way of seeing poetry. So my research line goes as that of these two perspectives, philosophical and poetic. Sorry, excuse me, my ignorance, because I haven't consulted it lately, but I suppose that you also have indigenous languages, in everything that I mean, or that you have, you have no doubt, do you think that in any way, those languages have influenced your poetic creation, even if it is in Castellano? Yes, but of course, you have to say that in Mexico there is a great number of words that come from the Nahuatl, nothing more than the Nahuatl, but it is also the Zapoteco, the Misteco, there is also another without a number of languages that unfortunately they are losing day by day, which includes people who have been with them since today, I do not even want to talk to them, I know people who speak the Maya, especially in the south of the country, and I know poets who also say that they do not relate to their cultural heritage and do not learn it, then it is on one hand, as it is a bit disconcert, on the other hand, I think I have seen from the poetry or when the poetic encirclement implies an encirclement to languages such as such, then yes, of course, we see that the perspective of the American meat in general and the languages are yes and yes and yes in the Mexican literature, especially in we are going to think in the forms in the forms of renunciation, sometimes it is daily, with words that people maybe do not even have an idea that they are talking about, that they come from the Nahuatl or from the Maya or from other plants, but they are there, then I think it is inevitable in a way to be able to put them to do something with them, and here are poets that yes, but they take something from them, although not totally, I have to say that there is also the day of today, because poets are men and women who write in what they are called original languages, then there are bilingual editions in which is in Maya and Spanish, sometimes they are the same, they are the same as the traductors of their own work, yes, but I just said to lexicon, but also if in some way the syntactic structures and even the figures, let's say stylistic, metaphors, etc, it was not allowed to go through those languages, but it is not that it also exists, I only know, although this can be bothered by the people of my country, but I think that from the boom of the Latin American literature, I think that there is still surpassing us, both in narrative as in poetry, that does not mean that there are no figures, for example, we have a poet, he has already said that he would write in Catalan in Castellano, perfectly, which is Joan Margarit, Joan Margarit, I like it a lot, I find it a poet, an excellent poet and write the two languages, I want to say that he has all his poetry, but I want to say that in some way, as it is incited, but I keep thinking that the Latin American literature at the moment, but that has not only happened in the case of Castellano, I think what happened in the case of the English, the figures of the United States, or even in Australia, no, in India, well, well, in France, too, but above all, there are certain languages that have formed a part of the empire and that are developing more in what they had previously been in colonies and that they are not already, I do not know what you will think of that. Yes, I think that, above all, in the daily way of speaking this and in the culture, I think that speaking of linguistic structures and even morphological, it could be said that here in Mexico, the Albur has a great, it is an inheritance from the South American origin, the Mexicans speak also of that way of daily way, and what is what we understand in this double sense, always because it goes in a hot way and among other many contexts also, which implies, for example, the sexual ones, here, it is very common to meet with a daily speaking where suddenly, it is uncontactualized, the one thing that is being talked about and the double sense, and then this is a form, it is a cultural form of relationship, even, and but it comes from from the Mexican peoples who already spoke that way, always symbolizing that in a sexual way, in a jocosa way, also through the language, then that culturally here in Mexico is like the norm, yes, in the popular forms of speaking, yes, yes, and of course, you have to say, sorry, the culture is also seen and studied, yes, no, I came to you to comment on it also, now it is that I do not give time, I am subscribed to a, for me, the period and how serious it is, but the few serious ones that exist in my country, which is the diplomatic world in Spanish, then I am talking about one of the articles that came out the month of September, this is not a boom, and it speaks precisely of writers Latin American, that today it is a authentic boom, I think one is called Madeleine Fini, well, here I have several names, but it seems that there is a boom of feminine literature of narrative above all, Latin America is true, with incities, yes, yes, I have to say that the day there are figures, literary women who are who are very present and that I am sure that they are forming also lecturers and writers and writers of next generations, well, now I could mention some names, but I would like to quickly talk about that, for example, if there is a concern for bringing forward literature that even in times of the call, not American, we know that it is also a denomination, well, it is precisely from the editorial world, sometimes more than what proponents propose in some authors, there are authors that were completely out and that are magnificent, I would say there is a origin-cosa-resence author that came to relic in Mexico, which was called Jolanda Oriamuno, it has a novel axioma in the root of its worship, which is an extraordinary thing, that is, in terms of structure, in terms of language, even in terms of the story itself, it is a great, great novel that I do not ask for anything to the great names, commercial, editorial, men, which sometimes nothing else can find that, Latin American, not true, that I do not ask for anything, it is a great, great novel in many, from many angles seen and studied, literally speaking, and it gives a lot to say, if we are talking about a novel that was published and hand-recorded in 1942, but it was not published again until 2020, that is, we also see authors, other authors of origin-cosa-resence that relic, in my own language, just like Jolanda, and that they two get to know that it is a pseudonym, it is a poet magnificent, and that, in fact, from the editorial to Remosas, from Spain publicates a compilation of their poems, but he is doing recently as it is re-indicated, there is also a group of women who write in that time, writing in an excellent way, but they did not come to form a part of the focus, not also that it was very very dominated by men, and very dominated especially by a figure that ended up being the first novel of literature for Mexico, that is, that is, Octavio Paz, that everyone today knows that that man had the dominion of the culture and that he could say who and did not publish it, there was, there was, I say, you are not aware of it, it was unknown in the case with Elena Garros, right? Yes, yes, very well, well, he is also a teacher, in what field, that is, what materials are the key parts? As a student, this is a university level of literature, so there is some relation with the reduction for various careers or lectures, and especially studying literary models from the 18th and 19th centuries, in a career, just the university did not study it, it was also classes, even if it is a friend who is a philosopher who has had a lot of trust in me and who has allowed me when she is absent, to upload it in some philosophy classes, in the end, that is nothing else because she has no doubt that she has a lot of trust in me at that time, but the thing is, but yes, there are classes in which we study some novels that, well, one cannot study everything, true, because sometimes it is a semester, it is not enough for that, then in some of the programs, I did not happen to be able to take some texts, but they result in canonics, true, and I put others because it is just women who are not very studied and seen, but who are there, anyway, that is one, and I am also currently giving classes in a preparatory, no, about literature, precisely, Latin American and something called universal, well, you have been in Europe, you know the first hand, the pedagogical world, which calls you the attention between pedagogy as the development, well, the study of literature, here in Europe and there in Mexico, well, this is what I can say is now I see it, I know that I am giving now, there is a way as a systematic way of giving certain themes and certain works, certain names, not always there are names that we understand as canonics, and well, today one cannot just privilege certain names, but something there and that, but also to recognize and to see that there is a number of things equally valuable, then well, I think from Mexico I have now some programs of Bachillerato can be very systematic because at some point maybe this is the same university as the UNAM, the National Autonomous University of Mexico, well, I have decided it as to have a profile of people who have a medium knowledge of what the literary could do, and then I have already specialized it, it also goes around, I think the curriculum, of course, they vary according to the university centers, but they go very in the hands of today, because there are teachers who come from here and there are teachers who give classes in a university, they go away from each other, so from then on they bring their own lectures, and they will learn more contexts, theoretical, etc. I think that here there is a in Mexico there is an independent organization that has been studied for 17, that is thought of from the theories of criticism, then also theoretical, but also produced by authors and American authors in a sense of topics that go from the literary to the art of the economy and so on, and well, I think I could not speak much of Europe because I do not know the 100th truth, and I have friendships that they have told me, I have found some anecdotes, but now so it is not something that I would dare to compare, well, you are also the editor, it seems to me that from a magazine we could talk a little about that, of that love, of course, it is a magazine that is currently pre-extra, it is called Billion Dimensions magazine, well, yes, yes, yes, yes, yes, yes, I do not know, because it is like Borrosa, but this magazine is bilingual, there is English, there is Spanish, they have published it, authors and American authors, it is especially special and some people also have to eradicate it in Spain, probably, it has been published, people who have a trajectory and people also who, for example, publish it for the first time, but that we believe that they are worth it, they are also talked about art, then, for example, in this number, which is the last, it is a sculptor, an artistic artist of the Italian origin, who roots in Mexico many years ago, that is called Francesca da la Veneta, and in this we have an artistic Mexican artist, Cassandra Sabahillen, I do not have the number also from another friend that is called Mariana Lacanda, this is also a black painter, not also this, which is Soscar Tapia, anyway, this is a Swiss magazine, why? Why? Because it is not a little thinking, not to privilege certain names, contrary, it is thought of as a meeting of diversity, not here in Mexico, there is well, as various groups, which go around certain figures, some more harmonious than others, but sorry, that's true, but soon these groups are not taken, these groups can talk bad between them, we are going to understand them, we are going to understand them, totally, but of course, this magazine is very fun and we can integrate people from those different groups, people who maybe would not talk to each other, but they are published in the same magazine, I think it is a question, that's why it is said to yourself, it is true, because it points towards these borders of the elites and of the limits of the limitations that are put in each group to highlight on top of each other, that's what I do, which I just do not share, that is to say, I do not share those perspectives of them today, I also think as Chava Canas would look pretty useless, because at the end we think about the value of the artistic law, then it is called Direction Dimensions, because the people who were thinking about it in their first place, well, it is that Grimes, who publish, which is precisely the majority of the group, which is also the soul of the Mexican culture, one of its favorite painters, because it is Ircline, I think I have here done, and it is published in this number one painting of him, it has a blue color, blue and white paint in this universe that made a very particular color and it has a phrase that says blue and blue is billion dimensions, so there you take the name of what it says, and it is very interesting how this name, the name of dimensions, that sounds something else, that sometimes maybe I do not have to see properly with a serious literary world, because in Mexico the literature of soon it is like that, it is a very serious thing, but no, I think that these groups of women who recently are taking strength, well, they have also taken that part as a solemn of the literature, see how we see literature in Mexico, I think that we also want to point out something like that in the magazine. Manuel Monroy Correa, I have to say that we are not going to be able to talk about each other, I invite you to make an interview that is exclusively in your work, I do not know if you have any idea, we can find another day, look at the sunset, it would be perfect, so I have to tell you that all this you are telling the magazine to me, in the same way, or other aspects that we have shown are much more developed and insist on the people who have been incorporated later in the interview, that it is all written, in the end it comes out of a page of information and there everything comes out, the topics of those who have spoken and so on, in all ways we could enter a bit, why did you choose as a translator and now we leave the topic of translation, because it is that we do not have more than eight minutes and we leave all your work for another interview, if you like it very well, why did you decide to translate to Lola Rich? Well, this is the book, Lola Rich is a poet who, as you know, was saved from the literary studies practically and therefore of a public reading and of a public light after his death, I think that when the war broke out, I think that he died in the '41, but I think that the war broke out, of course, it was an anarchist anarchist and feminist was too much for the United States, sorry that there were people who had broken up with his body, and women, no? Well, yes, yes, the four things and totally yes, yes, yes, well, I think to have chosen you for me as the truth is that to me I very liked being able to rescue, let's say so, let's say in a way, because I am not doing any great favor to anyone, but this is more like myself, not to take a name that seemed to have been abandoned, forgotten, hidden, silenced, of a figure that also implies that he pretends to be already doing just that thing that is pretended to fall, the women, the anarchist perspective, which always puts in front of freedom, and the poetry, well, said from the poetry, so the tomatoes also because it is a figure that was not present within which I believe I am sure that it was sure that it would be worth doing it, and then I was not wrong, it is true, it is a you and I know that it is a magnificent poet, that it is a poet who must continue to resonate with him. I don't know, I know that in Castellano, but it is very difficult for me, very difficult, the translation of Cunan's song, it is hard, but it is clear, it is clear, the translation is important, and that I have to tell you something, it is much easier, I believe, from the English translation to the catalan, which for example, from Castellano, because we have, that is, for the type of words of syllables that have the words, I believe that, for example, you in Castellano, it is easier to translate from Italian, we are French, we are French, and it seems to be that there are also some cases, but well, it is the same, I have already done the attempt, well, I wish that for the next interview, you will talk to us a little about the books that you have written about creation, if you want of some other book, but also that you also choose to select some fragment of those books for us to make a few short lectures, if it seems to you. I love it, of course, yes, and then I think that we get better because if not, people are going to march, and we do not know what we want, you have seven books written, which are literary texts, academic articles, well, the last one, and when short, short, this year, the international degree of Mexico, I think it has been dedicated to Catalonia, yes, Parcelona was there, it is a last question, how has the topic been? What did you think? Well, I was there presenting one of my novels and the translations and the magazines, I think it is wonderful, they can also be found, these others, because these other attitudes, because we also found writers from Chile, from Hawaii, these distributors in Mexico that bring books, also from Europe, for example, Victoria Lvirus, among them, the truth is that the international freedom of speech is always a party, but I have to tell you that it was my first time, in that case, this was amazing, of course, well, I think that Manuel Monro y Correa we can end this first interview, I tell you, with the second one, now I am going to prepare it, but remember that it is going to focus exclusively on your creation works, because I think that even the main ones are also creation works, that is, it does not have to be literature fiction, it can be not fiction and be very creative, very ironic and very interesting, well, let's leave it like that, it is the first one, I have a good friend, Victor Prados, who lives in the city of Mexico, who is dedicated to making radio shows, many people with greater people, he is, above all, plastic artist, he has come here for a couple of years, and he is doing that he gives him another opportunity, another opportunity to come back here in Spain, and well, let's see if we have also here more soon, closer, yes, it looks magnificent, well, you are good friends and friends as I always tell you, until the next interview. Thank you. Thank you.