“I have no other ambition than to generate in someone a fraction of what the written word produces in me,” he says. Thomas Rebord at the beginning of Comments on Naucratusyour brand new first novel published by Editorial Planeta. He recently announced on the social network X that the third edition had just been released.
Many will know him from his already famous interview cycle in deep (The Rebord method), of his particular program loaded with histrionics and political monologues broadcast by Nacional Rock (MAGA) or by your current cycle broadcast by the recent Blender streaming signal (There is something there).
What many may not know is that it is also a passionate about literature from a very early age: “My old lady promoted literature like a whole world from which to get rich and the best habit that could be cultivated. The first massive phenomenon I was part of was Harry Potter“, he tells Viva and completes his personal podium of writers: Dolina, Borges, Arlt, Bioy, Macedonia.
His first novel It is narrated by a journalist who is obsessed with the Naucratus, a kind of holy book simile the Necronomicon or the aleph, which hides hidden secrets and generated a kind of fanatics obsessed with it: the seekers – one could draw a parallel here with the community of fans created around Rebord himself known as the Haceverosa neologism that emerges from HAGOV, Spanish translation of MAGA: –make Argentina great again–.
This journalist will do everything possible to know more about this book and of his mystical prophet, the mysterious Cabrakanwho will remain in suspense throughout the entire story like a kind of Colonel Kurtz from Apocalypse Now.
This is how Rebord, lawyer, category 93hits bookstores with a novel that aims to build its own mythology and moves away from current issues which he usually comments on in his streaming cycles where he became a kind of opinion leader. Grandiloquent, is a valid attempt to walk through quicksand similar to the mysterious illustration on the book’s cover. In dialogue with Vivais enthusiastic about his first literary foray.
–In an interview you commented that you did not want to make a book about politics/non-fiction. Because?
–It would have been the easiest. A rehash of what I already do, compiling monologues or editorials. I was interested in my literature not being subject to a temporary phenomenon., as an appendix to the transitory moment of relevance that I might be going through, I wanted to build something that can be read in ten years, in twenty, something that someone can read while I have been dead for a long time. When I write I want to contribute a work to the firmament of what I admire.
–Why did you decide that the protagonist is a journalist?
–I needed a first person who could narrate the story from a deep respect for the written word but who at the same time was capable of empathy, I couldn’t be “a writer” Who the hell is a “writer”? a rich man nothing more, a cheto. He needed a worker of the word, someone passionate about writing in the only way in which writing can come close to being profitable (or not even): a journalist, a chronicler, someone tensioned between Art and Craft.
–There is a relationship between the Naucratus and other mystical inventions in literature that seek to address the unfathomable (such as Lovecraft’s Necronomicon or Borges’s Aleph – in fact you mention that you recognize yourself within that tradition). Do you agree?
-I’d love to! The question excites me just by evoking the possibility; Of course they were references, I tried to make them explicit in the names of the chapters or in the occasional mention of the Cabrakan Artifacts. I would like nothing more than to see the Naucratus on the shelf of the immortals.
Tomás Rebord, in his MAGA program, on Radio Nacional.–In addition to the Borgesian, there is another strong connection with Roberto Arlt (journalism, the suburban, the conspiracy) -especially with the Arlt of The Seven Crazy Ones. Do you see it like that? What does Arlt mean to you?
-Totally, Arlt is also justly honored, evoked in the chapter “The Other Seven Fools” in particular, but I think it is throughout the work. I have an outstanding debt with Arlt because I only read his fiction, not his chronicles, they have already explained too much to me what I am missing. I admire Arltfor never having allowed himself to be governed by rules of style and for writing from the heart and with blood.
–Regarding the latter. Why did you decide to tackle such a mystical topic in such skeptical times?
–Because I am passionate about it. When I thought what the hell I could have to contribute to a tradition as rich as Argentine literature, I necessarily had to ask myself questions about what I might be interested in emphasizing about our culture. I mean, excuse the redundancy: to say something you have to first think what the hell one can do. have to say. Since I can remember I searched for some dimension of the transcendent in living (or what may seem transcendent to me), I think there are things like that in art, love, sports, it is also in politics, in our history. The present, I believe, is won by more “skeptical” speeches or interpretations.
–There is a displacement of the sacred, what was “Science” for the times of positivism now has a more idiotic revenge, just as secularized but without ambition that is represented in these new age thoughts, mindfulness, coaching and all that string of pyramid scams that pose as spiritual to traffic superficiality without guilt. On the other hand, a possible response more legitimately angry with the present proposes tearing down every idol, a humanization where Man, so equal to others, ceased to also be a miracle, the import of the anarchist “Kill your Idols”, if you will. I believe that between these two drives the sacred stands, in a minority. I don’t want to live in a world without idols, without heroes. I think they make existence more beautiful, and just because I know them as human, I think they deserve to be defended. I wanted the book to be a defense of the Sacred against skepticism.
–Are you satisfied with the final result?
-Very. He was really screwed up, but since the book came out it hasn’t stopped bringing me joy, much more than I anticipated.
–The book talks about the present, the impact, the likes. How do you cope with the criticism that, many times, on social networks, is very harsh?
–Like everyone, I have my days. The best days are those when one achieves a certain degree of functional dissociation and accepts that what one does, in the way one does it and with the tone in which one does it, creates a legitimate anger, or displeasure, and that this perfectly results in certain cases of obsession with the negative: by this I mean that The best days feel a little like going crazy. On the worst days I would like to track down where absolute strangers live and torture them.
–It is also an initiation book, about what the act of writing means, almost like a sacred mandate. Do you see it like that?
–Yes, because it is ultimately a book about writing, about what I was doing, which is encouraging myself to write. That’s why as you advance in your plot pay tribute to those who wrote before youit is an acknowledgment -because one tells them everything one knows-, it is a tribute, an apology -because one is not that good-, it is a request for permission -in the hope that someone likes it- but above all things is a thank you, because thanks to them one lives.
–Finally, paraphrasing your streaming program, there is something there with the Naucrate Seekers and your followers.
–YES, the Seekers are doers. They are sick in the head.
Comments on Naucratusby Tomás Rebord (Planeta).
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