Yolanda Reyes He has written a book as therapeutic as a couch session, which does not mean balsamic. There is no comfort territory in this novel, as there is hardly any in the emotional universe of late adoptions, when prohíjar a child is the last resort for those who have tried everything with great suffering, and when being adopted is the escape route for whom it has already been abandoned. "Adoption is the clash of two pains," says Reyes (Bucaramanga, Colombia, 1959).
How strange that Federico calls me (Alfaguara) abounds in the cracks of an experience which has thrown other interesting novels in the last year and a half: The hurricane and the butterfly, by Yolanda Guerrero (Cathedral) and, something more tangentially, The sky according to Google, by Marta Carnicero (Cliff). The Colombian author chooses two simultaneous voices, those of a mother and her son, to articulate a crossroads of monologues that only acquire the aroma of dialogue in the reader's imagination. "I like to write from two characters, two voices, because in all human relationships there is always a gap, something not said, that is in the interstices, that does not close completely and that has gaps to look at it differently".
Reyes has traveled to Madrid to explain a novel that breaks his usual record of children's literature. "Adopting is a decision that for the first time is on the side of female autonomy," he says. Therefore the protagonist jumps from the desire to engender with her boyfriend to the anxiety of in vitro fertilization and from there to the obsession to adopt, a fight against the biological clock, against the limits of nature and against the age that will end destroying his stability and his partner in exchange for a tunnel of uncertainty.
When love becomes a counter of coitus in appropriate time and form, suffering can reach destructive levels
In different time frames, Bethlehem travels that race towards unknown motherhood while her son, Federico, undertakes, as an adult, his return from Madrid to a Colombia from which he had to get rid to adapt to his Spanish life. Both travel opposite paths, but also languages of different cadences. "Writing in two registers, both in Spanish, was an important part of the work because Spanish-speakers are sometimes more separated than united by the same language," he confesses. "Federico has to lose at the beginning his language, his cadence, to become Spanish and when he returns there he must appropriate those records again".
One of the triggers of the novel was precisely the story of a French boy he met in one of his reading workshops. Adopted late in Colombia, he returned there 15 years later with a Gallic accent: "To be able to be from France I had to forget who I was, forget Spanish, because my desperate desire was to be recognized as from there. And now I come to return to Colombia what he gave me, "he said.
When love becomes a coitus counter in scientifically appropriate time and manner; when the ejaculation moves to the sadness and the porn of a fertility clinic booth; When the body becomes a laboratory of experiments in search of procreation and there are also no results, suffering can reach destructive heights. "I know a woman who cried two to three in the morning so nobody would see her. His body had become the place of experiments and that caused him great pain, "says Reyes. From that frustration can be skipped to the adoption, when nerves by the visit of the evaluators or rejection in their own environment make sparks jump.
– Do you think that, after everything you have analyzed and told here, it is worth adopting?
– As we have no answer, we need to continue making literature. I do not have an answer or want to have it in general, literature does not have general answers, but it is precisely because of the particularities that we are interested in continuing to make particular books.
And yours is, no doubt. Book of two truths, two pains, two voices and a large territory for the reader himself. "That the reader feels that, between a woman who travels towards adoption and a boy who travels towards the search of his identity, everything is not said. The rest is the reader. "