Eugenio Fuentes (Cáceres, 1958) has managed to settle as an exception in the world of crime fiction. The writer has arrived so far with seven volumes about his famous detective Ricardo Cupido -and many others outside the 'thriller'- to let all those thirsty fans of new mysteries to solve. Now he returns with 'Piedras negras', set in Toledo and full of social and sentimental problems.
Because what Fuentes is out of the usual look where you look. The Extremadura has managed to stand on the podium of those who leave aside the conventional to present their detective novels far from what is already told and analyzed. It is the feelings that transport the writer to the year 2004, this time to Toledo, to fully interfere in a family history through three generations different
– How was Ricardo Cupido born?
– The character was born, not as a private detective, but as a boy more than one gang of teenagers who wake up to life in my first novel, 'The battles of Breda'. Neither he as a character nor I as an author suspected that one day he would become a detective because he was a boy who was discovering the torments that awaited him among adults. We have been together for 20 years and 7 novels and there is still some more pending to write.
– Does the writer and the character mature at the same time? How do you get to the seventh novel with the same character?
– I think we got here because I do not know him well. The most important thing has been what Cupid investigates, not him, the character as such has never interested me too much.
"I was fatigued as a reader of that topic of the alcoholic detective and womanizer"
What interested me was what I saw. When we see an accident or mishap on TV we never look at the guard or the doctor who is assisting a person, our eyes go to the corpse, that's what interests us, blood and tragedy. Cupid is the one who sees, who looks and asks, but not what is asked and what is being looked at. Precisely because I do not know much about him That's why I keep writing about him.
-Have you ever tired of him?
-I'm not tired because I've been alternating. I have made these novels about Cupid, which has been more media, but I have another marginal script, more numerous than these novels, and thus I have not felt a feeling of fatigue. For the first time they asked me what If I'm going to kill Cupid and the truth is that I see it very alive. I only know that when he dies he will do it by honoring his name, with a crush.
– Why is Cupid different?
– I was fatigued as a reader of that topic of the alcoholic detective, mujeriego, done powder was exhausted that model, like the typical detective of the Anglo-Saxon novel. The crime novel is living a revolution. I as a reader expected something new and readers have to say if they like it.
– When did the first novel about Cupid imagine reaching the seventh?
"I'm not the one to say in my books how people have to think"
– No. I did 'The interior of the forest' believing that it would be the only one. I wrote another two and I had to stop. Wondering about the reasons why people kill, is hurt and made dust … is very fatiguing, even emotionally,
– To get into those dark worlds has you investigated a lot?
– No, the imagination has flowed.
– It takes place in 2004, the one of the attacks of 11M …
– This year is very special, it's the epicenter of the real estate boom,s the year in which it is announced Facebook to the world without knowing what would come, is the year of GPS. In addition, the attacks of Atotxa. We are in a world that already showed indications of some nightmare that was coming and we could not see. This year it was very good for me to delve into this power and the portion that generated so much public money in the hands of some undesirables.
– The choice of these issues was something personal or social?
– I disagree with that topic that says that the black novel is the genre that denounces the evils of society. There are poems that can do it too. I do not think that the black novel has to be the 'speaker' of the economic crisis nor bear the responsibility of reporting evils. I like to say that it would be a limitation, a mutilation to the black novel itself, like a cook who only made fish. I'm not the one to say how people have to think.
These topics appear because they are given by the dynamics of the novel. My novels are like molluscs that oppose and armor against the world, but when we open it it is tender and pearly. My novels are not limited to the external, rummage in the wounds it causes inside the mollusk. People do not die for mafias, people die because of emotional conflicts, family histories, grim issues closer.