From the failure of that project, the challenge of writing an epic work, with all the seams of adventure, was born this unforeseen success, a work on horseback from literature, memory and the novel, which is «Mom»(Alfaguara). The writer Jorge Fernández Díaz, who comes fired from the urgencies and tessitura of journalism on the street, decided to go to that unpredictable frontier that is the past and trace the steps of his mother, a Spanish exile who decided to leave behind the hardships of her country and take root in America. "She started going to the psychiatrist and one day I asked her how she was doing. She answered that well, but that made her cry. And then I thought: My mother is making a professional of calamities cry!» It would be the starting point of a series of recorded conversations, about fifty hours, that would end up being woven into a powerful text, which, since its launch, became an editorial success.
Now, that success, and one of the novelist's most important works, comes out in Spain, where impossible to find. And it does so with an added, an epilogue that ends up rounding the story and adding the final shot. «Actually it was a book that I did not think about publishing. I wrote it for us, but when I showed it to the editor, he decided that it had to be published. " That's how it went. With his arrival in the bookstores something immediate happened, but unforeseen, that this country, which had received so much immigration and had generously sheltered so many people from other nations, hardly knew anything about them, the dramas they had suffered and the setbacks they had faced. "They brought with them a culture of work and effort, which is something that should not be lost. In fact, when I decided that I wanted to dedicate myself to journalism, they considered that they had lost me, because this work had the bohemian aureole. "
The writer Arturo Pérez-Reverte, who presented the launch of «Mama» in Spain, He assured that the novelist, who is his friend, reached his maturity with this work, just when he understood how to handle emotions. Jorge Fernández Díaz, who nodded when he heard the commentary and is now recognized for his police-style works, recalled some anecdotes from those years, from the Galicians who looked like Argentines, and hid in basements to play the bagpipes and that no one would suspect they. But he also admitted that, due to the meetings he had with his mother, he learned many secrets, some painful, others not so much, who are the ones who have ended up composing that hard puzzle that is the place where we come from.