CANALCATORCE — broadcast
20261011 133000 UTC
475 transcript segments
Google Cloud Speech-to-Text API (Chirp) + Gemini 2.5 Flash Non-Thinking
Data courtesy of The GDELT Project (https://www.gdeltproject.org/), from the Internet Archive TV News Archive.
Machine transcription. Treat it as a searchable index of what was broadcast, not a verbatim quotation record.

[00:00:38] You form the body of those who, at
[00:00:41] different times of the struggle, starting on
[00:00:45] me, July 26 of this violent year, bitter, but equally
[00:00:48] joyful and hopeful of
[00:00:50] 1968,
[00:00:53] constitute our first fallen.
[00:00:56] The word sounds harsh and bare,
[00:01:01] but it is the tone in which history speaks. You are the
[00:01:04] first, others will fall,
[00:01:07] we will fall
[00:01:09] more. Before us, in the world and in Mexico, an
[00:01:13] learned there a certain model of inescapable and resounding dilemma arises: victory or
[00:01:16] death. Death, even if
[00:01:20] we remain alive, to our misfortune, will be the night
[00:01:25] to possess elementary notions of of the soul, the endless tortures,
[00:01:28] the padlock on the lips, the misery of body and
[00:01:31] spirit.
[00:01:34] Let us maintain our iron unity of purposes, our
[00:01:37] discipline, our mutual solidarity,
[00:01:41] our combative spirit,
[00:01:43] sobriety, in firm, resolved and of
[00:01:46] one piece, in the open struggle and the forced
[00:01:49] passivity, no less combative and
[00:01:52] proud of the
[00:01:54] prisons. In September
[00:01:57] 1970, after two and a half years of
[00:02:01] confinement in Lecumberri prison as a political
[00:02:04] prisoner, José Revueltas,
[00:02:07] writer, thinker, Mexican
[00:02:10] I want to imagine that at that moment what creator, accused by the government of being the instigator of the
[00:02:14] student movement of 1968,
[00:02:18] went on a hunger strike, the same
[00:02:21] one that would finally lead to his death. Once
[00:02:24] again, Revueltas put his ideas to the test with his
[00:02:28] own body. Through art, he made a
[00:02:32] declaration of principles in favor of
[00:02:34] humanity, against authoritarianism and
[00:02:38] repression.
[00:02:53] where part of the sectors of
[00:03:56] desolation and orphanhood in
[00:03:57] gobierno, y no vemos eso en
[00:04:03] Grandson of miners, with a destiny of lucidity and
[00:04:07] creativity, also of fatality, José
[00:04:10] Revueltas was born in the midst of the revolution in the arid
[00:04:14] north of Mexico, on November 20,
[00:04:20] remember 1914. He was born in Durango, in Durango,
[00:04:23] Durango, uh, Silvestre and
[00:04:26] Fermín, the older brothers, had been born
[00:04:30] in Santiago Papasquiaro. He only lived his childhood
[00:04:32] there. They came
[00:04:36] as the moment of to Mexico City because their father was a merchant and settled in a
[00:04:41] rebellion against what store in La Merced. His mother, Romana
[00:04:44] Sánchez Arias, had had
[00:04:48] predestined, had imagined, had divined, had
[00:04:52] dreamed of the poet girl having a painter
[00:04:55] child, a musician child, a poet
[00:04:58] child. Their father died very young, so the older brothers
[00:05:02] were lucky enough to be able to study
[00:05:05] Silvestre music and Fermín
[00:05:08] painting, to be able to study in the United States, that is, to have a good academic background.
[00:05:12] very That was not the case for José because his father died, so
[00:05:16] poverty came, because no one could
[00:05:19] replace him. There is a very
[00:05:22] interesting anecdote
[00:05:25] from when my father was
[00:05:27] a child and one day he
[00:05:31] got lost. My poor grandmother
[00:05:34] said, "Where is José? Well,
[00:05:37] where can he be? Oh my God, look for him in the
[00:05:40] little store." "No, he
[00:05:42] went there." "Oh my God, go look for him in the
[00:05:46] bar, to see if this kid got in there." They go to the
[00:05:49] bar and they don't
[00:05:52] find him either. "Well, where can he be, my God?" The grandmother
[00:05:55] crying, grandmother Romana, and everyone worried,
[00:05:59] "Well, where can José be?" And someone
[00:06:02] says, "Go to the
[00:06:04] library."
[00:06:06] The kid was there and they see a kid walking by with a
[00:06:10] little book under his arm and someone asks him, "What are you reading,
[00:06:13] little José?" Then the
[00:06:16] child turns around and says, "Lives of saints." That is,
[00:06:19] this was a reader, but a reader of religious
[00:06:22] literature who
[00:06:26] life: you have to die for the ideal. The lives
[00:06:29] of Christian martyrs are somewhat
[00:06:32] the antecedent of what his life will be,
[00:06:36] the life of a martyr of Mexican communism. And
[00:06:40] he wants to join the communist
[00:06:43] youth, but he doesn't know how. But there is a
[00:06:46] demonstration in the center of the city and he tries to
[00:06:50] join that demonstration that
[00:06:53] the police repress. So, without being part of the communist
[00:06:57] youth, he is caught by the guards and
[00:07:00] taken to the juvenile correctional facility. It is true that at
[00:07:04] 14 years old he entered the reformatory,
[00:07:07] and later to the Marías
[00:07:10] Islands. For a middle-class
[00:07:13] boy, that experience is a
[00:07:17] shock from which he will produce a lot of revolts.
[00:07:23] saved him from madness, from
[00:07:25] depression, was Marxism. He knew he had the truth,
[00:07:29] his brothers had taught him, he had read Marx, he was
[00:07:32] convinced and that saved him from madness. He says he wrote a
[00:07:36] very Dostoevskian novel called "El Quebranto"
[00:07:39] and that he lost it on a train. Writers
[00:07:42] sometimes also have many stories that are not necessarily
[00:07:46] true, I don't know, but the truth is
[00:07:49] that "El Quebranto" later became a short story that became
[00:07:53] part of his collections of stories and it is a very
[00:07:56] anguishing story about how the adolescent felt harassed
[00:08:00] in the reformatory intellectually,
[00:08:03] sexually
[00:08:06] and he couldn't respond because he himself felt guilty about
[00:08:09] something, about secret immoralities
[00:08:12] existing deep within his being. He
[00:08:16] didn't have the courage for pretense, for the free
[00:08:19] and carefree gesture that would save him. He was
[00:08:22] going to be accused before the tribunal of the world, of the
[00:08:26] eyes of the people, of the annihilating
[00:08:29] murmurs.
[00:08:32] There the fall begins, because afterwards
[00:08:36] there would be no human force capable of
[00:08:37] stopping it.
[00:08:40] I suddenly felt a horrible fear, a
[00:08:43] desire to shrink until disappearing so that no one would
[00:08:47] see him,
[00:08:49] so that no one would suspect his
[00:08:51] existence. She says that when he was admitted to the
[00:08:55] reformatory and she and her mother
[00:08:58] went to visit him, they found him bald, buck-toothed,
[00:09:01] she says: "My brother was awful, he was very ugly." Of course, she says, because
[00:09:05] that image of
[00:09:08] which I see José
[00:09:11] even made me afraid, and she says that when she returns home,
[00:09:15] a woman asks her, "Is your brother in jail?"
[00:09:19] "Yes." "And why did they put him in jail?" She says, "Well, they say
[00:09:22] for being a communist." So the
[00:09:26] woman tells her, "Well, he must have done something very bad for them to call him that." It's a country that doesn't accept communists,
[00:09:29] so to speak, because they think that communism is
[00:09:33] the worst, evil, Satan, the devil,
[00:09:36] and for Revueltas it was love and it was Jesus and it was
[00:09:40] Buddha and it was Krishna, and it was
[00:09:43] heaven, and it was nothing, and it was the void, and it was
[00:09:46] poetry. My father's political activism
[00:09:49] stems from a feeling of
[00:09:53] he considers
[00:09:56] an unacceptable reality, but also the
[00:10:00] cause that must
[00:10:03] be embraced to fight that reality. It's
[00:10:07] that when I hear about all the prisons he
[00:10:10] suffered for
[00:10:12] his voice, for being aware
[00:10:16] of a situation and telling it and pointing
[00:10:18] it out and and giving
[00:10:21] solutions, it was about... not
[00:10:25] being afraid. Towards the
[00:10:29] beginning of the 30s and before Lázaro Cárdenas,
[00:10:32] it was very easy for militants to be taken to
[00:10:35] prison, beaten, tortured, sent to the
[00:10:39] Marías Islands, which were nothing like the supposedly
[00:10:42] vacation colony they are now. It was a quite quite
[00:10:45] anguishing penal colony. He says somewhere that he had to,
[00:10:49] that is, forced labor, he had to carry sacks of
[00:10:53] salt, you can imagine how
[00:10:57] heavy it is, and then any wound gets
[00:11:01] the sap in it, it must be something something awful,
[00:11:04] a torture. I remember one occasion that particularly
[00:11:07] impressed in
[00:11:10] which he said that the group of
[00:11:14] prisoners was on the Marías Islands, and well,
[00:11:18] with the gorilla of the moment, right, giving the
[00:11:21] instructions, and I don't know what happened there.
[00:11:25] There was a dog there that was barking
[00:11:28] and the guy decided to hang it in front of all the
[00:11:31] prisoners, and when my father told this
[00:11:35] story, suddenly,
[00:11:39] he would finish telling it and he would
[00:11:43] fall into a state of total dejection,
[00:11:46] as if suddenly all that
[00:11:50] pain, all that
[00:11:53] monstrosity of the hanging of the dog
[00:11:57] fell on him. There is a process of
[00:11:59] structural and thematic condensation in
[00:12:03] Revueltas that is very important, even the theme that
[00:12:07] everything is
[00:12:07] prison.
[00:12:13] No one can resist the influence and the need is felt to
[00:12:17] go towards the sea, from the beach as if to an old
[00:12:21] god, not to hear words or
[00:12:25] rumors, but to hear nothing and remain in the
[00:12:28] darkness, where sky and water are divined
[00:12:31] and all memories are
[00:12:34] also divined, absent
[00:12:37] love, fruitless life,
[00:12:40] useless longings
[00:12:43] and inglorious
[00:12:45] efforts.
[00:12:52] It was a Saturday afternoon at the weekly Communist
[00:12:56] Party dance, where Olivia and José met forever. The
[00:13:00] fruit would be three children.
[00:13:03] A man who thought,
[00:13:07] lived, wrote, acted,
[00:13:10] loved, at the same time and simultaneously from the same
[00:13:13] axis, from the same center, from the same self. He was
[00:13:17] warm, he was affectionate, he
[00:13:20] was not harsh,
[00:13:24] no, he had a very fraternal
[00:13:27] attitude, and one day my aunt Consuelo
[00:13:31] and my uncle
[00:13:33] José were there, "Hey, these guys speak German, why don't we speak
[00:13:37] Tepehuano, if it's our language?" "Well, yeah,
[00:13:41] right?"
[00:13:43] They invent Tepehuano and it was all laughter and everything, "If
[00:13:47] you are speaking Tepehuano, which is our language, you speak German,
[00:13:50] we speak Tepehuano." My mother
[00:13:54] told me about the embarrassing
[00:13:57] episodes she experienced with him, no. My father,
[00:14:01] suddenly, the revolutionary notices that next to
[00:14:04] him is Don Pedro
[00:14:08] Corcuera, and my mother tells me that he says:
[00:14:11] "Ah, so here we have
[00:14:14] Don Pedro Corcuera, right?" And my
[00:14:18] mother says, "Well, let's see if he really has blue
[00:14:20] blood." And my father lunges and bites
[00:14:24] his ear.
[00:14:29] The love that exists
[00:14:32] between José, Silvestre and
[00:14:35] Fermín is something
[00:14:39] completely
[00:14:42] they knew each other, they knew who each
[00:14:45] one was, so they
[00:14:49] loved each other deeply.
[00:14:51] Silvestre is even in some of the stories, in some of José's
[00:14:57] stories, as a paternal
[00:15:00] figure.
[00:15:03] He was 15 years older, my father was orphaned very early
[00:15:06] on, and
[00:15:09] he had a fraternal love for him, but
[00:15:13] a very great one. Silvestre is even in some of the
[00:15:16] stories, in some of José's stories,
[00:15:20] as that character who
[00:15:22] tries to reveal a music. that tries to reveal
[00:15:26] a secret language, no, that secret
[00:15:28] language that is the belonging of
[00:15:32] every great artist and they vindicated that
[00:15:35] kind of... popular
[00:15:39] nature well, they were
[00:15:42] naturally communist anti-bourgeois
[00:15:46] fighters. There is a letter that his brother
[00:15:49] Silvestre wrote, and in this letter his brother makes
[00:15:53] declarations completely, that is, when one writes to a brother,
[00:15:56] one speaks in a completely frank manner, that is, one cannot think that it is
[00:16:00] a way to say things and everything, that is, he says no,
[00:16:03] I am, I see reality and that reality I will
[00:16:07] transmit. In 1935,
[00:16:11] an amnesty from President Cárdenas freed Revueltas from his
[00:16:15] confinement in the Marías Islands. He immediately left for
[00:16:19] Moscow, to the Congress of the Communist
[00:16:21] International. Deeply impressed by the light
[00:16:25] that Soviet youth radiated to the world, José
[00:16:29] received the news of the death of Fermín, his painter brother,
[00:16:32] at 33 years old. It would not be long before
[00:16:36] Silvestre, the talented musician,
[00:16:39] also followed a similar fateful
[00:16:41] destiny. When José
[00:16:45] Revueltas arrives at Silvestre's deathbed, his brother's, and when
[00:16:49] he sees him agonizing, he says that José's reaction is one of
[00:16:53] desperation, and he goes crazy, he starts breaking everything,
[00:16:56] he starts breaking everything, rebelling against that
[00:16:59] fatal destiny against his brother, and he screams "why
[00:17:03] him, why him?", and he breaks everything around him.
[00:18:01] typewriter while going to give her
[00:18:04] classes and... my
[00:18:08] father, when my mother brought it to him and said: "Look,
[00:18:11] José, your typewriter!"
[00:18:14] Ugh, he sat down and started writing "Human Mourning".
[00:18:18] In "Human Mourning," José
[00:18:22] Revueltas first conducts a literary
[00:18:25] experiment that had almost not been done in Mexico,
[00:18:28] with narrative voices, with time
[00:18:32] and with space, the use of language, my God, no,
[00:18:35] this use of, for example, biblical texts, pre-Hispanic
[00:18:39] issues that he does not use as a believer, of course,
[00:18:43] nor, but he uses them with an adjective
[00:18:46] purpose, I would say, they give intensity to the text. It is taken
[00:18:49] for granted that we all come from the Mexican Revolution, that we are
[00:18:53] children of that social movement, but at the same
[00:18:56] time that revolution has already given everything it could
[00:18:59] give and that what lies ahead is a new
[00:19:03] revolution of another type. That
[00:19:06] novel. I would still add a third element, it is the
[00:19:10] indispensable antecedent for Rulfo's
[00:19:13] "Pedro Páramo" to be written. Well, to finish, "Human Mourning"
[00:19:16] wins the prize, the prize, what at that time was the
[00:19:20] prize, the equivalent of the national literature prize, so
[00:19:23] Revueltas, a very famous writer, begins to
[00:19:27] work in cinema, he begins to make
[00:19:31] reports, there is a beautiful one about Paricutin.
[00:19:34] Revueltas gathers perhaps one of the most
[00:19:38] intense and most
[00:19:41] critical and most reflective prose, not
[00:19:44] only as a narrator, but also as a theoretician, as a theoretician of
[00:19:48] literature, as a political theoretician and even
[00:19:51] as a historical essayist. I
[00:19:57] "In the Palm of Your Hand," for example, with Arturo
[00:20:01] de Córdoba, directed by Gavaldón, which is a
[00:20:05] critique of the bourgeois class. Ordinary,
[00:20:08] I remember "The Kneeling Goddess" with María
[00:20:12] Félix, who is splendid, also by
[00:20:15] Gavaldón. I remember "Rosauro
[00:20:18] Castro" with Pedro Armendáriz, it's another magnificent film, in short,
[00:20:22] Pepe worked a lot in Mexican cinema, in the golden
[00:20:26] age of Mexican cinema, Pepe covers
[00:20:29] it and he covers it as an official of the union of cinematographic
[00:20:33] industry workers where he tries to
[00:20:38] implement a democratic model for the union, which he did not
[00:20:41] achieve, but it was ultimately a
[00:20:45] great impulse to Mexican creators, to
[00:20:49] Julio Bracho, all of them. Pepe had a great
[00:20:52] influence on this model
[00:20:55] with Gabriel Figueroa, with all of them, no, with Juan de la Cabada
[00:20:59] as a unionist, no, with Buñuel too, in short,
[00:21:03] Pepe also covers that space in the
[00:21:06] construction of Mexican
[00:21:08] cinema.
[00:21:12] We continue,
[00:21:19] a woman. High society will see how her
[00:21:22] world of appearances crumbles before the revelation of a
[00:21:25] terrible truth. We all carry within us a divine spark of
[00:21:29] service. I bring you to present your grandson, a son of
[00:21:33] Ernesto, what a shame, madam, I come this morning to thank
[00:21:37] you. Let's see, for how much did they come?
[00:21:40] Cinema 14 presents "The Cultured
[00:21:43] Lady", Sunday 12:10
[00:21:46] hours.
[00:21:51] This Monday at 12:30 p.m. on "How do I do it?",
[00:21:54] let's learn everything necessary to handle any emergency
[00:21:58] with first aid. First aid procedures are
[00:22:01] therapeutic procedures that we can apply to victims of
[00:22:05] accident or sudden illness, they are intended
[00:22:08] to preserve the patient's life, not to improve
[00:22:11] their state of health,
[00:22:15] medical techniques on channel
[00:22:18] 14.
[00:23:01] first critics of communism that we have in Mexico,
[00:23:05] then Octavio Paz claims that primacy
[00:23:08] or that first place, but I am not so sure
[00:23:12] that that is true, because already in
[00:23:16] 1949 in his novel "Los días terrenales"
[00:23:20] we find an argument articulated
[00:23:23] criticizing the dogmatic deviations of the Mexican
[00:23:27] Communist Party, that is, Revueltas becomes a critical
[00:23:31] communist, which earned him the wrath of all his
[00:23:34] comrades, some in good faith and many in very bad
[00:23:37] faith. What Gregorio, the hero of
[00:23:41] this novel, says towards the end, when he tells
[00:23:44] Fidel that the revolution does not seek to make
[00:23:47] men happy, the revolution
[00:23:50] is about taking away hope from human beings, and all the
[00:23:54] dogmatic communists
[00:23:56] fall upon him.
[00:24:00] So it's something, it's something terrifying for him, it was a very great suffering,
[00:24:04] no. However, he does not give up, they
[00:24:07] accused him of being a traitor, a
[00:24:11] bourgeois, a seller, "You are no longer
[00:24:14] part of the Revueltas family." Eruda, his
[00:24:17] friend, tells him, "You are
[00:24:20] betraying the inheritance of Silvestre, the
[00:24:24] impeccable." And all that must have hurt my
[00:24:27] uncle. Let's see, I'm going to say something that in a certain way is a heresy,
[00:24:31] but of course his comrades were right when they told him: "Hey, don't write those
[00:24:35] things, no." You had to write
[00:24:38] typical socialist realist novels with the booming working
[00:24:42] class and the damned bourgeoisie and the damned
[00:24:47] Revueltas's work. Yes, I think it is a profoundly
[00:24:51] subversive work, profoundly
[00:24:54] denunciatory, but it denounces
[00:24:57] human life. So Revueltas finds
[00:25:00] himself completely alone, there he cannot
[00:25:04] resist, so he says, "Well, as a tactic, I'd better withdraw
[00:25:08] my novel to continue
[00:25:11] campaigning in the left, to
[00:25:15] remain in the left, because I cannot meet with the fascists,
[00:25:18] it is completely unthinkable, and
[00:25:22] I am going to try to analyze this problem," and that's what he does, he
[00:25:25] dedicated himself for 7 years to studying
[00:25:29] all the criticisms that had been made to him and he fully immersed himself in
[00:25:32] ethics, in aesthetics, in
[00:25:34] philosophy, and from there emerged his book "Cuestionamientos
[00:25:38] e intenciones," which is a whole series of studies where he
[00:25:42] studied like a scolded child because he had done his homework
[00:25:46] wrong and he discovers within his curiosity to know why
[00:25:50] it was wrong, it was at the same time full of
[00:25:53] sensational
[00:25:55] humor.
[00:25:58] To a man who, as Campa used to say,
[00:26:02] was anguished to infinity, there is that
[00:26:05] other dramatic part of his life, which
[00:26:08] is the burden of alcoholism,
[00:26:11] that same, that same terrible
[00:26:14] presence that is in his brothers, both in
[00:26:18] Silvestre and in Fermín, and
[00:26:21] which for me is nothing more than a release
[00:26:24] from this saturation of
[00:26:27] terrible events and from that luminous consciousness that
[00:26:31] they have, of the social, of the
[00:26:35] political. He probably drank to suffer because
[00:26:38] it went against his own work, against his own
[00:26:42] ability to make himself understood, to make himself
[00:26:45] known. He drank because he carried a
[00:26:48] world, his greatest saint was Saint
[00:26:52] Christopher, that saint who carries the world and the
[00:26:55] child and a staff and crosses a river, not knowing
[00:26:59] if he will be able to cross or not. The...
[00:27:32] rural environment where he moved both to give it a voice,
[00:27:36] but also to record it. I was
[00:27:39] a witness to how my father wrote, in the
[00:27:43] most absolute
[00:27:46] the most profound
[00:27:48] meticulousness, in the most conscious
[00:27:51] meticulousness, and he also had periods where I
[00:27:55] remember he would lock himself in his studio and not leave for a
[00:27:58] week, writing morning, noon, and night. He
[00:28:02] is truly a born writer, that is, it came to him. He could
[00:28:06] write day and night in an
[00:28:09] incredible way, no. His first wife, Olivia
[00:28:12] Peralta, says he would leave him at his desk writing as if
[00:28:16] hypnotized, she would leave him his coffee, his milk,
[00:28:20] his... he could write 48 hours without
[00:28:24] stopping, entering a very severe,
[00:28:27] extremely conscious
[00:28:29] state.
[00:28:32] And it was, I think it was
[00:28:36] truly him.
[00:28:40] On one occasion I approached him and when he saw me, it was as if I
[00:28:44] were a complete stranger, no. He resigned himself to
[00:28:48] a world where there were betrayals and
[00:28:52] a world also
[00:28:55] the Mexican left had
[00:28:58] gone to the other side and
[00:29:01] another part continued
[00:29:04] to be dogmatic, which my father, in that condition that I
[00:29:08] perceive in him, of an essentially rebellious
[00:29:10] man, a dogmatism that resulted for him each
[00:29:14] increasingly unacceptable, and José Rivueltas
[00:29:18] was so at the forefront of the demands he
[00:29:22] represented, that even the communist party
[00:29:25] at the time did not resist its own
[00:29:29] arguments and had to separate.
[00:29:33] but he kept going, he was still a fighter and he kept
[00:29:37] looking for his space
[00:29:40] and that's why he created the Spartacus
[00:29:44] Leninist Marxist League, a new generation
[00:29:46] appears and that's going to give him
[00:29:50] fresh air, there are movements like that in revolts
[00:29:53] which is very rare as a personality
[00:29:56] because if he fights with his
[00:29:58] generation they stay like that, either in the party.
[00:30:02] They were Stalinists or they went to the PRI, they
[00:30:06] became bureaucrats and all and he continues
[00:30:09] his struggle so he finds himself completely alone, but a new
[00:30:13] generation comes, young people who support him, he
[00:30:16] thought that criticism had been cloistered
[00:30:19] in the parties specifically in the
[00:30:23] communist party, first in the peasant workers' party
[00:30:26] later and that cloistered criticism
[00:30:30] was liberated when we formed the Spartacus Leninist League,
[00:30:34] which he characterized
[00:30:39] the liberation of criticism. It wasn't long
[00:30:42] before Revueltas once again encountered a void at the
[00:30:46] forefront, needing to escape once more from the
[00:30:49] petrified condition that was created with the generation of a
[00:30:53] doctrine. They don't agree on
[00:30:56] some ideological matter and well.