The narrative from a Mexican writer centers on the history of his homeland within one of the country’s most dangerous states, recording the disappearances and violence that have shaped the region. The book offers a truth-telling account of events as they unfolded, presenting a story that history has not fully captured. The volume will be showcased this Tuesday at 19:30 in Palma, at the Drac Màgic bookstore on Carrer de Jeroni Antich, 1, during a performance by Josep Maria Nadal Suau.

QUESTION: You are described as one of the most original writers on the South American scene. Did you have this wonderful imagination as a child?

RESPONSE: Writing has been a steady thread in life, tied to survival and daily routines. There is a sense that storytelling sparked early, but the real ignition came during adolescence, around ages 13 to 14. When the writer was 16, a key moment arrived that sharpened storytelling ability, supported by mentors who guided the craft.

Q: Who were those mentors?

R: A local reading club, led by a city essayist and historian, played a crucial role in shaping the writer’s voice. The school system did not always foster a love of reading, but the early guidance came from that reading circle, followed by formative instruction from Hermes Mendoza and two other Mexican writers who left a lasting impact.

Q: Did the literary path emerge from meeting these mentors?

A: In part, yes. Family encouragement sparked an initial interest in reading, while the guidance from these teachers significantly refined the writing craft.

Q: This Tuesday you present “The Book of Our Absence” at the Drac Màgic bookstore. Is it the first time visiting the island?

A: It is not the first visit. The writer previously came in 2014 to present a debut novel, and this return focuses on a second work produced for Candaya Publishing.

Q: What will readers experience during the event?

A: The aim is to discuss a work that centers on disappearances in northern Mexico, touching on organized crime, drug trafficking, and the violence connected to those phenomena. More importantly, the narrative traces the search for hidden tombs strewn across mountain landscapes, revealing a process of uncovering what has long remained concealed.

Q: The author notes that everything in the book is true in a sense, though not all events happened exactly as described. How is that interpreted?

A: The opening verses hint at overlap and ambiguity. The text strives for truth in the sense of lived reality, yet acknowledges that many elements are shaped by chance and interpretation. The majority of characters are real individuals, portrayed through a blend of factual research and narrative imagination, with references to historical figures woven in.

Q: Did the writer delve deeply into personal risk or confront dangerous realities to craft the book?

A: The writing process mirrors everyday exposure to crime and violence. While direct involvement is not required, the situation is close enough to demand careful documentation. The researcher consulted journalists and reviewed their work, forming the primary basis for the disappearances explored in the book.

Q: Was it necessary to speak with the families of victims to understand the loss?

A: The writer chose not to address the audience of survivors directly because their safety can be compromised. Instead, conversations were drawn from existing relationships and prior discussions, supplemented by investigative reporting and journalistic work conducted by trusted colleagues. This approach provided access to sensitive material without exposing those individuals to additional risk.

Q: Has the work spurred broader searches or inquiries since its inception?

A: The project has evolved through a long-running process that began in 2012 within Mexico. The book has circulated more widely only recently, with initial releases occurring in Spain before broader distribution.

Q: How does the book’s structure influence its storytelling?

A: The book centers on performance and staging as its backbone, not as mere dramatic dialogue. The intentional arrangement of prose—fragmented, varied in rhythm, and emotionally charged—serves to convey the weight of the subject. The language intentionally breaks and bends to reflect the harsh, unsettled reality described within, becoming a primary instrument of expression.

Q: Do you think this method helps readers understand the stories more clearly?

A: It may not be a straightforward path, but it effectively channels emotion and intention, pulling the reader into the moment and making the experience feel immediate and alive.

Q: Why include Julia Pastrana and José de Gálvez as well-known figures in the work?

A: Pastrana’s inclusion relates to theater and a pair of historic studies that shaped the author’s early impressions. Symbolically, the figure of the missing, and the struggle to recover a wounded body, resonates with the broader theme of absence that threads through the narrative.

Q: Are there more projects on the horizon?

A: Yes. The writer is preparing a new book, a long-term project, and though it is still in development, ideas are already forming for what comes next.