Encontrando Voz en Tierras Extranjeras - La Transformación de un Escritor Migrante - Luis Alejandro Ordóñez : 160

El momento en que Luis Alejandro Ordóñez llegó a Chicago marcó un giro decisivo en su vida creativa. Aunque había escrito durante sus años en Venezuela, fue este cambio geográfico el que transformó la escritura de una actividad secundaria a su identidad principal. Como politólogo que trabajaba en Venezuela y enseñaba a nivel universitario, la migración lo obligó a replantearse su identidad profesional y a adentrarse más en los círculos literarios, comenzando con un evento literario en español durante su primer mes en Chicago. “Fue aquí donde eso se convirtió en lo principal”, explica, capturando un cambio profundo que muchos inmigrantes creativos viven, pero que pocos articulan con tanta claridad.

Luis Alejandro es un escritor venezolano que vive en Estados Unidos desde 2008. Es autor de las novelas Aquí no encontrarás a Weeping Sally, Si me muero, abre estos archivos, El último New York Times y del libro de relatos Play. También ha editado las antologías Los mecanismos del instante y Con la urgencia del instante. Entre 2021 y 2022 fue mentor en el Writers Mentorship Program de LatinX in Publishing. Estudió Estudios Políticos en la Universidad Central de Venezuela.

Lo que distingue el proceso de Lusi Alejandro es su practicidad — siempre lleva una libreta para anotar ideas, separando la inspiración de la ejecución. Sus novelas nacen de momentos inesperados: una referencia a Saramago inspiró The Last New York Times, mientras que el clima cambiante de Chicago dio origen a You Won’t Find Weeping Sally.

“Sé más intuitivo y menos lógico”, aconseja — una sabiduría que resuena tanto en los creativos como en los inmigrantes que aprenden a confiar en sus instintos en territorios desconocidos.

La oficina de Luis Alejandro Ordóñez: www.laoficinadeluis.com

Chapters

• 5:45 Moving to Chicago and Literary Beginnings
• 10:30 From Venezuela to Miami: Career Evolution
• 13:20 Writing Process and Creative Routine
• 17:40 Character Creation and Inspirations
• 26:12 Childhood Influences and Future Projects

Transcript

Daniela SM: 0:01

Hola, soy Daniela. Bienvenidos a mi podcast. Porque todos tenemos una historia que contar. Este es el espacio donde las historias de las personas encuentran un lugar para ser conectadas, compartidas y recordadas, porque nuestras historias son el lenguaje que nos conecta, así que comparte, conecta y disfruta. Porque sí, todos tenemos una historia que contar. Hoy tengo el gusto de conversar con Luis Alejandro Ordóñez, un escritor y politólogo venezolano con una historia fascinante de migración, identidad y creatividad. Lo más bonito de este encuentro es que Luis Alejandro fue mi vecino en Caracas, el cafetal en Venezuela, y, después de 34 años de haber dejado Venezuela, me encontré con un libro de él. Su estilo de escritura me fascinó. No podía dejar el libro Y por eso quería que estuviera en el podcast para que nos contara su historia, compartir nuestras vivencias y descubrir cómo su voz y su inspiración han evolucionado en tierras extranjeras. Vamos a disfrutar su historia. Bienvenido, luis Alejandro Ordóñez, al show de Porque Todos Tenemos Una Historia Que Contar.

Luis Alejandro Ordóñez: 1:17

Gracias, gracias por la oportunidad, gracias por dejarme participar, un placer realmente.

Daniela SM: 1:21

Sí, estoy muy contenta de que estés aquí. Of course, how do we know each other? We were neighbors, but you're much younger than me so you didn't pay much attention to us. But you're a friend of my best friend, Carlos Alfredo Guzmán. I saw him a few months ago and he showed me a book that is written by you, so I took it off, I've been reading it and, well, I decided that it would be great por ti se lo quité. Lo he estado leyendo y, bueno, decidí que sería buenísimo que estuvieras aquí con nosotros para que nos contaras tu historia y cómo llegaste a ser el escritor que eres ahora.

Luis Alejandro Ordóñez: 1:51

Gracias, gracias, sí, excelente, Me encanta la oportunidad. Y qué bueno que primero que hayas hecho de nuevo contacto, porque había sido muchos años, sí, sin saber nada uno del otro. Y Carlos siempre es bueno, él es el amigo de todos, ¿no? Entonces él mantiene a todo el mundo en contacto de alguna u otra manera. Entonces, bueno, es un lujo contar con él porque, de verdad, gracias a él, el libro está en Alemania, Gracias a él este contacto siempre es como un lujo tenerlo de tu lado.

Daniela SM: 2:21

Sí, buenísimo de que seas el escritor que eres ahora. Quiero que cuentes cómo empieza tu historia. Yes, great that you are the writer you are now. I want you to tell us how your story begins.

Luis Alejandro Ordóñez: 2:27

I thought a lot about that question, because from where to really start? And I think that I like to say that the writer I am now begins with my move to the United States, precisely because, at the time I moved to the United States, I had to make decisions. And one Precisamente porque en el momento en que me mudó a Estados Unidos, tengo que tomar decisiones, y una de las decisiones fue hacer contacto con la comunidad literaria en español de Chicago. Eso fue lo que reseteó el camino hasta hoy. Cuando yo llegué a Chicago, agosto 2008,. En septiembre 2008, estaban entregando un premio literario de una revista, la revista Contratiempo premios for a story, a story written in Spanish.

Luis Alejandro Ordóñez: 3:07

Well, I went to the award ceremony. Luckily, they had a whole award ceremony event. There are other awards that are simply administrative right. You find out by email that you won or that you lost it, and there is nothing else. This had an award ceremony, so I could attend, and there I met a number of people who are still part of my network of friends in the United States, and there began a path of reinvention, yes, of reinterpretation of what I was doing, but also a new path, because being a writer or being in the cultural community, in Spain, in the United States. That puts you in contact with a series of issues, problems, claims that were not present when one was in Venezuela. And I also like to mark that path because, although I have written all my life, all my life I have worked in my writing. It was always like an activity, like who says annex, it was other thing that I did was here, where that became the main thing tell me, because I chose chicago chicago.

Luis Alejandro Ordóñez: 4:11

well, it was a mutual decision with my wife, because my sister lives in chicago, in the outskirts of chicago, in naperville, then I knew the city. When you have a opportunity to do a postgraduate degree, it has three positive answers and they were precisely San Francisco, new York and Chicago. It was an important decision to choose because there were three extremes, to say it like that no coast to the west, coast to the east, midwest and in reality, there was no way to decide between the programs as interesting as the Chicago one.

Luis Alejandro Ordóñez: 4:42

To be able to make the decision, we resorted to the personal. No había forma de decidir entre los programas tan interesantes como el de Chicago. Para poder tomar la decisión Recurrimos a lo personal, la presencia de familia cercana en una ciudad que yo, en mi caso, conocía más que cualquiera de las otras dos. De hecho, en Nueva York, solo vacaciones. San Francisco no la conozco, Y esa decisión fue lo que me permitió también hacer una investigación de qué iba a hacer yo, me iba a ensartar yo en esa decisión que me permitió, which also allowed me to do an investigation of what I was going to do. I was going to get stuck in that decision that allowed me to quickly and I knew more than other cities to get to the centers that interested me.

Daniela SM: 5:14

And what did you do before leaving? What is the story, a little bit, of when you were living in Venezuela?

Luis Alejandro Ordóñez: 5:18

I am a political scientist. I graduated in political studies from the Central University of Venezuela and at that time I worked in political studies from the Central University of Venezuela and at that time I worked in political communication. I worked in the mayor's office in a department called Strategic Analysis. It was a department of advisory on issues of opinion, of public opinion, at the office of the mayor and I also taught classes at the Catholic University Andrés Bello in political communication, at the School of Social Communication. I taught political communication Very good en la Universidad Católica Andrés Bello de Comunicación Política, en la Escuela de Comunicación Social de Aba Comunicación Política Muy bien.

Daniela SM: 5:48

La otra cosa que también he escuchado, bueno, carlos, dice que tú eres un hombre sumamente inteligente ¡Ah, caramba, gracias, gracias, gracias. No bueno Sí eso no es fácil. No es fácil que uno tiene, que sabes, una responsabilidad muy grande.

Luis Alejandro Ordóñez: 6:06

Sí, sí, sí, Bueno, pero la inteligencia no es muy práctica. La verdad que no soy un tipo así muy práctico. Entonces, ¿cómo es eso? Los problemas de la vida cotidiana, suelo no resolverlos demasiado bien, sino más bien problematizarlos muy bien, no resolverlos. La inteligencia a veces tiene sus contrapartes, el lado filosófico, a Exactly the side of the project of well, if it works, we continue. Venezuela was already offering few opportunities for growth and, yes, it worked. Here we continue.

Daniela SM: 6:53

Yes, so they decided to stay. They stayed in Chicago or they moved to another place.

Luis Alejandro Ordóñez: 6:57

At the age of 8 or 9 years of living in Chicago, we moved to Miami, and I continue here.

Daniela SM: 7:02

Is this because of the climate, or what?

Luis Alejandro Ordóñez: 7:05

Well, yes, because of the climate. The truth is that Chicago is a very beautiful city with many things, but it's a city of four or six months. The other months of cold are difficult to manage. Miami also offers more opportunities for professional growth. In literary terms. Miami in Spanish is also very active, very attractive. Miami in Spanish is also very active, very attractive, and an element that it does not have perhaps in Chicago is that it is much more connected with the rest of Latin America.

Luis Alejandro Ordóñez: 7:36

In Chicago, the city itself is a city that presumes a lot of being self-sufficient. Chicago is Chicago and that permeates into all the things in the city, including the cultural movement in Spanish. We triumphed in Chicago and then, well, the world knows us and that's very interesting, that's very important. That gives a vitality to that movement that is difficult to find and a singularity too. But in Miami, miami is very close to Latin America. So there are many people thinking about what happens in the rest of Latin America, what happens in Spain, much more than what is thought in Chicago. So in that sense it is another very important, very interesting, but completely new, different for one two different movements, two different postures due to the shape of the city and the way the city is conceived, I think, very interesting.

Luis Alejandro Ordóñez: 8:46

Thank you for and in fact, I had semi-published because I worked for magazines or did some things, participated in some events. I published a novel on my own, but it was always like an additional adventure. Yes, I always wrote, I always participated in workshops. In fact, all my training as a writer is in Venezuela. But here, as I say, my perspective changed a bit too. Here I write and do other things, which is also, again, a change of perspective. Everything perspectives are important it changes the point of view. Yes, you have to change the points of view because things change.

Daniela SM: 9:29

I think I understood that you decided that you were going to be a writer and dedicate yourself more to that. How did you feel? Because, of course, being a writer is not the same as having a job that you know from 9 to 5, that they give you a salary. So what are you know? Do you have fears?

Luis Alejandro Ordóñez: 9:45

¿Cuáles son sabes? Tienes los miedos o… Claro, claro, no. Ese la gorra de la migración te amplía también la disposición, ¿no, a hacer cualquier tipo de cosa. Yo sí sentía que, del lado de mi profesión, remontar el tema de la formación era mucho, porque, al final, estudiar el sistema político es estudiar a un país. ¿no, it was a lot, because, in the end, studying the political system is studying a country, right? So being a political scientist is one of the professions perhaps more geolocalized than one can have, right?

Luis Alejandro Ordóñez: 10:18

Once you leave your country, your references change so much that, well, it wasn't much of my interest to go there. So much so that, well, it wasn't much of my interest to go out there. But also, but also, that the decision is also a fan, and today I explain it. I explain it like that it seems direct. Right, it was one of so many things that I had in mind. I don't remember any other, but that was one of the options and that worked. Well, I got there and I got into a cultural world that interested me, that I liked, that received me with open arms, that made me part of it immediately.

Luis Alejandro Ordóñez: 10:53

So, well, the results were there. But, yes, it was one of several options, right, because well, that's another one that I have repeated on some occasions. They tell you that you don't have to make two rabbits at the same time, because one burns. En algunas ocasiones te dicen que no, hay que hacer dos conejos a la vez porque se quema uno. No, bueno, cuando migras, hay que hacerlo dos, hay que hacer cuatro o cinco conejos a la vez, a ver cuál, cuál queda bien.

Daniela SM: 11:15

Sí, ya veo. Bueno, hablemos de tus libros. ¿cuántos llevas ya?

Luis Alejandro Ordóñez: 11:18

El tema es difícil porque cuatro libros míos y dos antologías que también considero mías. Pero bueno, antologías siempre hay algo de título prestado, ¿no? Porque es el trabajo de otros. Entonces, bueno, cuatro libros, uno de relatos y tres novelas, y estas dos antologías, que son de micro relatos ¿Cuál fue el primero?

Daniela SM: 11:40

¿Cómo te sentiste cuando terminaste?

Luis Alejandro Ordóñez: 11:58

El primero se llama Play y es un libro de and editor, who was the first person I approached at that event after it ended, and I approached him. That relationship still remains.

Luis Alejandro Ordóñez: 12:06

In fact, I have published four books with him and that first book is a book with more Venezuelan stories than American Because, except for the first story, the others probably were gestated in Venezuela. But that's the first book I published here. Of stories I still come back to one or another way with tension, and I have always been filled with a lot of satisfaction those stories that are also written with an intention to see, in the sense that I wanted my stories to be like personal crises of people who did not know what was happening around them or how to react, and they wanted it to be written with that feeling. Many times people tell me that they did not give me a breath. Well, I wanted it to be written with that feeling. Many times people tell me uy, you didn't give me a breath. Well, it's that I wanted the character to not have a breath, like who says, overpassed by the situation.

Daniela SM: 12:55

Are your books translated into English as well, or only in Spanish?

Luis Alejandro Ordóñez: 12:58

Only one is translated into English, which is the last New York Times, which was translated as the Last New York Times. It was translated by José Ángel Naveja, un editor mexicano-estadounidense. Que bueno, yo le mostré el libro con la idea de si le gustaría participar en el proyecto de traducirlo, y realmente le gustó. Y publicada en español y en ediciones por dos editoriales distintas.

Daniela SM: 13:22

Ok, entonces tenemos.

Luis Alejandro Ordóñez: 13:23

Play el último New York Times. Si me muero, abre estos archivos, que fue el que leíste y el más reciente aquí.

Daniela SM: 13:30

No encontrarás a Weeping Sally ¿Cuál es tu rutina de escritura?

Luis Alejandro Ordóñez: 13:33

Mi rutina de escritura es escribir cuando se pueda, donde se pueda¿. Así Como sea, sí, porque la verdad que, al final, todos queremos ser Paul Auster, ¿no Que le preguntaban a Paul Auster? Right that they asked Paul Auster, what is your writing routine? Well, I went to the office and worked from 8 to 12,. I went to lunch, I returned to the office and worked from 2 to 6, and such.

Daniela SM: 13:56

And you say well, wow tremendous.

Luis Alejandro Ordóñez: 13:58

Thank you, most writers, fantastic. Meanwhile you are stealing time from other things, so my schedule changes so much according to the work I have that I cannot have a writing routine, because the routine is marked by things that I cannot vary. I can vary the writing. I can write at night, in the morning or at noon. So when it is available, it is also available to do things like always having something at hand the notebook. I prefer to have a notebook at hand to be able to write.

Daniela SM: 14:32

For example, my husband wants to paint. No, I'm not inspired, no, it's not the time, no, no, I mean he always has an excuse. So I always say well, but if one doesn't sit down and it's kind of forced, then it never comes out.

Luis Alejandro Ordóñez: 14:46

If one waits for inspiration, that can be eternal. I don't know who said it the first time, but inspiration has to grab you. Working, I always separate two processes the process of generating ideas and the process of elaboration. For me they are two different things. But besides, the two things are creative because when you are sitting writing, things arise that would not have arisen except by writing.

Luis Alejandro Ordóñez: 15:09

The process of writing is in itself. Obviously, when one says it it seems obvious, but it is not. It is creative too because there are things that arise in writing that were not foreseen, or that you had not thought about, or that you had not thought about it and you went there. That kind of thing happens, but that's when you've already generated the idea, when you already have the project. Sitting down to write without a project, without an idea, has never happened to me. That is to face the blank page. Well, the blank page is blank because you haven't started.

Luis Alejandro Ordóñez: 15:45

But when I sit down, I already have something I want to do. Right, what I want to say? What is an idea that I want to explore? Does it work or not? That's another topic. That's the process. So the idea, the idea, has to be attractive enough. You have to like it so much, it has to seem interesting enough for you to go to sit down to write it, and that's where I think there shouldn't be an excuse, right, tiene que parecer lo suficientemente interesante como para que vayas a sentarte a escribirla.

Luis Alejandro Ordóñez: 16:13

Y ahí es donde creo yo que no debe haber la excusa, ¿no, Tu idea tiene que ser tan atractiva para ti como para querer hacerla. Y si ya la quieres hacer, bueno, siéntate a hacerla, pues hazla. No funciona, o la cambiaste o you abandoned it. That's another thing. But that the moment you have to be producing ideas that provoke you to carry it out, it's very interesting how you do it to get your characters.

Luis Alejandro Ordóñez: 16:41

Well, yes, ideas arise in many ways. The last New York Times came from reading the Year of the Death of Ricardo Reis by José Saramago. José Saramago tells an anecdote in his book. José Saramago, the Portuguese writer, writes the Year of the Death of Ricardo Reis, a novel, and in that novel he tells the anecdote of the New York Times that John D Rockefeller receives. I read this anecdote and I look for it. I want to find that New York Times, rockefeller, and that is the germ of the last New York Times, my novel. So there is clear that the inspiration, so to speak, as specific as that here you will not find Whipping Sally. The process is much more intricate because it was born from a project that a friend of mine proposes to me.

Luis Alejandro Ordóñez: 17:41

Rafael Franco Crips to write a story for an anthology that he was preparing for him. The theme is the lost writers of Chicago. That is such a specific topic that, unless they propose it to you, it is not that. Ah, look, here I have three stories about lost writers of Chicago. Específico que a menos de que te lo propongan. No es que a mira. Aquí tengo tres cuentos sobre escritores perdido chicago. Me interesa el tema, me encanta y me senté a producir la idea. No sabía cómo la iba a hacer, como venía y cosas que tenía en la cabeza. Bueno, chicago, para mí, hay dos cosas de chicago que siempre me han interesado, me han fascinado. Primero, el sí me votó.

Luis Alejandro Ordóñez: 18:06

El clima de la ciudad Es un clima muy traicionero, es un clima que tú estás en el día bonito, y de pronto viene una tormenta de la nada. El lago se transforma de una manera impresionante. Hay veces que es un plato azul, cristalino, y otros días es un lago tormentoso de unas olas terribles, de unas olas grandísimas. Eso siempre me ha gustado. And other days it's a tormented lake with terrible waves, with very big waves. I've always liked that.

Luis Alejandro Ordóñez: 18:30

Another thing that impressed me, perhaps because I'm Venezuelan, because I'm from Caracas, when I lived in Caracas it was the most dangerous city in the world, so you didn't do many things outside, you didn't take care of being outside in Caracas. You walked, looking back and forward and everywhere, and preferably you didn't walk In Chicago. During the summers, which are very short, there are many photography sessions in the streets, in the avenues, in the squares, of wedding photographs. The girlfriends with a courtesan, with the boyfriend or alone, take photos of the wedding in the squares, and well, and the summer lasts two weeks, so it's two weeks of photos of photos, photos sessions, sessions. You see girlfriends everywhere. That caught my attention a lot and with both things I built Weeping Sally, which is the widow's girlfriend of Lake Michigan.

Luis Alejandro Ordóñez: 19:26

The story of Weeping Sally is what the novel ends up being. Here you will not find Weeping Sally, lo que termina siendo la novela. Aquí no encontrarás a Whipping Sally. Juntar dos cosas de mi experiencia, pero es una experiencia visual. No, es algo que me sucedió. Yo veía las bodas y, bueno, el clima me impresionaba, ¿no? Y con eso construí esta Whipping Sally que, además, la novela siempre es otra cosa, porque está el factor del escritor perdido, que era la idea que tenía had to try to carry out, because the proposal was that so well, that was a puzzle that I built. That's how you build characters and ideas, a process that is not easy to predict by the results, that the results are very dissimilar. What produces the spark of the idea? You don't know when that spark is going to come. Why. Qué va a venir? Pero uno tiene que estar listo.

Daniela SM: 20:17

Me imagino que lees mucho, sí, sí. Entonces, cuando lees, ¿son cosas que te inspiran?

Luis Alejandro Ordóñez: 20:23

Bueno, generalmente es más por esa vía de último New York Times. Esta anécdota una pequeña parte, una mínima parte de la novela, a small part of the novel. Wow, this interests me right, and I go there also with movies. The movies usually interest me a lot. I have several movie stories, for example Truman's show. I liked it a lot. I wrote the show of Hannah Hill, a story that is a kind of sequel to Truman's show, about what happened to his wife after the show in Truman's show.

Daniela SM: 20:54

Because he left and he set himself free and such but the wife who did that instead of wife.

Luis Alejandro Ordóñez: 20:59

Well, she ran out of paper and she ran out of work and she ran out of life also. That was my reflection when such. Then I wrote a story about that. I also have a story called Back to the Past. After watching the trilogy of Back to the Future so many times, I still had the idea that, hey, but Marty, marty has. He was schizophrenic because he remembers something that didn't really happen. So well, back to the Past is a story of what happened to Marty the day after everything was supposedly solved. That I never thought everything was solved there, but that's something that always stays with me with movies about the trips to the past.

Luis Alejandro Ordóñez: 21:43

The trips always generate me. No, this was not solved, this is not there. And then that type of thing, yes, they inspire me because I'm a little. That kind of thing inspires me because I'm always active, reading actively and looking for things, looking for elements, looking for ideas. That's why I also like to see art, because it's something that puts me in another plane, in another sensory plane.

Luis Alejandro Ordóñez: 22:13

My process of generating ideas is never very visual, although I talk about cinema ideas. But it's the story, it's not the image, that is generating the ideas. But then that's why I like street art a lot graffiti, dista Bills, which makes murals, breaking the walls, which seems to me just thinking about that. Breaking the walls is like making the mural, it seems fantastic. So I'm always very aware of those things. Miami had a very interesting thing that I think has lost a bit, which was street art. There was a lot of street art in Wynwood, which today is well as always. Behind the hippies always come the yuppies and that's a terrible reality of life, of society. So well, that very artistic, very graffiti area would become a commercial corporate area that has some graffiti. It's not the same anymore, but I could see some of that when I moved. Graphic novels also generally tell me wow, why that? Because it's history with an image in a way that I don't usually recreate it. I'm looking for things too.

Daniela SM: 23:27

If we go to your childhood, you were very interested in reading. How did you get into?

Luis Alejandro Ordóñez: 23:34

political science. Political science, like some deviations, the constant has always been narrating, telling stories on paper, because I'm not a speaker, although.

Luis Alejandro Ordóñez: 23:43

I have 40 minutes talking and saying that you are not a speaker is like weird. But I am not a talker. I am the quiet type, telling stories always on paper. I liked it since I was little. There must still be some things written there since I was little and always reading, although they have always told me that I am very intelligent but very lazy studying. So I was never a really outstanding student unless I solved it. But never dedicated, never to study. I never dedicated myself except what interested me. I am always interested in deviations because I think that is where he finds things. For example, I had a knowledge of a very large geography that was due to football, to club football. I was very aware of's football, so I wanted to know the 1FC con, the Colonia, the club's football, where it was, where it was, the such and such Boca Juniors, why Boca Juniors? Where it is such and such kind of things. So that there was always like a feeling, a search, interest.

Daniela SM: 24:47

And you also collected baseball cards.

Luis Alejandro Ordóñez: 24:49

I still have them there. I don't buy many nuevas, pero todavía están ahí en la casa. Sí, las barajitas de béisbol.

Daniela SM: 24:58

Otra historia que me dijo Carlos era que hicieron un proyecto para ciencias con unas bacterias que tenían que poner en un sitio.

Luis Alejandro Ordóñez: 25:07

Bueno, sí, porque no era, como te digo, nunca muy visual, nunca en casa. Pero hicimos la visual. But we made the bacteria three-dimensional. We made a three-dimensional model. That evidently didn't look very nice, but making it two-dimensional making a drawing or plasticine crushed was very simple too. We were inept but ambitious, and that combination is always good. But it also breaks the heart a lot. The results don't go with ambition, they go with ineptitude. It was very frustrating because the only three-dimensional model of the salon was ours. It was the one that got the least marks.

Daniela SM: 25:48

How comical. I think I'm going to try to use that Inept but ambitious.

Luis Alejandro Ordóñez: 25:58

That's a good insult, really. But it's also one thing that, well, we're going forward. We don't know, but we're going to know it in the process. Let's see if we know it. That's a lot of what has always guided me. Well, let's discover it. That's important. In creative work Test, you have to force the limits, the personal limits and the limits of things, of ideas. Sometimes it doesn't work. Well, let's go for another one Next time it does work. If you met Luis Alejandro, younger than now, would you say?

Luis Alejandro Ordóñez: 26:32

something different now that you're a are. Yes, I don't think that way much, because, in the end, those winds are these storms. But perhaps I would have tried to tell him well, make the most concrete decisions, but the feeling that I was reaching the same point along a much longer path. How it would have been shorter. Maybe, when it comes to making certain decisions, logic asked me for one thing and the result was the other to be more intuitive, less logical.

Daniela SM: 27:05

That is very interesting More intuitive, less logical, and do you think you've reached that level?

Luis Alejandro Ordóñez: 27:11

I don't think so. The issue of rational decision is always imposed Sometimes. I think it's still a piece of advice that I could give myself today.

Daniela SM: 27:23

I'm more intuitive and more emotional. I've always criticized being so emotional, but in the end I'm learning that it's not bad either. No, no, of course, sometimes being very logical, like avoiding a little more, having having more satisfaction with life, or what do you think?

Luis Alejandro Ordóñez: 27:40

The matter of being very rational can mean leaving aside things that were important, because rationalization always goes for the matter of resource optimization, for the fastest way it is not necessarily the only way to achieve things that over-rationalize cost-benefit analysis, all that kind of thing at some point given to me, it did not work for me. More intuition, perhaps it would have been better at some point. Perhaps it is better now Ok very good.

Daniela SM: 28:12

What's new? What is the future now for you? What?

Luis Alejandro Ordóñez: 28:15

else. At the moment, there is always a new story, a new project that one does not know if it is going to come to an end, because that when you raise the ideas first, you do not know if you are going to be interested enough to carry them out. But you have to develop them and take them into account. Right now I have two big projects, perhaps a third, that are ambitious, complex, working on research, reading, also introspective research. Right, how do I feel in this type of situation, this story that I am considering as a reaction? I probably have a book of stories ready, but I don't have any publication project yet defined with it. One is always like taking one more step, taking one more step, taking one more step, un proyecto de publicación todavía definido con él. Uno siempre está como dando un paso más, dando un paso más, dando un paso más. Entonces tengo estos dos proyectos porque uno va por un personaje actual de la actualidad, una idea relativa a los memes, y el otro es un personaje bibliográfico.

Daniela SM: 29:12

Tienes muy buenas fotos en la internet que he visto, y también tiene una página web¿. Cuál es la página web?

Luis Alejandro Ordóñez: 29:19

wwwlaoficinadeluiscom. Ahí puedes encontrar libros, los trabajos, ahí, bueno, tengo un boletín de noticias donde te mantengo más o menos al tanto de lo que estoy haciendo. Hago reseñas de libros, hago escritos sobre alguna cosa que encuentre interesante, a veces about something that you find interesting. Sometimes I put short stories, also videos reviews, and that if I make a video, this conversation will be with your link there too, okay, Is there anything else we haven't talked about?

Luis Alejandro Ordóñez: 29:50

I think. Well, the truth is that I managed to talk about a lot of things just that. Well, I hope it'sinda invitación para leer, para que nos leamos y para que sigamos conversando.

Daniela SM: 30:01

Sí, es verdad. Muchísimas gracias, luis Alejandro, por estar aquí conmigo y contarme tu historia.

Luis Alejandro Ordóñez: 30:07

Gracias a ti, daniela, y gracias gracias a ti por la oportunidad, gracias a tus oyentes. La verdad es realmente un placer. Espero que hayan disfrutado de este episodio y los demás que comparto en este espacio.

Daniela SM: 30:14

Si fue así, los invito a tomarse. It was a pleasure. I hope you enjoyed this episode and the others that share this space. If so, I invite you to take a moment to think of someone who could enjoy what you just heard, or maybe someone who has a valuable, very interesting story to share. When that person comes to mind, send this podcast, persona venga en su mente. Envíen este podcast. Con ese simple gesto, ayudan a seguir compartiendo historias, creando magia, y que estos mensajes sigan llegando cada vez más lejos. Gracias de verdad por escuchar. Hasta pronto.