By Virginia Vallejo
En julio de 2006 un avión de los angeles DEA sacó a Virginia Vallejo de Colombia. Su vida estaba en peligro por haberse convertido en el testigo clave de los dos procesos criminales más importantes de los angeles segunda mitad del siglo veinte en su país: el asesinato de un candidato presidencial y los angeles toma del Palacio de Justicia, donde fallecieron alrededor de cien personas, entre magistrados, guerrilleros y civiles.
Veintiocho años antes, Virginia Vallejo period presentadora de televisión en Colombia y modelo que aparecía en las portadas de las principales revistas. Conoció en 1982 a Pablo Escobar, un misterioso político de treinta y tres años que en realidad manejaba los hilos de un mundo de riqueza inigualable en que gran parte del incesante flujo de dinero procedente del tráfico de cocaína se canalizaba a proyectos de caridad y a las campañas de candidatos presidenciales de su elección.
Este libro una apasionada historia de amor convertida en crónica del horror y l. a. vergüenza, describe l. a. evolución de una de las mentes criminales más siniestras de nuestro tiempo: su capacidad de infundir terror y generar corrupción, los vínculos entre sus negocios ilícitos y varios jefes de Estado, los asesinatos de candidatos presidenciales y l. a. guerra en que sumió a todo un país. Amando a Pablo, odiando a Escobar es también los angeles única visión íntima posible del legendario barón del narcotráfico, plena de glamour y espíritu de supervivencia, y no exenta de humor. Virginia Vallejo narra esta historia descarnada como nadie más podía haberlo hecho.
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Extra resources for Amando a Pablo, Odiando a Escobar
The spectacle ‘is capital to such a degree that accumulation has become an image’ (34). In Capital’s opening chapter, Marx insisted that a commodity’s physicality, its palpable ‘thing’ quality, bore little or no connection to the social relations that made it. As an ‘it’ we hear nothing about social relationships between workers and owners, between minimum wage toilers and rich bosses, between Third World peasants and Wall Street stockbrokers. In the realm of the latter, the former is occluded, silenced, rendered imperceptible to the senses.
Everything had its place, its function: work here, residence there, leisure somewhere else. Spaces got hacked up and simplified, people got decanted, experience flattened. Separation meant the compartmentalization of consciousness, an inability for people to understand the totality of their lives. Separation in the city and in activity spelt separation in the mind, alienation, false consciousness, a retreat into contemplation. In 1961 Debord released his film Critique of Separation. ‘Our epoch accumulates power and has rational dreams’, a voice enunciates, in characteristic monotone.
In other words, we would set the whole world to rights while 36 polishing off a litre or perhaps two litres of wine. ’5 Debord was highly cultivated, had a lot of finesse, and, of course, was enormously well read. 6 He ‘dealt with Marxism at length, he read it all, but in my time we never discussed Marx’. ‘This was really the first time I had met a guy who gave me the feeling he was beginning to answer the questions I had been asking myself about a world that was not my world, either East or West, either the Stalinist side or the bourgeois side.
Amando a Pablo, Odiando a Escobar by Virginia Vallejo