Benjamín Labatut Prefers to Stay Out of the Spotlight

The book showcases Labatut's style, opening with a disturbing profile of mathematician Paul Ehrenfest and concluding with Lee Sedol's Go match against the computer AlphaZero. While some elements are factual, others are imaginative. Despite hopes to interview Labatut in Santiago and capture who he is beyond his writing, he opted not to engage. He expressed a desire to avoid interviews, stating, “I don’t have definite views,” indicating that he finds the idea of being profiled unappealing.

Labatut revealed that he finds many books detestable and prefers writers of mixed genres like Pascal Quignard and W.G. Sebald. However, his earlier works are elusive. His debut collection, *La Antártica empieza aquí*, is out of print, and his second book, *Después de la luz*, remains unpublished in English. Labatut even noted he would rather not have his latest writings widely circulated.

In trying to understand Labatut's background, he clarified through email that he was born in Rotterdam and moved to Chile at age two, later returning to The Hague before moving back to Chile as a teenager. He shared a personal spirituality that influenced his work, describing a period of intense faith and existential inquiry.

*The MANIAC* includes a fictional oral history of von Neumann, featuring fourteen narrators, including Richard Feynman and von Neumann’s daughter, Marina. Although Labatut chose not to include von Neumann’s voice, he believes that “monsters and gods should not be given a voice.” The character portrays a stark contrast to other historical figures who descend into madness, reflecting an ongoing theme of genius intertwined with mental strain.

Written in English, Labatut considers himself bilingual and explained that he prefers to write in English to connect with a broader audience. His background made it challenging for critics to assess his earlier writings, which feature distinct personal narratives. Labatut described *Después de la luz* as a reflection on personal despair, drawing criticism for thematic parallels with spiritual charlatans.

He believes that his work lacks significant self-expression, maintaining that his focus is on external ideas instead. Labatut recognizes the fine line between fiction and history, a point raised in a review by Ruth Franklin, questioning the ethics surrounding such narratives. In a discussion with Marina von Neumann Whitman, she affirmed that her portrayal was neither violent nor a violation, appreciating the nuance Labatut brought to her father's story, though some creative liberties were evident.

Labatut reminisced about his journey into writing, crediting a deceased poet, Samir Nazal, as instrumental in his development. Despite being a journalist for almost 20 years, his ambition persisted, and he initially refused promotions to concentrate on literature. He articulated a blending of technology and spirituality in his work, using von Neumann as a lens to explore deeper meanings.

In conclusion, Labatut's conscious decision to remain distanced from the public eye reflects a desire to maintain control over his narrative. He maintains that focusing on his work is paramount, emphasizing creativity over personal visibility.