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The writer barcelona Juan Marsé has died this morning at the age of 87 in the Hospital of Sant Pau. Juan Marsé (Barcelona, 1933-2020), remembered in a dedication to his father, Pep Marsé, he “taught me to combine awareness-raising with the aubergine”. Grown in the barcelona neighbourhood of Guinardó, fueled his novels of memory, that “paradise from which nobody can expel you”.

The Territory M arsé smells of neighborhood and skylight , a cinema room, a role of comic and erotic gloom. In 1965, when the writer won the Biblioteca Breve prize for “Last evenings with Teresa” I had many things to tell. Characters like Manolo, the Pijoaparte intended to trocar the barraquismo of Carmel by the towers bourgeois de Sarrià. Murciano, Manolo is a classic: epígono suburban of the Julian Sorel stendhaliano; or the blonde Teresa, “with a red handkerchief poking out the pocket of his trenchcoat and white and with a trembling provision musical in the legs”.

When Seix Barral re-released “Last evenings with Teresa” wrote the foreword to Arturo Perez Reverte: “Forty-three years later, the novel remains as fresh as when it was written. Not even the morons who then spared him the life of his author, the resentful, or parasites that live to explain how to write to them -if they wanted to – the books they write other, dare already to discuss that Manolo Reyes, aka Pijoaparte, is one of the characters best paths in the Spanish literature of the second half of the TWENTIETH century”.

Being an apprentice jeweler, bequeathed a conception craft of writing and the slogan that presided over his desk: “The dedication is the only moral conviction of the writer”. The sixties have names: the editor Barral, engaged in making him a writer “worker” and the poets Gabriel Ferrater and Gil de Biedma: two supporters of happiness with a taste of geneva. Despite some readings marxistoides of the “gauche divine”, the Pijoaparte not embodied intentionality policy. To overcome the censorship in those days it was harder to write; the sex frightened her more than the opposition to franco. Robles Piquer suggested Excerpts that you would change the word “thigh” for “antepierna”.

A photograph: Excerpts from a teenager in a t-shirt works on a jewellery shop while listening to rumors about the crime of the prostitute Carmen Broto. The one event that he is obsessed with will end up being “If they tell you I fell”. The title is “gave” Jaime Gil de Biedma. Excerpts from thought holder “Adiós muchachos”, but it sounded like a tango. The editor Barral I “gave away” another title: “The dark story of cousin Montse”, scathing dissection of the dangerous liaisons of a bourgeois with the lumpenaje. In the Model prison to visit Montse is reborn the unrelenting fable of the winners that have not convinced.

Premio Juan Rulfo

After receiving the award Juan Rulfo in Mexico by “If they tell you I fell” and win the Planet with “The girl in the panties gold”, Marsé he resumed his gazetteer of the memory in “One day I will come back” (1982). An old fighter in the maquis, painter, exboxeador and robber of banks and meublés returns to the neighborhood after serving prison terms in the prisons of franco. The voice of the losers, compared to the official rhetoric. Your “Ronda del Guinardó” goes on cobblestones: “In the doors of grocery stores are escalonaban the boxes of fruits and vegetables, encroaching on the sidewalk. I hated this neighborhood of shady taverns and clear stores, and of shoemakers patchers crouched in dark doorways and lodges, and small workshops purring in basements, dropping all the time his mantra of milling machines and power saws”.

With “Tails lizard” Excerpts relives to people affected by the Story with “aventis” and women silent mending lives among the rubble of defeat. “With a single lost war, a man is very far from attaining the dignity…” “Tails of a lizard” is pure Excerpts: souls tortured in permanent vigil, children’s voices, memories lived or dreamed of. Most streets unpaved in the that “could be written in the earth with a knife”.

On the shelves of your desktop cleared the mustached Robert Louis Stevenson and the wild beauty of Ava Gardner. Excerpts, comparing his novels and stories “the stories that reinvent the children from the real facts. That is the function of the novel and the oral memory”.

Catalan Writer in Spanish abominaba of nationalism, and drew that attitude with a quote from Stephen Dedalus in “Portrait of an adolescent artist”: “you are speaking to Me of nationality, language and religion. Well, these are the networks that I have of attempting to escape”. With dictatorship or democracy, Marsé always said No to the impositions. Dissident nationalist religion, you will write in Spanish “because it gives him the actual win.”

“Marsé’s never real and always true”, warned the writer Marcos Ordóñez in “A garden of truth with frogs of cardboard”, a documentary on Xavier Robles. In those conversations, Excerpts remembered his condition of adopted son, “a story that would be a novel addition that I’m not going to write ever.”

“I would like to say…”

The topography of childhood returns in all his novels. In “Calligraphy of dreams” is the street Torrent of the Flowers, which begins in Travesera de Dalt and dies in Travesera of Grace: “Forty and six corners, a width of seven and a half meters, buildings of low height and the three taverns”. As stated by Marsé in an interview: “I would like to say that everything is invented. I would like to jurarlo. Because it would have more merit, and often, more solvency. But yes, in effect, something that we’ve all agreed to call reality testimonial is in some episodes of the novel…” A plot that begins in 1945 and that has consequences until 1958 in a city “less plausible now, but more real.” “Calligraphy of dreams” describes a process of personal formation; when Ringo-Excerpts moved his gaze from the streets to the blank page. Since then recreated the country of childhood. The only one that allows us to reinvent ourselves in a second birth. That explains the whole of a literary work.

Excerpts recreated in “This bitch such a distinguished” a real fact which occurred in 1949: a prostitute is strangled to death in the cab of the film Delights and as your narration has just prostituted by the rewrites for the film. A seasoned reader of the Seventh Art, the translation of his novels to the screen was terrible. Because of Andrés Vicente Gómez, “El embrujo de Shanghai” could not be a film with a screenplay by Víctor Erice. The adaptation of Fernando Trueba seemed really bad, like the versions or visions – that performed by Vicente Aranda. An eagerness testimonial that coexists with the reconstruction of fictional.

In recent years, while grappling with the problems of health -heart disease and kidney-, Marsé could not write everything I wanted to. In 2012, Joaquim Roglan was vindicated in the anthology “Journalism lost” to the Excerpts from the more unknown in the magazines Arcinema, Gift, Boccaccio, or his memorable section, “Ladies and gentlemen” in The Country.

In 2017, Ignacio Echevarría met in “private Collection” nine stories, until now, scattered, which constitute, in the words of anthologist, “a vade-mecum of the narrative are Excerpts from” as “detective Story”, “The phantom of the cinema Roxy”, “Lieutenant Bravo,” “News happy paper airplanes” or the unreleased “Know thyself, Fritz”.

Writing for Excerpts, it implied a perpetual self-imposed, “a chore of back and forth, with a long pencil through”. Our writer preferred to “fail well, fail better” the success is too easy. The literary world he seemed obscene-for that reason never confused the literature with the literary life. The intellectuals produced allergy: “When you put together more than four is a danger”. Before the mirages of fame, he advised, “always be prepared for a no.” The larger ones are as well. His books are immune to oblivion, will be with us always.