Sunday, 14 December 2025

SITGES, BETWEEN THE GARRAF & THE MEDITERRANEAN

Today, The Grandma has decided to go sailing. The sea is calm and although the weather is cold, it is a good day to enjoy the peace and tranquility that the sea gives.

Sitges is a city that is always good to visit because it has everything: history, culture, gastronomy, fun and, most importantly, the friends who live there. So any excuse is good to take the boat and go spend the day with them. 

Sitges is a town about 35 kilometres southwest of Barcelona, in Catalonia renowned worldwide for its film festival, Carnival. Located between the Garraf Massif and the Mediterranean Sea, it is known for its beaches, nightspots, and historical sites.

While the roots of Sitges' artistic reputation date back to the late 19th century, when painter Santiago Rusiñol took up residence there during the summer, the town became a centre for the 1960s counterculture during the Francoist regime, and became known as Ibiza in miniature.

Today, the economy of Sitges is based on tourism and culture. Almost 35% of the approximately 26,000 permanent inhabitants are from the Netherlands, the UK, France.

The name of the town is simply the Catalan word sitges, plural of sitja, meaning silos in English.

Human presence in the area dates to at least the Neolithic era, and an Iberian settlement from the 4th century. In the 1st century BC, it included two separated villages, later absorbed by the Romans.

During the Middle Ages, a castle was built in Sitges, owned by the bishopric of Barcelona, which later ceded it to count Mir Geribert (1041). In the 12th century, the town fell under the rule of the Sitges family. The latter held it until 1308, when Agnes of Sitges sold the town to Bernat de Fonollar, after whose death it went to the Pia Almoina, a charitable institution, to which it belonged until 1814.

Between the late-18th century and the early-20th, the history of Sitges was dominated by its close links with Cuba. Thousands of youngsters from Sitges settled in Santiago de Cuba, Guantánamo and other areas in Eastern Cuba. Most of them were employed in commerce, usually working for relatives already established in the island. Some of them thrived and created big firms, like Facundo Bacardí, founder of Ron Bacardí, and Jaime Brugal, who later moved to the Dominican Republic and established Ron Brugal. Some others, after having amassed a certain fortune, settled back in Sitges, generally living on rent or investing in sectores like wine or shoe making. These were known as Americanos, known for their habit of planting palm trees in their Caribbean-looking houses, smoking Cuban cigars and rum drinking. The americanos left a huge legacy in Sitges which can still be seen in its architecture and the history of most local families.

Shoe making shaped Sitges' economy during the first third of the 20th century. Sitges economy was mostly based on the production of wine until the late 19th century, when the first mechanized shoe factory was established in the town in 1874, starting a powerful shoe making sector which employed ca. 80% of local workers by the mid-20th century. The tourist boom of the 1960s ended the era of shoe making and made local economy essentially depending on tourism and services.

Due to the wave of artists settling in the town in the wake of Santiago Rusiñol, who established his studio (nowadays Museu del Cau Ferrat) wealthy families from Barcelona built summer residences in Sitges, especially in the garden city known as Terramar. Sitges acquired an international reputation and attracted celebrities. American businessman, art collector, and philanthropist Charles Deering held an important art collection in Sitges between 1910 and 1921, where he built the impressive Palau Maricel. Intellectuals like G. K. Chesterton, who visited the town in 1926 and 1935, or the German boxer Max Schmelling, who trained for his match against Paulino Uzcudun in Terramar Hotel in 1934.

The British war journalist Henry Buckley lived for a few months in Sitges during the conflict, marrying a local woman. He would eventually retire in the mid-1960s in the town, where he purchased a house and died in 1972.

The municipality of Sitges is located in the Garraf comarca. It is bordered to the north by the municipalities of Olivella and Begues, to the west by Sant Pere de Ribes and Vilanova i la Geltrú, to the east by Gavà and Castelldefels, and to the south by the Mediterranean Sea.

More information: Sitges


 A journey through the Mediterranean is 
not only inspiring and stimulating, 
it is also humbling. 
The men and women who created antique treasures 
for us to marvel at had to deal with plague, genocide, 
a world without writing, iron tools, or penicillin 
-and yet they made something extraordinary of their life and times.

Bettany Hughes

Saturday, 13 December 2025

SANTA LUCIA, LIGHT FROM NAPOLI TO THE WHOLE WORLD

Today is Saint Lucia. In Barcelona, traditionally, on December 13th, the nativity scene is built and it is time to go to the forest to get moss, hollyhocks, branches and cork. Since the end of the 18th century, when the construction of homemade nativity scenes began to become popular, in some towns cork, moss and branches of greenery were sold for the nativity scene, mainly in the city of Barcelona during the pre-Christmas fair of Santa Llúcia.

Lucia is a name that comes from the Latin term lux-lucis and means light. It is a very special day for The Grandma, who loves the fair of Santa Llúcia and who especially remembers the time she spent in Napoli studying and working at the Università Federico II.

Napoli is a special city that sticks in your soul and heart. A beautiful city full of history, culture, with an impressive gastronomy and, most importantly, with wonderful people who make you feel at home and who make you always take them with you wherever you go.

Close your eyes, listen to a beautiful tarantella, remember Napoli with the imposing Vesuvius and evoke every moment lived in Sorrento, Capri, Ischia, Ercolano, Pompeii, Procida... and, most importantly, miss the Neapolitan friends who are at a physical distance, but present every day in our lives.

Napoli, me si’ ‘a vita mia.

Santa Lucia is a traditional Neapolitan song. It was translated by Teodoro Cottrau (1827-1879) from Neapolitan into Italian and published by the Cottrau firm, as a barcarola, in Naples in 1849, during the first stage of the Italian unification. Significantly, it is the first Neapolitan song to be translated to Italian lyrics. Its transcriber, who is often miscredited as its composer, was the son of the French-born Italian composer and collector of songs Guillaume Louis Cottrau (1797-1847). Various sources credit A. Longo with the music, 1835.

The original lyrics of Santa Lucia celebrate the picturesque waterfront district Borgo Santa Lucia in the Gulf of Naples, with an invitation (sales pitch) from a boatman to take a ride in his boat to better enjoy the cool evening.

Comme se frícceca
la luna chiena!
lo mare ride,
ll'aria è serena...

Vuje che facite
'mmiezo a la via?
Santa Lucia,
Santa Lucia!
(Repeated twice)

Stu viento frisco
fa risciatare:
chi vo' spassarse
jenno pe mmare?

È pronta e lesta
la varca mia
Santa Lucia,
Santa Lucia!

La tènna è posta
pe' fa' 'na cena;
e quanno stace
la panza chiena

Non c'è la mínema
melanconia.
Santa Lucia,
Santa Lucia!

Perhaps the definitive 20th century recording of the song was that of Enrico Caruso, the great Neapolitan opera singer. Mario Lanza recorded this song in this album Mario Lanza sings Caruso favorites, RCA Victor LSC-2393.

In the United States, an early edition of the song, with an English translation by Thomas Oliphant, was published by M. McCaffrey, Baltimore.

In Sweden, Finland, Denmark, the Faroe Islands, and Norway, Santa Lucia has been given various lyrics to accommodate it to the winter-light Saint Lucy's Day, at the darkest time of the year. The three most famous lyrics versions in Swedish are Luciasången, also known by its incipit, Sankta Lucia, ljusklara hägring (Saint Lucy, bright illusion); Natten går tunga fjät (The night walks with heavy steps); and the 1970s kindergarten version, Ute är mörkt och kallt (Outside it’s dark and cold). The more common Norwegian version is Svart senker natten seg (Black the night descends), whereas the version commonly used in Denmark is titled Nu bæres lyset frem (Now light is carried forth). There also exists a Sámi version, Guhkkin Sicilias dolin lei nieida (In faraway Sicily, long ago was a girl).

In the Czech Republic (or former Czechoslovakia), it was made famous with the words Krásná je Neapol (Naples is beautiful) sung by Waldemar Matuška.

In Austria, it is famous under the title Wenn sich der Abend mild. It is sung by Austrian fraternities.

In Thailand, Silpakorn Niyom, in Thai ศิลปากรนิยม, the anthem of Silpakorn University, borrowed the turn of Santa Lucia; the founder of the university, Silpa Bhirasri, was Italian. A Thai translation of Santa Lucia (itself was adapted from Italian version) was composed in 2017 by Professor Chedha Tingsanchali of the university's faculty of Archaeology to mark Bhirasri's 125th birthday anniversary. The translated lyrics was first premiered on 15 September of that year.

More information: Naples. Life, Death & Miracles


Partono 'e bastimente pe' terre assaje luntane...
Cantano a buordo: so' Napulitane!
Cantano pe' tramente 'o golfo gia scumpare,
e 'a luna, 'a miez'o mare, nu poco 'e Napule.

The ships are leaving for far away lands.
The Neapolitans sing on board.
They sing while in the sunset the bay disappears
and the moon, above the sea lets them see
a glimpse of Naples.

E. A. Mario

Friday, 12 December 2025

'THE SUN' BY EDVARD MUNCH, THE POWER OF IMAGERY

Today marks the 162nd anniversary of the birth of Edvard Munch, the Norwegian painter. Last summer, Claire Fontaine and The Grandma travelled to Oslo, visited the Munchmuseet and enjoy the works of one of the most incredible, and at the same time, disturbing, painters in history.

The Scream may be his most famous work, but sometimes the most popular or well-known is not what you like the most or necessarily the best. Art is wonderful because it can create different emotions and reactions in people and because we each end up having our own preferences.

Although Claire and The Grandma almost never agree on anything, this time, they both agree that their favourite Munch work is The Sun

The Grandma has been reading an interesting article written by Tom Gurney (TheHistoryofArt.org) that talks about this fascinating work, whose original version can be seen at the Oslo University assembly hall.

The Sun, by Edvard Munch, is considered by many as one of the greatest works of modern mural paintings. The enormous painting currently occupies a central spot at the Oslo University assembly hall. It stands tall in a central position as an undeniable display of the power of imagery.

The painting pictures the sun as it spreads out large rays of light in every direction to illuminate the entirety of a northern landscape. The rays flow down the ocean, touching bare rocks and a strip of greenery that separates the sea and land. You can almost not distinguish the sun from the waterfall. In a white ball of light, it shines from the heavens and pours to the sea, creating the impression that the sun is melting down to the earth. Munch also manages to capture the rays splitting into different colour variations as they emerge from a bright white ball of light. An observer can clearly see as they change from white to yellow to red, blue then green as they extend towards the vast horizon. If you focus your attention, you'll notice the clear, straight horizon line as well, dividing the sky from the water. The painter also managed to bring out the sun's circular movements, giving out the feeling that the picture is moving back and forth.

It has this pull that almost draws the observer towards it. Initially, the painting was proposed to be a Nietzschean mountain of man, rising towards a sky covered by the sun. However, upon reflection and following advice from friends, the painter relinquished the controversial idea and instead chose to depict the sun in all its glory, in this pure, intense, and powerful form. The painting was clearly more colorful when compared to his previous work, which had a more morbid, melancholic theme. This can be attributed to the fact that it was painted in the year 1909, after Munch has come back from hospital, battling acute anxiety and excessive drinking. His paintings during the time are described as being harmonious with bold, vital brush strokes.

Inspiration for the painting can be said to be drawn from various painters of the time. The shafts of light can be affiliated with the German expressionism of Die Brucke. The symmetry of the painting evokes some elements of Ferdinand Holdler's visions. And Munch's avant-garde and abstractness can also be compared to Wassily Kandinsky, as he symbolically expresses his fascination with the sun as the source of all life. The Godlike complex is apparent as the sun shows its authority as a focal point of life. It has its hand on everything from the sea to the rocks, reaching out to eternity and declaring its stance as the main provider.

More information: Munchmuseet

 
Death is pitch-dark, but colors are light. 
To be a painter, one must work with rays of light.
 
Edvard Munch

Thursday, 11 December 2025

NILS ARTUR LUNDKVIST, SWEDISH POETRY IN THE 2OTH C.

Today is a wonderful day and The Grandma has taken her bike to go to the beach to enjoy one of her favourite activities: reading.
 
Reading poetry is an indescribable pleasure for the soul and, like any reading, if you can read it in the original language, the pleasure is even deeper. 

The Grandma has chosen the poems of Artur Lundkvist, the Swedish writer, Nobel Prize in Literature, who left us on a day like today thirty-four years ago. 

Nils Artur Lundkvist (3 March 1906-11 December 1991) was a Swedish writer, poet and literary critic. He was a member of the Swedish Academy from 1968.

Artur Lundkvist published around 80 books, including poetry, prose poems, essays, short stories, novels and travel books, and his works have been translated into some 30 languages. He is also noted for having translated many works from Spanish and French into Swedish. Several authors whose works he translated were later awarded the Nobel Prize in Literature. He married the poet Maria Wine in 1936.

Artur Lundkvist was born in Perstorp Municipality, Skåne County. As a child he lived on a small farm, first in Hagstad and then in nearby Toarp. From an early age his main interest was reading and he also liked wandering in the surrounding countryside.

At the age of twenty Lundkvist moved to Stockholm determined to become a writer, he studied at a Folk high school and became acquainted with other young people with the same interests. His first books of poems, the anthology Fem unga and introductions of foreign modernist literature quickly established Lundkvist as a leading figure in Modernist Swedish literature in the 1930s

Lundkvist went on to publish more than 80 books in many genres and was also a prominent critic

In 1968 he was elected a member of the Swedish Academy, and was a member of the Academy's Nobel committee from 1969 to 1986. He was married to Maria Wine since 1936 and died on 11 December 1991.

Lundkvist published his first book of poems Glöd (Glowing Embers) in 1928 and contributed to the important anthology Fem unga (Five young men) in 1929. He was one of the dominant figures in Swedish literary modernism, the most vigorous promoter of the modernist breakthrough that took place around 1930, and one of the leading poets of the period. His early works was influenced by Scandinavian and American modernists, most notably Carl Sandburg, and later by surrealism.

In the late 1940s his works became increasingly influenced by Spanish language writers like Pablo Neruda and Federico García Lorca, whose poetry he also translated to Swedish. Although he continued to publish books of poetry, including Liv som gräs (Life as grass, 1954) and Ögonblick och vågor (Moments and waves, 1962) which by many is considered to be among his finest works, prose works dominated his writings from the 1950s and onwards. In several books, starting with Malinga (1952) and leading up to late works such as Skrivet mot kvällen (Written towards the evening, 1980), his ambition was to defy genre limitations and merge prose poetry, fictional stories, short essays, personal memoirs and impressions from his many travels around the world into a new form of literature.

Artur Lundkvist was a very productive writer, and also published numerous articles, short stories, collections of literary essays, and books about his travels in South America, India, China, the Soviet Union and Africa. As a literature critic, and also translator, he introduced foreign literature to Swedish readers, including several authors that would subsequently be awarded the Nobel Prize in Literature, such as William Faulkner, T. S. Eliot, Pablo Neruda, Claude Simon, Vicente Aleixandre, Octavio Paz, Gabriel Garcia Marquez and Mario Vargas Llosa. His later work also include several historical novels such as Snapphanens liv och död (1968, about snapphanar), Tvivla, korsfarare! (1972, about crusaders), Krigarens dikt (1976, about Alexander the Great) and Slavar för Särkland (1978, about vikings).

In 1966, his autobiography Självporträtt av en drömmare med öppna ögon (Self portrait of a dreamer with open eyes) was published, and in 1968 he was elected a member of the Swedish academy.

In 1977, he was awarded the prestigious Golden Wreath of the Struga Poetry Evenings festival in Struga, North Macedonia. He died in Solna, Stockholm County.

More information: The Guardian


 Jag har en envis tro på omedelbar suggestion,
automatism eller spontanitet, som du önskar,
och jag misstror rationalism och efterföljande modifieringar.

I have a stubborn faith in immediate suggestion, 
automatism or spontaneity, as you wish, 
and I distrust rationalism and subsequent modifications.

Artur Lundkvist

Wednesday, 10 December 2025

ASTÉRIX LE GAULOIS ET LES NORMANDS IN MANCHESTER

Claire Fontaine has just arrived in Manchester where she will meet Joseph de Ca'th Lon this afternoon. They have travelled to this beautiful city to watch the Northern Star, meet up with old friends and enjoy a first class sporting spectacle. The Grandma, who will be following this interesting and emotional match from home, wishes them the best of luck and, most importantly, that both teams compete and put on a great show, because that's what it's all about: personal effort and honesty in front of the audience who come to see you. During the trip, Claire has been reading an Astérix and Obélix adventure, Astérix and the Normans.

Astérix and the Normans, in French Astérix et les Normands, is a French comic story, written by Rene Goscinny and illustrated by Albert Uderzo

It is the ninth story in the Astérix comic book series, and was originally published by Dargaud as a serial for Pilote magazine in 1966, before being released as a comic album in 1967.

The story focuses on Astérix and Obélix helping train up the nephew of their village chief, only to find themselves contending with a visit by men from the frozen north raiding their lands in search of learning about fear.

Astérix and the Normans received favourable reviews following its publication. An adaptation loosely based on the story, Astérix and the Vikings, was released in 2006.

In the French original, Justforkix makes mention of the work of Elvix Preslix -a pun on the name of rock musician Elvis Presley- and performs a piece by the bardic band Les Monkiix -a parody version of the rock band The Monkees. For the English version, the band was referred to as The Rolling Menhirs- a parody version of rock band The Rolling Stones.

When Astérix inquires about Justforkix's sports car-like chariot, he states it was made in Mediolanum (present-day Milan). The line is a reference to the Italian motor industry and its production of sports cars.

In one scene, Timandahaf explains to Astérix his people did not plan to start a war with Gaul, but states he will leave it to our descendants. This is a reference to the 9th century invasion of northern France by Norsemen, who would later become the Normans and give rise to the name Normandy for the region they conquered. The comic makes reference to the stereotypes of Normandy cuisine, primarily recipes from the region that use cream.

In the Finnish version, the title is Astérix ja normannien maihinnousu, which is translated as Astérix and the Landing of the Normans. The words normannien maihinnousu are a play on the Finnish history-book term Normandian maihinnousu that references the Normandy Landings of 1944.

-Cultural differences. One of the key lessons from Astérix and the Normans is the exploration of cultural differences. The book highlights the clash between the Roman and Norman cultures, showcasing their differing values, customs, and ways of life.

-Strength in unity. The story emphasizes the power of unity and working together as a community. The Gauls demonstrate their resilience and strength by standing together against the invading Normans, showcasing the importance of teamwork and solidarity in overcoming challenges.

-Embracing diversity. Astérix and the Normans also highlights the importance of embracing diversity and accepting others despite their differences. The Gauls learn to appreciate and respect the Normans' unique customs and way of life, eventually overcoming their initial fear and animosity towards each other.

-Overcoming fear. The book explores the theme of fear and how it can be overcome. Initially, the Gauls are afraid of the Normans due to their strength and their seemingly fearless nature. However, through their encounters and interactions, both sides realize that fear can be conquered through understanding, communication, and getting to know one another.

-Celebrating individuality. Astérix and the Normans celebrates the uniqueness of individuals and the importance of embracing one's own identity. This is illustrated by the character of Justforkix, a young Viking who is initially mocked for his timid nature but later impresses the Gauls with his own brave act. The book teaches readers that everyone has their own strengths and abilities, and they should be celebrated and valued.

Astérix and the Normans not only provides readers with a delightful and humorous story, but also subtly presents important lessons about courage, identity, and the significance of facing one's fears. The book continues to be beloved by readers of all ages, captivating audiences with its unique blend of history, satire, and adventure.

Overall, Astérix and the Normans is a timeless classic that has earned its place in the world of literature, entertaining readers for generations with its enchanting storytelling, memorable characters, and humorous escapades. Whether one is a fan of comics, history, or simply appreciates a good laugh, this book is sure to leave a lasting impression.

Download Astérix and the Normands by R. Goscinny & A. Uderzo

A friend can always help you in times of need.

Astérix and the Normands

Tuesday, 9 December 2025

...LOCKED OUTSIDE A WORLD, JUST A MANCHESTER GIRL

She hides in the library reading Henry Miller books,
'Til they flash the lights, its time to go,
When she was a little kid she said,
Dad, I don't know why I feel so penniless inside,

She's on the promenade,
She's looking for a dress,
She's locked outside a world,
Just a Manchester girl,

Oh I'll meet you there,
By the old newsstand,
Oh I'll meet you there tonight,

Shoot out at a neighbour's house,
She pulls the covers over her head,
She's counting the shots as they go through,
In Pandora's litter box,
Well it's getting mighty high,
That cat's gonna keep her up at night,

Another scary dream,
Another cigarette,
She's locked outside a world,
Just a Manchester girl

Oh I'll meet you there,
By the old newsstand,
Oh I'll meet you there tonight.


 She's on the promenade,
She's looking for a dress,
She's locked outside a world,
Just a Manchester girl.

Eels

Monday, 8 December 2025

VISITING THE CATHÉDRALE SAINT-BÉNIGNE DE DIGION

It's a beautiful day and The Grandma has decided to visit Sant Boi de Llobregat where they are celebrating their winter fair today.

The Grandma has a lot of friends in Sant Boi and any excuse is good to visit them. Before going there, however, she has been talking to another friend, Joseph de Ca'th Lon, who is still in Digion enjoying that beautiful city, its gastronomy and its architecture.

Joseph has visited the Cathedral of Saint Benignus, a place where history and spirituality mix and where it always seems that time stands still and you can find those inner moments that are so difficult to find in the rest of the city in the day to day.

Dijon Cathedral, or the Cathedral of Saint Benignus of Dijon, in French Cathédrale Saint-Bénigne de Dijon, is a Roman Catholic church located in the town of Dijon, Burgundy, France, and dedicated to Saint Benignus of Dijon.

The Gothic cathedral building, constructed between 1280 and 1325, and dedicated on 9 April 1393, is a listed national monument.

Originating as the church of the Abbey of St. Benignus, it became the seat of the Diocese of Dijon during the French Revolution, replacing the previous cathedral when it was secularised, and has been the seat of the succeeding Archbishopric of Dijon since the elevation of the diocese in 2002.

The first church here was a basilica built over the supposed sarcophagus of Saint Benignus, which was placed in a crypt constructed for it by Saint Gregory of Langres in 511; the basilica over the crypt was completed in 535. From the early 9th century St. Bénigne was the personal monastery of the bishops of Langres. In 869 Isaac, Bishop of Langres, re-founded it as a Benedictine abbey, and restored the basilica at the same time.

In 989 Bruno, Bishop of Langres, requested Mayeul, Abbot of Cluny, to send monks to re-settle the abbey, grown decadent, as a Cluniac house. In 990 William of Volpiano was appointed the new abbot. By 1002, the ruin of the previous building had been razed and construction began on a new Romanesque structure designed by William, consisting of a subterranean church round the sarcophagus of Benignus, a ground floor church for worship, and a rotunda, 17 metres in diameter, on three levels in the place of the apse, linking the two. Dedicated in October 1016 by Lambert I, this suite of buildings was decorated in the ornate Cluniac style, of which only a few traces survive.

In 1137, a fire destroyed most of the town of Dijon and damaged the monastery and its church. The repaired building was consecrated by Pope Eugene III in 1147.

In 1272 the crossing tower collapsed, destroying the whole of the upper church and severely damaging the subterranean one, and smashing some of the supporting columns of the rotunda. Then the abbot, Hugh of Arc, of a powerful Burgundian family, was able, thanks to his contacts, to mobilise enough support to begin the construction of a new Gothic abbey church in 1281. Progress was at first rapid, and at Hugh's death in 1300 the building was close to completion. Progress slowed, however, and the work was not finished until 1325. The new church, unlike its Cluniac predecessor, is noted for its plainness and severity.

The abbey was secularised during the French Revolution, but the church was made, firstly, a parish church, and then in 1792 the cathedral of the Diocese of Dijon. The rotunda was however destroyed at that time; all that remains is the lowest storey, which was excavated in the 19th century and has since been reworked as a crypt.

More information: Cathédrale de Dijon

He who has seen one cathedral ten times
has seen something; 
he who has seen ten cathedrals once 
has seen but little; 
and he who has spent half an hour in each of a hundred cathedrals 
has seen nothing at all.

Sinclair Lewis