READING 'ASTÉRIX IN SWITZERLAND' IN FLEURY-MÉROGIS

The Grandma is enjoying her last days off before starting a new formation of almost three months in Sant Boi de Llobregat.

Last Monday, she enjoyed with Claire Fontaine and Joseph de Ca'th Lon the start of the Lux tour at the LDLC Arena in Décines-Charpieu, a place they know well and visit often because it is a few metres from the Groupama Stadium.

On Wednesday, all three friends flew to Paris where they saw the Catalan artist again, this time at the Accor Arena, in a first concert and yesterday, Friday, in a second one. They have been three wonderful concerts, although the three friends are still waiting to hear Memória live, because they are lovers of fado and it reminds them a lot of the much-loved Mísia, the Catalan-Portuguese artist, whom they followed throughout her career.

And because they are still in Paris today, they have bought some Fleury 91-OL tickets this morning and they will drive to Fleury-Mérogis, a city located 30 km south of the French capital to attend an interesting match of the Northern Star's team. They are not very sure that she will play the match because next week she has a very important European commitment, but it is 30 km and it is worth going there.

They have brought their faithful travel companion when they are in Gaul, Astérix, this time with his adventure in Switzerland, to read it during the short trip.

Astérix chez les Helvètes, in English Astérix in Switzerland, is the sixteenth volume of the Astérix comic book series, by René Goscinny (stories) and Albert Uderzo (illustrations). It was originally serialized in Pilote magazine issues 557-578 in 1970 and translated into English in 1973.

Following the protests of May 1968, Goscinny started introducing more adult themes such as the opening orgy scene which parodies Federico Fellini's debauched Roman film, Fellini Satyricon. The painted faces, feeling of ennui, mechanical gorging of elaborate food, and sado-masochistic punishments are balanced (in Helvetia) by the fastidiousness of the Swiss servants who keep cleaning up messes and washing whips.

The idea to send Astérix and Obélix to Switzerland was proposed by future French president Georges Pompidou. A handwritten note from Pompidou, when he was prime minister, urging the authors to write about Astérix among the Helvetians, was displayed in an Asterix exhibition at the National Library of France in 2013.

This album features a rare dark overtone in that the plot involves a victim of attempted murder. The added element of potential death offers a startling but refreshing moment of drama in the otherwise whimsical series. Other stories that share a dramatic turn include Astérix and Son (where the village is destroyed) and Astérix and the Magic Carpet.

The comic contains several puns on typical Swiss features, such as the confidentiality and high level of security of Swiss banks, fondue, Swiss clocks (especially cuckoo clocks), the Helvetians' insistence on neutrality, yodeling, punctuality, alphorns (as an alternative form of carnyx), and -in one notable scene- the Swiss Federal Assembly.

The comic suggests that modern mountain climbing was introduced when Astérix has the idea of him, Obélix and their Helvetian aides securing themselves with ropes, and sledding when Astérix accidentally rides Obélix down the mountainside.

One scene with Astérix shooting a bow while a boy with an apple on his head fixes a target is a nod to the Swiss folk hero William Tell.

In one panel, avalanches in the Alps are satirized when the Roman legionaire hanging on to Obélix cautions, Stop shouting, you could easily start something off.

Like always, this issue concludes with the celebrational village feast with Cacophonix being tied to the tree. However in this case he's not gagged. Nothing prevents his awful singing during the affair.

Bibendum (the Michelin logo) makes a brief guest appearance as the chariot wheel dealer in the original English translation; whereas the original French version used the Gaulish-warrior-like mascot of the French service station company Antar. The 2004 English re-print from Orion Books uses the French illustrations, thus rendering Obélix's joke about Bibendum's weight in the next panel nonsensical. Call me fat! Did you see his spare tire?

The book's storyline is rife with clever wordplay, delightful caricatures, and hilarious situations as Astérix and Obélix find themselves embroiled in comical confrontations with the Romans while showcasing the determination and perseverance of the Swiss people. The authors skillfully blend history, satire, and humor throughout the narrative, making Astérix in Switzerland an entertaining and educational read for all ages.

As with all Astérix books, the illustrations by Albert Uderzo are a visual feast, capturing the charm and whimsy of the Gaulish village, the grandeur of the Swiss landscape, and the amusing antics of the characters. Uderzo's dynamic artwork, vibrant colors, and attention to detail bring the story to life, making it a visual treat for readers.

Astérix in Switzerland not only entertains readers with its engaging story and delightful illustrations but also serves as a commentary on the themes of resistance, cultural identity, and the strength of community. The book showcases the power of unity, determination, and the ability to overcome adversity, echoing timeless values that continue to resonate with readers today.

In conclusion, Astérix in Switzerland is a captivating addition to the Astérix series, offering a delightful blend of history, satire, adventure, and humor. With its lovable characters, clever wordplay, and beautiful artwork, this book is sure to charm readers of all ages, transporting them on a grand escapade through the enchanting world of Astérix and Obélix.

Key Lessons From Astérix In Switzerland

-Unity is strength. One of the central themes of the book is the power of unity. The Gauls, led by Astérix and Obélix, join forces with the Swiss to not only protect their village from the Roman invaders but also to help the Swiss regain their independence. The book demonstrates that when people come together and work towards a common goal, they can achieve great things.

-The importance of cultural identity. Astérix in Switzerland celebrates the unique cultural identity of the Swiss. The Swiss characters are portrayed as having their own distinct language, traditions, and values. The book emphasizes the importance of preserving one's cultural heritage and not succumbing to external influences. It teaches the readers to appreciate and embrace their own cultural identity.

-Cultural stereotypes. The book playfully highlights various cultural stereotypes associated with both the Swiss and the Gauls. It shows the Swiss as being disciplined, precise, and punctual, while the Gauls are depicted as unconventionally brave and fiercely loyal. However, the book also challenges these stereotypes by showing that individuals from both cultures can defy expectations and exhibit traits not typically associated with them.

-Satire and humor. Astérix in Switzerland uses satire and humor to comment on various aspects of society. It humorously pokes fun at bureaucracy and politics, specifically in the scene where the Swiss decide on their new leader through a contest of yodeling. The puns and wordplay throughout the book add to the light-hearted and comedic tone.

-Loyalty and friendship. The book emphasizes the importance of loyalty and friendship through the relationship between Astérix and Obélix. Despite their differences, the two characters demonstrate unwavering loyalty and support for each other. The book also highlights the theme of loyalty to one's homeland, as both the Gauls and the Swiss are willing to fight for their respective countries and protect their way of life.

 Download Astérix in Switzerland by René Goscinny & Albert Uderzo

Switzerland: the land of yodelling, cuckoo clocks, 
and the extraordinary power of cheese!

 

Astérix

20 DE MARÇ DE 2026, VAGA ALS CENTRES EDUCATIUS

 

19 DE MARÇ DE 2026, VAGA ALS CENTRES EDUCATIUS

18 DE MARÇ DE 2026, VAGA ALS CENTRES EDUCATIUS

17 DE MARÇ DE 2026, VAGA ALS CENTRES EDUCATIUS

 

16 DE MARÇ DE 2026, VAGA ALS CENTRES EDUCATIUS

I AM THE CHAMPION... I DID IT FOR THE LOVE OF THE GAME

 I'll be the last one standing
Two hands in the air, I'm a champion
You'll be looking up at me when it's over
I live for the battle, I'm a soldier, yeah
I'm a fighter like Rocky
Put your flag on your back like Ali
Yeah, I'm the greatest, I'm stronger
Paid my dues, can't lose, I'ma own ya, ay

I've been working my whole life
And now it's do or die

I am invincible, unbreakable
Unstoppable, unshakable
They knock me down, I get up again
I am the champion, you're gon' know my name
You can't hurt me now, I can't feel the pain
I was made for this, yeah, I was born to win
I am the champion

When they write my story
They gonna say that I did it for the glory
But don't think that I did it for the fame, yeah
I did it for the love of the game, yeah
And this is my chance I'm taking
All them old records, I'm breaking
All you people watching on the TV
You go ahead and put your bets on me, ay

I've been waiting my whole life
To see my name in lights

I am invincible, unbreakable
Unstoppable, unshakable
They knock me down, I get up again
I am the champion, you're gon' know my name
You can't hurt me now, I can't feel the pain
I was made for this, yeah, I was born to win
I am the champion, oh-oh

Born champion, Luda
The C is for the courage I possess through the trauma (yeah)
H is for the hurt, but it's all for the honor
A is for my attitude working through the patience (hey)
Money comes and goes, so the M is for motivation

Gotta stay consistent, the P is for persevere
The I is for integrity, innovative career (career)
The O is optimistic, open and never shut
And the N is necessary 'cause I'm never givin' up

See, they ask me how I did it, I just did it from the heart
Crushin' the competition, been doing it from the start
They say that every champion is all about his principles
Carrie

I am invincible, unbreakable
Unstoppable, unshakable
They knock me down, I get up again
I am the champion, you're gon' know my name
You can't hurt me now, I can't feel the pain
I was made for this, yeah, I was born to win
I am the champion

I'm the champion, yeah, surpassed all rivals
It's all about who wants it the most
I am the champion
Fight for what we believe in
That's what champions are made of
I am the champion (yeah, champion)

 

 I've learned it's really important to work hard 
and keep your family and friends close. 
You've got to let them know how much 
you appreciate them for sticking by you.

Carrie Underwood

CORTO MALTESE & THE CELTS, ENJOYING A SPECIAL DAY

Today is The Grandma's birthday and the weather has wanted to give her a lovely rainy day, perhaps because it knows that The Grandma really likes these rainy and introspective days, fantastic for a good read and good company.

She will have the best company this afternoon when Claire Fontaine and Joseph de Ca'th Lon, who is some days in Barcelona, come to see her and all together enjoy the French football cup final, a very important match for the Northern Star, and she will have a good read before and after accompanied by Corto Maltese and his Celtic adventures.

Celtic Tales (or The Celts) is a volume of comics that brings together six adventures of Corto Maltese, a Maltese sailor. These stories were written and drawn by the Italian comic book creator Hugo Pratt, and published for the first time between 1971 and 1972 in the French comic magazine Pif Gadget. They take place in Europe, during World War I, between 1917 and 1918. The stories are:

-The Angel in the Window to the Orient

-Under the Flag of Gold

-Concerto in O Minor for Harp and Nitroglycerin

-A Midwinter Morning’s Dream -Côtes de Nuit and Picardy Roses

-Burlesque Between Zuydcoote and Bray-Dunes

Hugo Pratt has produced numerous additional drawings of the characters and places relating to the stories in this album, as he did with other episodes of the series. Here, for example, he drew different places in Ireland and historical or legendary characters.

Among the many covers existing for Celtic Tales, one of them shows a poem in which Corto Maltese thanks different characters, mostly from Celtic legends:

-Merlin, the enchanter or wizard featured in Arthurian legend (like the followings three characters);

-Morgan le Fay and Viviane the Lady of the Lake;

-King Arthur; 

-Oberon (king of the fairies) and Puck;

-The Irish leprechauns; 

-The Cornish Pixies;

-The Scottish boggles;

-The Breton Korrigans; 

-The Welsh miners, Wales being renowned for its coal industry;

-The French elves;

-The Druids of Folle Pensée (name of a locality in the Paimpont forest);

-The little folk of the forest of Brocéliande;

-The royal ravens of Stonehenge;

-W. B. Yeats, the Irish poet; 

-And the harp of the wind somewhere to the north.

Hugo Pratt won the Prix Saint-Michel, for "Best Realistic Writing" in 1977, for the story A Midwinter Morning's Dream.

Twenty years after the death of Hugo Pratt, his ex-assistant Lele Vianello, another Italian comic book creator, gave him a tribute album. Entitled Twenty after... Homage to Hugo Pratt, it includes drawings inspired by the story A Midwinter Morning’s Dream, where Corto and characters from Celtic legends await Pratt on the day of his death to welcome him into their world.

More information: The Slings & Arrows

I haven't decided the date of my death yet.

Corto Maltese

ENJOY LA CASA PROVINCIAL DE LA MATERNITAT GARDENS

Yesterday was a day of a lot of technical and bureaucratic work for The Grandma, exactly the type of work she likes least and that they are increasingly trying to make more extensive and useless.

So, after catching up on posts and correcting dozens of activities, today, she has decided that she would have a more relaxed day, so she has gone down to have breakfast with Claire Fontaine in one of the most beautiful places she has near her home, La Maternitat, the old hospital and orphanage that has now become a reference hospital surrounded by beautiful Modernist public buildings, with gardens with a variety of very interesting vegetation, and, most importantly, Claire's workplace, with whom she has shared a good coffee, an interesting chat and a fantastic time.

And, as it could not be otherwise, The Grandma has spent a good while contemplating the construction work on the Camp Nou, a stadium that the popular saying has always said is located between life (Maternitat Hospital) and death (Les Corts Cemetery). 

Since the 16th century, the Hospital de la Santa Creu was responsible for welcoming foundlings from all over Catalunya. The exposure of children in the 16th century articulated a discourse around sin and illegitimacy, which led this institution to dedicate itself to maintaining secret maternity and raising children of sin. The quality of treatment was very low, with a mortality rate of more than 70% of the asylum seekers.

During the 18th and 19th centuries, the exposure rate increased to a point where the institution collapsed. The lack of space and resources, overcrowding and the lack of sanitary conditions in the cities before the demolition of the walls in the mid-19th century caused the mortality rate to increase to 80%. The unsustainable situation of the institution, as well as the political, social and economic transformations derived from the Liberal Revolution, gave the only possible solution the creation of a unique institution dedicated to maternity and childhood.

Thus, on 23 November 1853, the Provincial Maternity and Foundling Home of Barcelona was inaugurated, based at the Casa de la Misericòrdia on Carrer de Ramelleres, 17, receiving 32 children from the Hospital de la Santa Creu. By virtue of the Charity Law of 23 January 1822, the General Charity Law of 26/6/1849 and the subsequent regulation published on 14 May 1852, it was decreed that these institutions were to be run by Boards of Ladies, thus establishing the association of the well-to-do woman's neighbour in the world of childcare, as was customary in 19th-century Europe.

Barcelona Zone writes about La Maternitat that:

In its past life, the grounds of today's tranquil park bore witness to a pioneering healthcare institution -La Maternitat i Sant Ramon hospital. This complex, which still serves various public functions, exhibits a collection of Modernist pavilions that have earned it a special place in Barcelona's rich architectural tapestry.

Originally built on the Can Cavaller estate in the late 19th century, the hospital La Maternitat de Barcelona began as the vision of Camil Oliveres i Cansaran, the then Provincial Council architect. His ambitious project aimed to integrate healthcare and aesthetics, delivering functionality adorned with artistic detailing. This approach resonated deeply with the Modernist movement sweeping the city at the time.

The death of Oliveres saw other architects take the reins, each contributing to the site's evolution while maintaining the founding principles of beauty intertwined with purpose. The pavilions, constructed of exposed brick and accented by dazzling polychrome ceramics, stand today as a testament to Modernist design -a symphony of form and function.

The complex’s signature buildings, the blue pavilion and the pink pavilion, catch the eye with their vivid colors and intricate design. Yet, the site's enchantment does not end with its buildings. Open to the public, the gardens of La Maternitat are where nature and architecture dance in harmonious balance. Amidst the foliage stands the statue 'La maternitat' by sculptor Lluïsa Granero, further emphasizing the theme of nurturing and care inherent to the site's history.

Designed to provide solace to recovering patients, the gardens now offer visitors the chance to lose themselves among diverse flora, including towering date palms and an impressive magnolia tree that claims the title of the tallest in Barcelona. In these gardens, nature performs its restorative magic, just as the architects intended decades ago.

Beyond its architectural splendor, La Maternitat hospital holds a profound social significance. Founded to aid the most vulnerable -abandoned children and mothers in need of discretion- the institution became a symbol of solidarity and care for the disadvantaged. This historical narrative echoes throughout the complex, adding depth to the visitor's experience.

The gardens, purposefully designed to offer comfort and peace to those healing within the hospital's walls, continue to provide solace to residents and tourists alike. Now, as you wander the footpaths of La Maternitat, you engage with a living history narrative that whispers tales of compassion from the leafy shade.

A trip to La Maternitat Barcelona extends far beyond mere sightseeing it's an encounter with a facet of the city's past that played a pivotal role in its social development. Whether you're an architecture enthusiast eager to explore Rationalist design or a traveler seeking a moment of tranquility away from the city’s more frenetic attractions, La Maternitat beckons with its unique charm.

The shade of the trees in the historic gardens of La Maternitat promises a welcoming escape. Indulge in the serene atmosphere and contemplate the history, beauty, and altruism that this remarkable site signifies. 

In the bustle of urban life, La Maternitat offers a serene vantage point to reflect on the city's legacy of caring for the well-being of its people both physically and architecturally.

As you leave the park, the harmonious blend of nature and architectural rationalism lingers in your mind -a reminder of Barcelona's lesser-known, but equally important, heritage.  

La Maternitat is more than just a place; it is a celebration of life, history, and the enduring spirit of Barcelona.

More information: Barcelona Travel Hacks

We learn from our gardens to deal 
with the most urgent question of the time: 
How much is enough?

Wendell Berry

'DIARIO DI VIAGGIO' & 'UNA BALLATA DEL MARE SALATO'

The Grandma has had a few days of introspection and reflection. These days she never lacks the company of her beloved Corto Maltese to whom she turns in search of peace, tranquility and spirituality.

Joseph de Ca'th Lon sent her a fantastic Panini collection entitled Corto Maltese: Diario di Viaggio and she has been reading it, sticking the stickers and placing the cards until she has had the complete collection. Then, she has reread The Ballad of the Salty Sea, the first episode of the adventures of Corto Maltese, her admired adventurer.

As she always turns to Corto, it has been a great pleasure to share these days with him, to recharge and to get up again to continue forward, because we really have to continue forward on this beautiful but complicated journey that is life.

Una ballata del mare salato, in English The Ballad of the Salty Sea, is a graphic novel, the first episode of the adventures of Corto Maltese, a Maltese sailor.

This story was written and drawn by the Italian comic book creator Hugo Pratt. 

It was published for the first time between 1967 and 1969, in the magazine Il Sergente Kirk. It takes place in Melanesia (Western Oceania), shortly before World War I, between 1913 and 1915. It introduces many future important characters from the series, such as the romantic Corto, the crazy Russian sailor Rasputin, and the young cousins Pandora and Cain.

Although the story introduces a new comic book character destined to become famous, Corto Maltese is not the main character. According to Pratt, Pandora Groovesnore is the central character. He explains that everyone is in love with her, and that she is a kind and beautiful girl who becomes an adult. Corto is just a secondary character, like so many others in this story. The cartoonist did not suspect that he would reuse the Corto Maltese character for a whole series.

To pretend that this story is true, Pratt published, in addition, a fake letter from Cain's nephew, Obregan Carrenza, which he had to give to the cartoonist himself. This process is also often used in adventure novels. This document, dating from the middle of the 20th century évokes Corto's old age and his sadness following the death of his friend Tarao. This letter is missing from many editions of this story, probably because some publishers refuse to let the reader imagine the aging hero.

Hugo Pratt will reuse Corto Maltese for news adventures taking place in America, published for the first time in 1970 and collected in the volume Under the Sign of Capricorn. This is the start of his Corto Maltese series, comprising twelve episodes. One of which takes place eight years before the first episode, in 1905 in Manchuria (China), relating the meeting between Corto and Rasputin: Corto Maltese: The Early Years. After Pratt's death, the series was resumed by Ruben Pellejero and Juan Diaz Canales. They have currently made three additional episodes. In the last one, they imagined a prequel to The Ballad of the Salty Sea, All Saints Day, to explain why Corto was attached to the raft and how he worked for the Monk.

Escondida is a fictional island located in Western Oceania, the scene of an important part of this story. Its coordinates are 169° west longitude, 19° south latitude. Which corresponds to the location of the Tanna Island, in Vanuatu, near New Caledonia. However, Pratt claimed that his model was Abaiang (Gilbert Islands, Kiribati).

The story abounds in literary references. For example, at the start, Rasputin is reading Voyage autour du monde, Louis Antoine de Bougainville's travel diary. This French explorer indeed sailed in the same zone where he was at that time. Cain, on several occasions, spreads his culture through various allusions. Thus, when he failed on a beach with Tarao, he compares themself to Robinson Crusoe and Friday (characters created by Daniel Defoe). Then, when they escape from the cannibals with the others, he tells him about Moby Dick (from the novel Moby-Dick by Herman Melville). Later, in Slütter's submarine, he is reading The Rime of the Ancient Mariner, the long poem by Samuel Taylor Coleridge. Finally, when he leaves Escondida with Pandora, he evokes the ship Argo and the character Jason, from Greek mythology.

Twenty years after the creation of this story, Pratt slipped a dedication into it. It pays homage to the Irish writer Henry De Vere Stacpoole, who piqued Pratt's interest in the South Seas.

Hugo Pratt discreetly slides into his story various allusions to cultural elements of the different Oceanian peoples encountered, whether through their songs or their conversations. They allude for example to gods, creatures or illustrious people, like Kanaloa, Tāne, Tū, Rongo, Tangaroa, Māui, Kupe, Tamatea (explorer), Pehee Nuee Nuee. They also speak of mythical places like Hawaiki. Finally, they evoke several of the many Pacific islands: Mangareva, Hawaii, Tahiti, Heragi (Māori name for Pitcairn Island, in Pitcairn Islands), Aotearoa (Māori name for New Zealand), Tubuai. The decor of the comic is punctuated by various Oceanian masks. Several of them are thus visible on the house where Cain is a prisoner. These items resemble those made by Baining people, they live in Papua New Guinea.

Despite this realism, Pratt allows himself touches of fantasy, sometimes making his Oceanian characters speak in Venetian language (an element that translators leave as is).

The album won the award for the best foreign realistic work at the 1976 Angoulême Festival.

This story was classified in 2012 at the 3rd place of the classification of 50 essential BD established by the French magazine Lire.

Umberto Eco, Italian novelist and literary critic, wrote a preface to this story (found in the 1989 edition) on the geographic and cultural references of this story.

More information: The Slings and Arrows

For me, my travels have been the chance 
to go to a place that already exists in my imagination.
 

Hugo Pratt

YOU’LL HAVE UNDERSTOOD WHAT THESE ITHAKAS MEAN

Σα βγεις στον πηγαιμό για την Ιθάκη,
να εύχεσαι νάναι μακρύς ο δρόμος,
γεμάτος περιπέτειες, γεμάτος γνώσεις.
Τους Λαιστρυγόνας και τους Κύκλωπας,
τον θυμωμένο Ποσειδώνα μη φοβάσαι,
τέτοια στον δρόμο σου ποτέ σου δεν θα βρεις,
αν μέν’ η σκέψις σου υψηλή, αν εκλεκτή
συγκίνησις το πνεύμα και το σώμα σου αγγίζει.
Τους Λαιστρυγόνας και τους Κύκλωπας,
τον άγριο Ποσειδώνα δεν θα συναντήσεις,
αν δεν τους κουβανείς μες στην ψυχή σου,
αν η ψυχή σου δεν τους στήνει εμπρός σου.

Να εύχεσαι νάναι μακρύς ο δρόμος.
Πολλά τα καλοκαιρινά πρωιά να είναι
που με τι ευχαρίστησι, με τι χαρά
θα μπαίνεις σε λιμένας πρωτοειδωμένους·
να σταματήσεις σ’ εμπορεία Φοινικικά,
και τες καλές πραγμάτειες ν’ αποκτήσεις,
σεντέφια και κοράλλια, κεχριμπάρια κ’ έβενους,
και ηδονικά μυρωδικά κάθε λογής,
όσο μπορείς πιο άφθονα ηδονικά μυρωδικά·
σε πόλεις Aιγυπτιακές πολλές να πας,
να μάθεις και να μάθεις απ’ τους σπουδασμένους.

Πάντα στον νου σου νάχεις την Ιθάκη.
Το φθάσιμον εκεί είν’ ο προορισμός σου.
Aλλά μη βιάζεις το ταξείδι διόλου.
Καλλίτερα χρόνια πολλά να διαρκέσει·
και γέρος πια ν’ αράξεις στο νησί,
πλούσιος με όσα κέρδισες στον δρόμο,
μη προσδοκώντας πλούτη να σε δώσει η Ιθάκη.

Η Ιθάκη σ’ έδωσε τ’ ωραίο ταξείδι.
Χωρίς αυτήν δεν θάβγαινες στον δρόμο.
Άλλα δεν έχει να σε δώσει πια.

Κι αν πτωχική την βρεις, η Ιθάκη δεν σε γέλασε.
Έτσι σοφός που έγινες, με τόση πείρα,
ήδη θα το κατάλαβες η Ιθάκες τι σημαίνουν. 

 

As you set out for Ithaka
hope your road is a long one,
full of adventure, full of discovery.
Laistrygonians, Cyclops,
angry Poseidon -don’t be afraid of them:
you’ll never find things like that on your way
as long as you keep your thoughts raised high,
as long as a rare excitement
stirs your spirit and your body.
Laistrygonians, Cyclops,
wild Poseidon -you won’t encounter them
unless you bring them along inside your soul,
unless your soul sets them up in front of you.

Hope your road is a long one.
May there be many summer mornings when,
with what pleasure, what joy,
you enter harbors you’re seeing for the first time;
may you stop at Phoenician trading stations
to buy fine things,
mother of pearl and coral, amber and ebony,
sensual perfume of every kind-
as many sensual perfumes as you can;
and may you visit many Egyptian cities
to learn and go on learning from their scholars.

Keep Ithaka always in your mind.
Arriving there is what you’re destined for.
But don’t hurry the journey at all.
Better if it lasts for years,
so you’re old by the time you reach the island,
wealthy with all you’ve gained on the way,
not expecting Ithaka to make you rich.

Ithaka gave you the marvelous journey.
Without her you wouldn't have set out.
She has nothing left to give you now.

And if you find her poor, Ithaka won’t have fooled you.
Wise as you will have become, so full of experience,
you’ll have understood by then what these Ithakas mean.

More information: Archive

Τουλάχιστον άσε με τώρα να ξεγελάω τον εαυτό 

μου με ψευδαισθήσεις 
για να μην νιώθω την άδεια ζωή μου.

 

At least let me now deceive 

myself with illusions
so as not to feel my empty life.

 

 Konstantinos Petru Kavafis

ASTÉRIX AND THE ROMAN AGENT IN DÉCINES-CHARPIEU

Today, Claire Fontaine and Joseph de Ca'th Lon have arrived in Décines-Charpieu, Lyon where this afternoon they will go to see the Northern Star, who has a very important match today. During the trip from Milan to Lyon they have been reading a new Astérix adventure, in this case, Astérix and the Roman Agent.

Astérix and the Roman Agent, in French La Zizanie, is the fifteenth volume of the Astérix comic book series, by René Goscinny (stories) and Albert Uderzo (illustrations). It first appeared as a serial in Pilote magazine issues 531–552 in 1970 and was translated into English in 1972.

The original French title of this story was La Zizanie (The Ill-feeling or The Dissension). The inspiration was the dissension at Pilote magazine, a year before, during the May 1968 events in Paris, a time of civil unrest, when Goscinny, then also editor of Pilote, was almost evicted from the post, and remained bitter from the affair.

In the English version Caesar keeps making the famous Et tu Brute remark to Brutus who reacts in silent annoyance at this patronising attitude. In the original French version, Caesar keeps saying Et toi, mon fils (French for And you, my son), a possible reference to the suggestion by some historians that Brutus was actually fathered by Caesar, though some think it unlikely due to the mere 17-year age difference between the two men. It may also be a reference to the Greek phrase which the historian Suetonius reports Caesar did say to Brutus, καὶ σὺ τέκνον (Kai su, teknon?), literally, in English, You too, my child?

Brutus denies ever serving Caesar's enemy Pompey, whereas he actually did so in real life. It is a curious remark to make in a series which, although largely fictional, is based on extensive research into the history and background of the time and the habits of populations both old and new.

Centurion Felix Platypus is a caricature of the actor Lino Ventura, well-known for playing the parts of tough policemen.  

The incident of the Pirates fighting between themselves and sinking their own ship is referred to in the next adventure Astérix in Switzerland.

When Impedimenta screams at Vitalstatistix about idiots (words used in the original French edition) who might one day have the absurd idea of writing the history of the village, Goscinny and Uderzo are clearly referring to themselves.

This is the first appearance of several female villagers -Impedimenta's inner circle of prominent wives. In particular, the wives of Geriatrix and Fulliautomatix and an obese lady whose husband is not mentioned, but who appears in many crowd and background scenes in later albums, are first seen here.

In the scenes where people have been deceived into arguing, the speech bubbles are painted in increasingly dark green. In contrast, in the final banquet panel, Vitalstatistix makes his moving birthday speech in pink.

Stradivarius. The old senator's voice is compared to the sound of a Stradivarius violin, highlighting its rich and resonant quality.

Magnumopus (Fr. Savancosinus). The French name of the Roman legionary Magnumpous is Savancosinus. This is a clever play on the word cosine, referencing the comic character Savant Cosinus.

The Battle of the Four Camps. For the first time, all four Roman camps surrounding the Gaulish village  -Aquarium, Totorum, Laudanum, and Compendium- unite in a coordinated attack, increasing the stakes for the indomitable Gauls. In the American English release, the camps are named; Aquarium, Opprobrium, Nohappimedium and Delirium.

It is a very special adventure from which great vital ideas are extracted.

Despite Convolvulus's best efforts, the Gauls ultimately overcome the challenges he presents. By recognizing the dangers of manipulation and reaffirming their unity, they successfully thwart the Roman's plans and expose Convolvulus's treachery.

Astérix and the Roman Agent is a testament to the enduring brilliance of Goscinny and Uderzo. This thought-provoking adventure explores themes of trust, betrayal, and the importance of maintaining unity within a community, making it a timeless classic that continues to entertain and enlighten readers today.

Download Astérix and the Roman Agent by R. Goscinny & A. Uderzo

Astérix I think that we shall soon 

have to teach our friends a little lesson.

Obélix

FOOTBALL CLUB INTERNAZIONALE IS FOUNDED IN 1908

Joseph de Ca'th Lon and Claire Fontaine continue to enjoy the Paralympic Games in a city as important for sport as Milan. 

That is why, the two friends, great football fans, celebrate today the 118th anniversary of the founding of a European historic club, Inter Milan.

Tomorrow, they will travel to Lyon to watch the Northern Star, who has an important match that could mean winning the regular season of her league. 

Football Club Internazionale Milano, widely referred to as Internazionale, and commonly known as Inter Milan in English-speaking countries, is an Italian professional football club based in Milan, Lombardy. 

Inter is the only team to have always participated in the top division of Italian football since its debut in 1909, never being relegated to Serie B. Since 1947, Inter has shared the San Siro stadium, the largest stadium in Italy, with AC Milan, with whom it contests the long-standing Derby della Madonnina, one of the most widely followed rivalries in world football.

The club was founded in 1908 after a split within the Milan Foot-Ball and Cricket Club (now AC Milan), and won its first championship in 1910. Since its formation, the club has won 37 domestic trophies, including 20 league titles, nine Coppa Italia, and eight Supercoppa Italiana. From 2006 to 2010, the club won five successive league titles, equaling the all-time record at that time. They have won the European Cup/Champions League three times, their latest win in 2010 completed an unprecedented Italian seasonal treble, with Inter winning the Serie A and the Coppa Italia the same year. The club has also won three UEFA Cups, two Intercontinental Cups, and one FIFA Club World Cup. Inter is the only Italian club that won at least an official trophy in every decade since the foundation of the club in 1908.

Inter has the highest home game attendance in Italy and the fourth-highest attendance in Europe. Since May 2024, the club has been owned by American asset management company Oaktree Capital Management.

The club was founded on 9 March 1908 as Football Club Internazionale, when a group of players left the Milan Cricket and Football Club (now AC Milan) to form a new club because they wanted to accept more foreign players. The name of the club derives from the wish of its founding members to accept foreign players as well as Italians. The club won its first championship in 1910 and its second in 1920. The captain and coach of the first championship winning team was Virgilio Fossati, who was later killed in battle while serving in the Italian army during World War I.

One of the founders of Inter, a painter named Giorgio Muggiani, was responsible for the design of the first Inter logo in 1908. The first design incorporated the letters FCIM in the centre of a series of circles that formed the badge of the club. The basic elements of the design have remained constant even as finer details have been modified over the years. Starting from the 1999-2000 season, the original club crest was reduced in size, to create space for the addition of the club's name and foundation year at the upper and lower part of the logo respectively.

In 2007, the logo was returned to the pre-1999-2000 era. It was given a more modern look with a smaller Scudetto star and lighter colour scheme. This version was used until July 2014, when the club decided to undertake a rebranding. The most significant difference between the current and the previous logo is the omission of the star from other media except match kits.

Since its founding in 1908, Inter have almost always worn black and blue stripes, earning them the nickname Nerazzurri. According to the tradition, the colours were adopted to represent the nocturnal sky: in fact, the club was established on the night of 9 March, at 23:30; moreover, blue was chosen by Giorgio Muggiani because he considered it to be the opposite colour to red, worn by the Milan Cricket and Football Club rivals.

During the 1928-29 season, however, Inter were forced by Fascist regime to abandon their black and blue uniforms.

In 1928, Inter's name and philosophy made the ruling Fascist Party uneasy; as a result, during the same year the 20-year-old club was merged with Unione Sportiva Milanese: the new club was named Società Sportiva Ambrosiana after the patron saint of Milan. The flag of Milan (the red cross on white background) replaced the traditional black and blue.

In 1929, the black-and-blue jerseys were restored, and after World War II, when the Fascists had fallen from power, the club reverted to their original name. 

In 2008, Inter celebrated their centenary with a red cross on their away shirt. The cross is reminiscent of the flag of their city, and they continue to use the pattern on their third kit.

In 2014, the club adopted a predominantly black home kit with thin blue pinstripes before returning to a more traditional design the following season.

Animals are often used to represent football clubs in Italy -the grass snake, called Biscione, represents Inter. The snake is a symbol for the city of Milan, appearing often in Milanese heraldry as a coiled viper with a man in its jaws. The symbol is present on the coat of arms of the House of Sforza (which ruled over Italy from Milan during the Renaissance period), the city of Milan, the historical Duchy of Milan (a 400-year state of the Holy Roman Empire) and Insubria (a historical region the city of Milan falls within). For the 2010-11 season, Inter's away kit featured the snake.

More information: Inter

Questa notte splendida darà i colori al nostro stemma: 
il nero e l'azzurro sullo sfondo d'oro delle stelle. 
Si chiamerà Internazionale, 
perché noi siamo fratelli del mondo.

This wonderful night will give us the colours of our crest: 
black and blue against a backdrop of stars. 
It shall be called International, 
because we are brothers of the world.

Giorgio Muggiani, 9 March 1908, Milan

INVOKING & EVOKING EDITH SÖDERGRAN'S 'VI KVINNOR'

The language of equality is international, so today, from Malmö in Sweden, The Grandma, who is Andorran/Catalan, wants to remember Edith Södergran, a poet who was born in Saint Petersburg in the Russian Empire, of Finnish nationality who wrote in Swedish, author of one of the most wonderful poems ever written about women, Vi kvinnor, which was translated into Catalan by Maria del Mar Bonet in an excellent way, even though we all know that in literature 'to translate is to betray'.

We must work so that equality is not just a slogan, nor a topic to win votes when there are elections, nor marketing without content to be politically correct, nor a business that distorts all the work, effort and sacrifice of so many women over so many centuries, a work that must continue to dignify the lives of so many women from theocratic regimes to consolidated false democracies, because as Edith Södergran wrote you looked for a woman and you found a person, and the day we all see each other as equals, that day we will be able to call ourselves a real society.

 

Vi kvinnor, vi äro så nära den bruna jorden.
Vi fråga göken, vad han väntar av våren,
vi slå våra armar kring den kala furan,
vi forska i solnedgången efter tecken och råd.

Vi kvinnor, vi äro så fattiga på ord,
vi veta endast så mycket som träden,
vi kunna endast tiga och vänta
som de mörka skogarna vänta på våren.

Jag älskade en gång en man,
han trodde på ingenting.
Han kom en kall dag med tomma ögon,
han gick en tung dag med glömska över pannan.

Jag väntade ett barn av honom.
Men barnet dog i mitt sköte,
och jag bar dess lilla lik
i mitt hjärta länge.

Om mitt barn icke lever, är det hans.

Nosaltres, les dones
Som molt a prop de la terra
Demanàvem als ocells
Que esperen de la primavera

Acollim al pi despullat
Dins els nostres braços
Cerquem en la posta de sol
Senyals i consells

Vaig estimar un cop un home
Ell no creia en res
Arribà un dia gelat
Amb els ulls buits
Se n'anà un dia feixuc
Amb l'oblit sobre el front

Si el meu fill neix mort
És seu

Tu cercaves una flor
I vares trobar un fruit
Cercaves una font
I vares trobar un riu
Volies una dona
I trobares una persona
I et sents
Desenganyat

We women, we are so close to the brown earth.
We ask the cuckoo what he expects from spring,
We wrap our arms around the bare pine,
We search the sunset for signs and advice.

We women, we are so poor in words,
We only know as much as the trees,
We can only be silent and wait
As the dark forests wait for spring.

I once loved a man,
He believed in nothing.
He came one cold day with empty eyes,
He left one heavy day with forgetfulness over his forehead.

I expected a child from him.
But the child died in my womb,
And I carried its little corpse
In my heart for a long time.
If my child does not live, it is his.

 

More information: Nordic Womens Literature

 

 

Mitt självförtroende kommer från det faktum 
att jag har upptäckt mina egna dimensioner. 
Det anstår mig inte att göra mig själv mindre än jag är.

My self-confidence comes from the fact
that I have discovered my own dimensions. 
It does not behoove me to make myself smaller than I am.

Edith Södergran

THE GRANDMA LOOKS FOR THE LILLE PRINSEN IN MALMÖ

Today, The Grandma has been visiting the Swedish city of Malmö, in Skåne. Located 35-40 minutes by train from Copenhagen, The Grandma has come not only to see and get to know the city but also to look for a cultural treasure of incalculable personal value.

The Grandma is passionate about literature and when asked the seemingly impossible question of what her favourite work of fiction is, she has no doubt about choosing The Little Prince, the masterpiece by Antoine de Saint-Exupéry. And for this reason, whenever she has the opportunity to be away from home, the challenge is to find a version of this wonder in the language of the place she is visiting, so, while being in Copenhagen and already having the Danish version, she could not resist the temptation to take the train and cross the Øresund Bridge, from Denmark to the Öresund Bridge in Sweden and go in search of this extraordinary treasure and yes, she has been able to do it. 

The visit has been so short that she has not had enough time to really visit the city, so she has put it on his list of upcoming must-sees. In addition, she has taken a short break to watch the Northern Star, who had an important match today, which has not gone well, but from which many lessons can be learned.

Tomorrow morning, she will cross the bridge again towards Kastrup, where she must take the return flight to Barcelona at mid-morning, saying goodbye to these Scandinavian lands that she loves and admires so much. 

Malmö is the third-largest city in Sweden, after Stockholm and Gothenburg, and the seventh-largest city in the Nordic region. Located on the Öresund strait on the southwestern coast of Sweden, it is the largest city in Skåne and is the gubernatorial seat of Skåne County. Malmö received its city privileges in 1353.

Malmö is the site of Sweden's only fixed direct link to continental Europe, the Öresund Bridge, completed in 2000. The bridge connects Sweden to Denmark, and carries both road and rail traffic. The Öresund Region, which includes Malmö and Copenhagen, is home to four million people.

The city was one of the earliest and most-industrialised in Scandinavia, and the birthplace of several of Scandinavia's largest industrial groups, such as Kockums, Skanska, and Scania AB. The city has undergone a major transformation in the 21st century, and today, Malmö is characterised by many small and medium-sized companies in biotech, logistics, IT, construction, and real estate markets. It also is home to Malmö University and other higher education facilities.

Malmö contains many historic buildings and parks, and is a commercial centre for the western part of Skåne. It is home to Malmö FF, the Swedish football club with the most Allsvenskan titles, and the only Nordic club to have reached the final of the European Cup. It is also home to women's football club FC Rosengård, the most successful club in the Damallsvenskan.

Malmö has a mild climate for the latitude and, normally, average high temperatures remain above freezing in winter, with prolonged snow cover being rare.

The earliest written mention of Malmö as a city dates from 1275. It is thought to have been founded shortly before that date, as a fortified quay or ferry berth of the Danish Archbishop of Lund, 20 kilometres to the north-east. Its original name was Malmhaug, with alternative spellings, meaning Gravel pile or Ore Hill.

In the 15th century, Malmö became one of Denmark's largest and most visited cities, reaching a population of approximately 5,000 inhabitants. It became the most important city around the Öresund, with the German Hanseatic League frequenting it as a marketplace, and was notable for its flourishing herring fishery. 

In 1437, King Eric of Pomerania (King of Denmark from 1396 to 1439) granted the city's arms: argent with a griffin gules, based on Eric's arms from Pomerania. The griffin's head as a symbol of Malmö extended to the entire province of Skåne from 1660.

Lutheran teachings spread during the 16th century Protestant Reformation, and Malmö became one of the first cities in Scandinavia to fully convert (1527–1529) to this Protestant denomination. 

More information: Malmö Stad

We had spent two months in Malmö, Sweden, 
the place for which God saved all the most beautiful things in nature. 
The greenest grass. Sky the colour of cornflowers. 
Children who seemed born of that landscape, 
their hair spun from white clouds, eyes of cobalt sea.

Martha Hall Kelly

ENJOYING HISTORY IN VIKINGESKIBSMUSEET, ROSKILDE

Joseph de Ca'th Lon and Claire Fontaine have arrived in Verona this morning, where they will attend the opening ceremony of the Paralympic Games today. The two friends have been to Maria Enzasduaf and Kufstein this week, before arriving in this beautiful city in Veneto from where they will travel to the different places to enjoy such a spectacular sporting spectacle as the Paralympic Games.

Meanwhile, The Grandma continues in Denmark. She arrived in København with Veles e Vents by Ausiàs March and couldn't leave Roskilde without visiting the Vikingeskibsmuseet, an extraordinary museum that transports you throughout the history of the Vikings, who, just like Ausiàs March did in the Mediterranean, set out to sail, discover and live in places far from Scandinavian lands.

Vikingeskibsmuseet is a must-see to understand the Scandinavian past and present, a culture that has influenced the rest of Europe and part of North America much more than we will ever imagine.

For The Grandma, who loves the sea and sailing madly, being able to visit this museum is an indescribable pleasure, especially the part where they teach how these magnificent and majestic ships were made.

How do you take a piece of this culture with you? Some small souvenirs, a great book and a nice sweatshirt are not enough. Nothing is enough.

This evening, she will travel by train to Malmö, Sweden where she will stay for the weekend before returning to Barcelona, ​​where on Monday afternoon she will have a training session with future trainers in Castelldefels. 

Vikingeskibsmuseet (Viking Ship Museum) in Roskilde is Denmark's national ship museum for ships of the prehistoric and medieval period.

The main focus of the museum is a permanent exhibition of the Skuldelev ships, five original Viking ships excavated nearby in 1962.  

The Viking Ship Museum also conducts research and educates researchers in the fields of maritime history, marine archaeology and experimental archaeology. Various academic conferences are held here and there is a research library in association with the museum.

Around the year 1070, five Viking ships were deliberately sunk at Skuldelev in Roskilde Fjord in order to block the most important fairway and to protect Roskilde from an enemy attack from the sea. These ships, later known as the Skuldelev ships, were excavated in 1962. They turned out to be five different types of ships ranging from cargo ships to ships of war.

The Viking Ship Museum overlooking the inlet of Roskilde Fjord was built in 1969 with the main purpose of exhibiting the five newly discovered Skuldelev ships.

The original Skuldelev Viking ships are the main focus of the museum, but a small exhibition about the Roskilde ships and various temporary exhibitions with a broader scope can also be experienced here.

In the late 1990s, excavations for the shipyard expansion of the Viking Ship Museum uncovered the remains of a further nine ships, the Roskilde ships, from the medieval period. It is the largest such discovery of ships in Northern Europe. Most of these are from the period just after the Viking Age, 1060-1350 AD, but Roskilde 6 is from 1025 AD and is the longest Viking ship ever found; about 37 m long. All except Roskilde 8 have been excavated and their remains are at the National Museum of Denmark.

The Viking Ship Museum has a long tradition of Viking ship reconstructions and boat building and also collects boats of interest from all over Scandinavia. 

The boat collection at the museum now comprise more than 40 vessels and the associated ship building yard is constantly building new ships by original methods as part of an experimental archaeology learning process. It is possible to follow or engage in the ship building process here. The shipyard is located on a small isle known as Museumsøen (Museum Island), connected to the main museum exhibition buildings by a drawbridge.

Every summer, a handful of boats are launched for extended sea voyages to accumulate more knowledge about the seafaring techniques and conditions of the Vikings.

More information: Vikingeskibsmuseet

Nothing in life is going to be smooth sailing.

Dawn Staley

INGER CHRISTENSEN, 'SOMMERFUGLEDALEN: ET REQUIEM'

Today, the day dawned with a few clouds in København. The Grandma has taken the train to Roskilde. It's a 25-minute journey, enough to accompany them with a good read. She has chosen Sommerfugledalen: Et requiem by Inger Christensen, a Scandinavian author for whom The Grandma feels true devotion and whom she had the pleasure of meeting in person in Rome eight years ago.

Inger Christensen was a woman with a passionate personality and what excites The Grandma most about her poetry is the use of mathematical patterns (such as the Fibonacci sequence or combinatorial systems) that make you, as a reader, feel that language grows like a natural organism. And indeed, it does.

Inger Christensen shows how individual existence is part of an immense order where plants, animals, humans, language and the universe function as a network of interconnections, as the Mallorcan philosopher Ramon Llull said in the 13th century.

Inger Christensen's work is based on the philosophical idea that language not only describes the world, but also creates it. Her poems often seem like experiments with reality, as if she were trying to discover how far language can go to explain existence, and for this reason, these poems explore the contradiction between order (patterns, mathematics, language) and chaos (war, destruction, entropy) and this is amazing.

It is difficult to highlight one work above the rest as a whole, but today The Grandma has decided to highlight Sommerfugledalen: Et requiem, a cycle of sonnets about butterflies and mortality, where it talks about how the beauty of nature coexists with the awareness of the fragility of life.

The butterfly is a mythological insect for many cultures. Diderot's Encyclopédie cites them as a symbol of the soul. Accordingly, the ancient Greek word for butterfly is ψυχή (psȳchē), which primarily means soul or mind. In some cultures, butterflies symbolize reincarnation. In Japan, the butterfly is seen as the personification of a person's soul; whether alive, dying, or already dead. In China, however, it symbolizes love, in an image similar to that of the Western heart. In many countries it is an allegory of beauty and fragility, which is why it is a metaphorical image of young women. Her life is also a symbol of transformation and change; coming out of the chrysalis to become better. In Devon, England, people rush to kill the first butterfly of the year to avoid a year of bad luck. In the Philippines, a persistent black butterfly or moth in the house means a death in the family. Several states in the United States of America have chosen the butterfly as their state insect.

For this reason, the so-called butterfly effect is an image to explain that everything is related and as Inger Christensen and Ramon Llull said, the universe works as a network of interconnections.

And while The Grandma was reading Sommerfugledalen: Et requiem, she has arrived at her destination, Roskilde, where an intense morning of work awaits her, with another vital network for territorial development: the railway.

More information: Visit Fjordlandet 

Inger Christensen (16 January 1935-2 January 2009) was a Danish poet, novelist, essayist and editor. She is considered the foremost Danish poetic experimentalist of her generation.

Born in the town of Vejle, on the eastern Jutland coast of Denmark, Christensen's father was a tailor, and her mother a cook before her marriage. After graduating from Vejle Gymnasium, she moved to Copenhagen and, later, to Århus, studying at the Teachers' College there. She received her certificate in 1958. During this same period, Christensen began publishing poems in the journal Hvedekorn, and was guided by the noted Danish poet and critic Poul Borum (1934-1996), whom she married in 1959 and divorced in 1976.

After teaching at the College for Arts in Holbæk from 1963 to 1964, she turned to writing full-time, producing two of her major early collections, Lys (1962) and Græs (1963), both examining the limits of self-knowledge and the role of language in perception. Her most acclaimed work of the 1960s, however, was It, which, on one level, explored social, political and aesthetic issues, but more deeply probed large philosophical questions of meaning. The work, almost incantatory in tone, opposes issues such as fear and love and power and powerlessness.

In these years Christensen also published two novels, Evighedsmaskinen (1964) and Azorno (1967), as well as a shorter fiction on the Italian Renaissance painter Mantegna, presented from the viewpoint of various narrators (Mantegna's secretary Marsilio, the Turkish princess Farfalla, and Mantagena's young son), Det malede Værelse (1976, translated into English as The Painted Room by Denise Newman and published by Harvill Press in 2000).

Much of Christensen's work was organized upon systemic structures in accordance with her belief that poetry is not truth and not even the dream of truth, but is a game, maybe a tragic game -the game we play with a world that plays its own game with us.

In the 1981 poetry collection Alfabet, Christensen used the alphabet (from a ["apricots"] to n ["nights"]) along with the Fibonacci mathematical sequence in which the next number is the sum of the two previous ones (0, 1, 1, 2, 3, 5, 8, 13, 21, 34...). As she explained: The numerical ratios exist in nature: the way a leek wraps around itself from the inside, and the head of a snowflower, are both based on this series. Her system ends on the n, suggesting many possible meanings including n's significance as any whole number. As with It, however, despite its highly structured elements this work is a poetically evocative series concerned with oppositions such as an outpouring of the joy of the world counterposed with the fears for and forces poised for its destruction.

Sommerfugledalen of 1991 (Butterfly Valley: A Requiem, 2004) explores through the sonnet structure the fragility of life and mortality, ending in a kind of transformation. It consists of 15 sonnets and is a so-called sonnet redoublé.  

Christensen also wrote works for children, plays, radio pieces, and numerous essays, the most notable of which were collected in her book Hemmelighedstilstanden (The State of Secrecy) in 2000.

In 1978, she was appointed to the Royal Danish Academy; in 1994, she became a member of the Académie Européenne de Poésie; in 2001, a member of the Academy of Arts, Berlin. She won the Grand Prix des Biennales Internationales de Poésie in 1991. She received the Rungstedlund Award in 1991, Der österreichische Staatspreis für Literature in 1994; in 1994, she won the Swedish Academy Nordic Prize, known as the little Nobel; the European Poetry Prize in 1995; The America Award in 2001; the German Siegfried Unseld Preis in 2006; and received numerous other distinctions. 

Her works have been translated into several languages, and she was frequently mentioned as a candidate for the Nobel Prize in Literature.

The complete Butterfly valley has been set twice by two Danish composers, Niels Rosing-Schow and Svend Nielsen. Both versions were, separately, recorded by Ars Nova Copenhagen with poetry reading by the poet.

More information: Rough Ghosts

 Happiness is the change that comes over me
when I describe the world.
It comes over the world.
Happiness is the change that comes over me
when I'm afraid.
It comes over the world.
For instance I can be afraid of and for the world
afraid because the world consists among other things
of me so swiftly dying.

Inger Christensen