El meu país és l’Empordà, la seva gent, les seves places, del surrealisme de Dalí al paladar del ben servit. El meu país és l’Empordà. No deixis mai de caminar, els seus camins deixen petjada. Ningú no espera marxar mai, i qui marxa sempre escriu: que bonic és tornar a casa. I com vesteix la primavera als jardins del paradís, com llueixen les albades a dalt del Montgrí. El meu país és l’Empordà, soc fill de la tramuntana que despentina tots els pins, impossible d’aturar, tan salvatge i indomable. Aquí descansa l’aigua blava quan el cel es torna nit i respira el mar tranquil des del port pelegrí El meu país és l’Empordà entre vinyes i pomers de Port-bou a Sant Feliu. El meu país es l’Empordà. El meu país és l’Empordà ningú no espera marxar mai, i qui marxa sempre escriu: que bonic és tornar a casa.
My homeland is Empordà,
its people and its village squares,
from Dalí's world of surreal dreams
to the pleasures of a generous table.
My homeland is Empordà.
Never stop walking here;
its paths will always leave their mark.
No one ever plans to leave,
and those who do always write:
How beautiful it is to come back home.
How spring adorns itself
in the gardens of paradise,
how the dawns shine brightly
high upon Montgrí.
My homeland is Empordà.
I am a child of the Tramuntana,
the northern wind that tousles every pine,
impossible to hold back,
so wild and untamed.
Here the blue waters come to rest
when the sky turns into night,
and the peaceful sea breathes softly
from the pilgrim harbour.
My homeland is Empordà,
among vineyards and apple orchards,
from Portbou to Sant Feliu.
My homeland is Empordà.
My homeland is Empordà.
No one ever plans to leave,
and those who do always write:
How beautiful it is to come back home.
El meu país és l’Empordà ningú no espera marxar mai, i qui marxa sempre escriu: que bonic és tornar a casa.
Today, The Grandma has spent the day enjoying reading with one of her great friends, Corto Maltese. She has chosen Favola di Venezia, a fantastic graphic novel by HugoPratt that serves as a true tribute to that wonderful, dreamlike city.
Favola di Venezia (or Sirat al Bunduqiyyah) is a Corto Maltese comic story written and illustrated by Hugo Pratt in 1977.
It is the 25th adventure of Corto Maltese in chronological order (24th in publication order). The story is set in Venice between 10 and 25 April 1921.
Both titles, Favola di Venezia and Sirat al Bunduqiyyah (Arabic for The Story of Venice), have been used over the years, either together or separately, depending on the edition of the work.
Favola di Venezia was first published in serial form (eight strips per week) in the weekly magazine L'Europeo, from issue no. 21/22 (3 June 1977) to issue no. 51 (23December 1977). The colouring was by Mariolina Pasqualini, while Guido Fuga assisted Hugo Pratt with the architectural drawings.
Two years later, the story was published as a single-volume edition by Milano Libri under the title Sirat Al Bunduqiyyah, in a horizontal format. In 1984, it was reissued in a square format, enriched with an introduction by Pratt himself and two articles on Freemasonry.
In 1997, Lizard Edizioni republished the work in its Bibliothèque series as the complete and definitive edition, featuring new colouring by Patrizia Zanotti. The introduction to this complete edition was written by Luca Raffaelli.
Intrigued by a riddle sent to him in a letter by his friend Baron Corvo (the pseudonym of the English writer Frederick Rolfe), Corto Maltese travels to Venice in search of the Clavicle of Solomon, a magical talisman engraved with mysterious inscriptions. To assist him in his search, he seeks the help of his Venetian friend Little Silver Foot (Gambetta d'Argento) and her son Boeke.
The adventure begins with a chase across the rooftops of Venice. While attempting to escape his pursuers, Corto falls through a skylight, and at that moment the tone of the narrative shifts, taking on an almost dreamlike quality. He lands in the middle of a meeting of the Grand Lodge of Italy, engages in an absurd conversation with one of its members, and is introduced to the gentle yet enigmatic Bepi Faliero.
During the night, together with Faliero, Corto becomes involved in a confrontation with a group of Fascists led by the belligerent Stevani, and encounters a series of remarkable and unexpected figures, ranging from the poet Gabriele D'Annunzio to the mysterious Neoplatonist philosopher of Venice, Hipazia.
This search leads Corto Maltese into a tangled web of mysteries, rivalries and hidden agendas. The talisman is connected to an ancient legend and to a series of secret symbols scattered throughout Venice, forcing Corto to investigate not only the physical locations where the object may be hidden, but also the stories and memories surrounding the city itself.
During his investigations, Corto becomes involved in a dangerous political situation. The atmosphere of Venice in 1921 is marked by the growing influence of Fascism, and he finds himself caught between different factions pursuing their own interests. His encounters with various characters reveal a world where political conspiracies, esoteric beliefs and personal vendettas intertwine.
After a series of events and misunderstandings, Corto is accused of having attempted to assassinate a prominent figure. He must therefore continue his search while trying to clear his name and discover who is truly behind the plot against him.
The adventure also revolves around a mysterious emerald, hidden somewhere in Venice, whose history is linked to the city's legends and to the secret societies that operate in its shadows. As Corto follows the clues, the boundaries between reality, myth and imagination become increasingly blurred.
There are three magical, secret places in Venice: one on the "Street of the Love of Friends," the second near the "Bridge of Wonders," and the third on the "Path of the Marranos," near San Geremia in the old Ghetto. When Venetians -or sometimes the Maltese- grow weary of the authorities, they go to these secret places and, opening the doors at the back of the courtyards, depart forever for wondrous lands and other stories...
Today,
The Grandma has been reading Un hiver à Majorque (A Winter in Mallorca), this wonderful work
by Amantine Lucile Aurore Dupin de Francueil, also known as George Sand,the French writer who was born on a day like today in 1804.
There are places that become inseparable from the people who once walked their streets, admired their landscapes, or found inspiration within their silence. Mallorca is one of those places. Known today for its crystal-clear waters, picturesque villages, and Mediterranean charm, the island also occupies a remarkable chapter in the history of European culture. During the winter of 1838-1839, two of the nineteenth century's most celebrated figures -the composer Frédéric Chopin and the novelist George Sand- spent several months on the island in what would become one of the most famous artistic retreats in history.
Their stay, however, was far from idyllic. What they had imagined as a peaceful escape from the harsh Parisian winter became a period marked by illness, misunderstanding, disappointment, and isolation. Yet it also became the source of extraordinary artistic creation and literary reflection. Chopin composed some of his finest music while in Mallorca, and Sand later immortalized the experience in her travel memoir A Winter in Mallorca, a book that continues to shape perceptions of the island nearly two centuries later.
The story of Chopin and Sand in Mallorca is therefore much more than a curious historical anecdote. It is a fascinating encounter between art, nature, culture, and human resilience.
By the time they travelled to Mallorca, both Frédéric Chopin and George Sand were already among Europe's cultural elite.
Frédéric Chopin (1810-1849), born near Warsaw, had established himself in Paris as one of the greatest pianists and composers of the Romantic era. Unlike many of his contemporaries, Chopin rarely composed orchestral works. His genius lay almost entirely in writing for the piano, transforming the instrument into a vehicle capable of expressing the deepest emotions through intimate and poetic music. His nocturnes, études, preludes, mazurkas, waltzes, and ballades remain central to the piano repertoire today. His style combined technical brilliance with extraordinary lyrical sensitivity, making him one of history's most influential composers.
George Sand, the pen name of Amantine Lucile Aurore Dupin (1804-1876), was equally remarkable. She was one of France's most successful novelists, an outspoken intellectual, and a woman determined to challenge the social conventions of her time. She adopted a male pseudonym, wore men's clothing in Paris when it was considered scandalous, defended artistic freedom, and maintained friendships with many of Europe's leading writers, painters, and musicians.
Their romantic relationship began in 1838. Despite their contrasting personalities -Chopin reserved and delicate, Sand energetic and independent- they formed one of the nineteenth century's most fascinating artistic partnerships.
The decision to spend the winter in Mallorca was motivated by several practical reasons. First and foremost, Chopin's fragile health had become increasingly worrying. Although tuberculosis had not yet been definitively diagnosed, he suffered from chronic coughing, weakness, recurring respiratory infections, and episodes of severe exhaustion. His doctors believed that a milder climate might improve his condition.
Mallorca appeared to be the ideal destination. At the time, it was still largely untouched by international tourism. The island promised sunshine, fresh air, affordable living, and a peaceful environment where both artists could work without interruption.
Sand travelled with her two children, Maurice and Solange, while Chopin accompanied them as both companion and composer. They left France in the autumn of 1838 expecting several months of tranquillity and recovery. The first weeks were filled with practical difficulties. Suitable accommodation proved difficult to find, and local residents viewed the unconventional French visitors with curiosity and, in some cases, suspicion. Sand's independent lifestyle, her unmarried relationship with Chopin, and the family's foreign customs attracted considerable attention. The greatest challenge emerged when rumours spread that Chopin suffered from tuberculosis, a disease then considered highly contagious and greatly feared. Landlords became reluctant to host the group. Furniture and personal belongings they had rented were reportedly burned or destroyed after their departure because owners feared contamination. Whether every episode described by Sand occurred exactly as written remains debated by historians. Nevertheless, there is little doubt that the family encountered genuine prejudice and social isolation.
Unable to remain in Palma, the family eventually moved to the RoyalCharterhouse of Valldemossa, a former Carthusian monastery nestled high in the Tramuntana mountains.
Today, Valldemossa is among Mallorca's most visited cultural destinations, attracting thousands of visitors every year eager to see the rooms associated with Chopin and Sand.
The monastery provided relative peace and extraordinary scenery. Surrounded by mountains, olive groves, cypress trees, and dramatic winter skies, the setting possessed an almost mystical atmosphere. Yet the building was cold, damp, and poorly suited to someone suffering from chronic lung disease. Ironically, the climate that had been expected to restore Chopin's health often worsened his condition. Rainfall was unusually heavy during that winter. Temperatures dropped significantly, and humidity penetrated the monastery's thick stone walls. Chopin frequently became seriously ill, sometimes unable even to leave his bed.
One of the most famous episodes of the Mallorcan stay concerns Chopin's piano. A composer whose entire artistic world revolved around the keyboard naturally needed an instrument to continue working. Before leaving France, Chopin had ordered a piano from the Parisian manufacturer Pleyel, whose instruments he particularly admired. Unfortunately, the shipment was delayed by customs procedures and transport difficulties.
For weeks, Chopin was forced to practise and compose on a much inferior local instrument while anxiously awaiting the arrival of his beloved Pleyel piano. When it finally reached Valldemossa, it transformed his daily routine. Despite his worsening illness, he resumed intensive composition. Remarkably, that very instrument still survives and is displayed today at the Charterhouse, becoming one of Mallorca's most treasured musical artefacts.
Perhaps the greatest paradox of the Mallorcan winter is that, despite immense personal hardship, Chopin produced some of the most beautiful music of his career. During these months he worked extensively on what would become his Twenty-Four Preludes, Op. 28.
Rather than forming a conventional collection of pieces, each prelude explores a unique emotional landscape. Some last less than a minute; others possess extraordinary dramatic intensity. Together they form one of the greatest achievements in piano literature. Many listeners have sought to connect certain preludes with the Mallorcan landscape.
The famous Prelude in D-flat major, often nicknamed the Raindrop Prelude, is perhaps the best-known example. According to later accounts, Sand found Chopin deeply disturbed after dreaming that he had drowned while hearing persistent drops of rain falling from the monastery roof.
Whether this anecdote is literally true remains uncertain, and Chopin himself strongly disliked attaching descriptive stories to his music. Nevertheless, generations of listeners have associated the repeated notes within the piece with falling rain, making it impossible to separate the music entirely from the atmosphere of that Mallorcan winter.
Years after returning to France, George Sand published Un hiver à Majorque (A Winter in Mallorca), one of the nineteenth century's most famous travel books. Unlike a conventional travel guide, the work combines memoir, social commentary, cultural observation, political criticism, humour, and personal reflection.
Sand praises Mallorca's spectacular natural beauty with genuine admiration. She describes the mountains, forests, monasteries, sea, and countryside in vivid language that often reads like poetry.
At the same time, she criticizes aspects of local society with unusual frankness. She portrays many inhabitants as suspicious of foreigners, deeply conservative, resistant to change, and excessively influenced by religious authority. She also expresses frustration with local bureaucracy, sanitation, transportation, and medical care. These observations generated considerable controversy. Many Mallorcans considered Sand's portrayal unfair, exaggerated, and offensive. Others argued that her difficult personal circumstances inevitably coloured her impressions.
Modern readers generally recognize that A Winter in Mallorca reflects both careful observation and emotional reaction. Like many travel narratives, it tells us as much about the traveller as about the destination itself. Despite its controversial reception, Sand's book has become one of the most influential literary works ever written about Mallorca. Ironically, a text that criticized many aspects of island life helped introduce Mallorca to generations of European readers.
Long before package holidays and international tourism transformed the BalearicIslands, Sand's descriptions awakened curiosity about the island's landscapes and history.
Today, many visitors first encounter the story of Valldemossa through her writing. The book therefore occupies a unique position in travel literature: simultaneously an affectionate portrait of natural beauty and a deeply critical account of social reality. The question has long fascinated historians.
From a medical perspective, the answer appears relatively straightforward. Mallorca almost certainly failed to improve Chopin's health. The cold, humid conditions inside the monastery aggravated his respiratory illness, and he left the island physically weaker than when he had arrived. Artistically, however, the experience proved immensely productive.
Periods of suffering have often coincided with extraordinary creativity in the lives of many artists. Chopin's Mallorcan compositions reveal remarkable emotional depth, ranging from serenity and contemplation to anxiety, despair, and hope. Whether these emotions directly reflect his personal experience cannot be proven, yet the coincidence remains striking.
Nearly two centuries later, visitors can still follow many of the footsteps taken by Chopin and Sand. Walking through its narrow stone streets, surrounded by flowers, mountain air, and centuries-old buildings, it is easy to understand why the village has retained its timeless charm. The Charterhouse houses exhibitions dedicated to both artists, including manuscripts, historical documents, portraits, and the famous Pleyel piano associated with Chopin's stay. Throughout the year, concerts frequently celebrate his music within the monastery itself, allowing audiences to hear the works in the very environment where many of them were conceived.
Palma also preserves traces of their visit, while the landscapes of the Serra de Tramuntana remain astonishingly similar to those described by Sand in her book. Popular imagination often reduces the story to a romantic tale of two celebrated lovers escaping to a Mediterranean paradise.
Their relationship in Mallorca was tested by illness, financial concerns, social isolation, and the exhausting practicalities of everyday life. Sand became nurse, organiser, mother, and protector, assuming responsibilities that extended far beyond those of a romantic companion. Chopin, meanwhile, struggled with physical pain while continuing to pursue artistic perfection.
The winter revealed both the strengths and the tensions within their relationship. Although they remained together for almost another decade after leaving Mallorca, the experience undoubtedly marked an important stage in their shared life.
The story of Chopin and George Sand continues to resonate because it speaks to universal human experiences. It reminds us that artistic masterpieces are not always born from comfort. Creativity often emerges in moments of uncertainty, adversity, and emotional complexity. It also illustrates how travel can transform both visitors and destinations. For Chopin and Sand, Mallorca became unforgettable despite -or perhaps because of- the hardships they endured. For Mallorca, their brief stay became part of the island's cultural identity.
Finally, A Winter in Mallorcareminds readers that every travel narrative represents a personal perspective rather than an objective truth. Sand'sobservations were shaped by illness, disappointment, cultural differences, and the social realities of the nineteenth century. Her account remains invaluable, not because it provides a perfectly balanced portrait of Mallorca, but because it captures one woman's intensely personal encounter with an unfamiliar place.
Today, almost two hundred years after that extraordinary winter, visitors continue to climb the winding roads to Valldemossa. Some come in search of Chopin's music; others seek the landscapes described by George Sand. Many arrive simply curious about the remarkable story that united two extraordinary artists with one Mediterranean island.
Their stay lasted only a few months, yet its cultural legacy has endured for generations. In the quiet cloisters of the old Charterhouse, surrounded by mountains and silence, one can still imagine the sound of Chopin's piano echoing through the stone corridors while George Sand transformed their difficult experience into literature. Together, they left Mallorca not only with memories of hardship and beauty but with works that continue to inspire audiences around the world. Sometimes, the most enduring masterpieces are born not from perfect circumstances, but from imperfect winters that history never forgets.
Today, The Grandma has been readingabout how East and West Germanymerged their economies on a day liketoday in 1990.
On 3 October 1990, Germany officially became one country again after more than forty years of division.
The reunification of East and West Germany was one of the most significant events of the late twentieth century, symbolizing not only the end of Germany's post-war separation but also the collapse of the ColdWar order that had shaped Europe since 1945. The story of reunification did not begin in 1990. Instead, it was the result of decades of political tension, ideological conflict, economic differences, and the determination of millions of ordinary people who dreamed of living in a united and democratic country. The fall of the Berlin Wall in November 1989 became the defining image of this transformation, but it was only one chapter in a much larger historical process.
When the Second World War ended in May 1945, Germany lay in ruins. Its cities had been devastated by bombing, millions of people had died, and the country faced political and economic collapse. The victorious Allied powers -the United States, the United Kingdom, France, and the Soviet Union- agreed that Germany should be occupied until its future could be decided.
The country was divided into four occupation zones, each administered by one of the Allied powers. Although Berlin was located deep inside the Soviet occupation zone, the city itself was also divided into four sectors.
At first, the Allies hoped to govern Germany jointly. However, growing disagreements between the Western Allies and the Soviet Union quickly made cooperation impossible. Their conflicting visions for Europe's future gradually transformed former allies into rivals.
By 1949, the political division had become permanent. The western occupation zones united to form the Federal Republic of Germany, commonly known as West Germany. It adopted a democratic political system, a market economy, and close ties with Western Europe and the United States.
A few months later, the Soviet occupation zone became the GermanDemocratic Republic, or East Germany. Although its official name included the word "democratic," it was governed by a communist regime dominated by a single political party. The state controlled the media, education, and much of everyday life, while political opposition was heavily restricted.
From that point onward, Germany became one of the most visible symbols of the Cold War. Berlin represented the confrontation between East and West more clearly than any other city. People could initially move relatively freely between East and West Berlin. However, many East Germans used this opportunity to escape to West Germany, seeking greater political freedom and better economic prospects. By the early 1960s, millions had already left. To stop this mass emigration, East German authorities suddenly closed the border during the night of 12–13 August 1961 and began constructing the Berlin Wall.
The Wall was far more than a concrete barrier. It became a powerful symbol of ideological division. Guard towers, fences, anti-vehicle barriers, and heavily monitored border zones made escape extremely dangerous. Many people risked their lives attempting to cross, and numerous escape attempts ended in tragedy.
Families were separated overnight. Friends lost contact for decades. A city that had once functioned as a single community became physically and emotionally divided. During the following decades, East and West Germany developed in very different ways.
West Germany experienced rapid economic growth during the 1950s and 1960s, often called the economic miracle. Industrial production expanded, living standards improved dramatically, and democratic institutions became firmly established. The country also became one of the founding members of what would later become the European Union.
East Germany also rebuilt successfully in many respects. It developed strong industries, an extensive education system, and comprehensive social services. Compared with many other Eastern Bloc countries, it maintained a relatively high standard of living.
Nevertheless, the East German economy struggled with inefficiency and limited innovation. Consumer goods were often scarce, travel abroad was tightly restricted, and the secret police—the Stasi—maintained one of the world's most extensive surveillance systems. Many citizens lived with the knowledge that conversations, letters, and even friendships could be monitored.
The 1980s brought major changes across the Soviet Union and Eastern Europe. In 1985, Soviet leader Mikhail Gorbachev introduced reforms known as glasnost (openness) and perestroika (restructuring). These policies encouraged greater political transparency and attempted to modernize the Soviet economy. Perhaps even more important, Gorbachev signaled that the Soviet Union would no longer intervene militarily to preserve communist governments across Eastern Europe. This represented a dramatic departure from previous Soviet policy.
Across Eastern Europe, reform movements gained momentum. In Poland,independent trade unions challenged communist rule. Hungary began introducing political reforms and gradually opened its border with Austria.
These developments deeply influenced East Germans, many of whom increasingly questioned why their own government refused to change. Throughout 1989, public dissatisfaction continued to grow. Thousands of East Germans escaped through neighbouring countries, particularly Hungary, whose newly opened border offered an alternative route to the West. At the same time, peaceful demonstrations spread throughout East Germany. The largest became known as the Monday Demonstrations, especially in the city of Leipzig. Protesters demanded free elections, freedom of speech, freedom to travel, and democratic reforms. Remarkably, despite fears of violent repression, these protests remained overwhelmingly peaceful. As participation increased from hundreds to thousands and eventually hundreds of thousands of people, the East German government found it increasingly difficult to maintain control.
On 9 November 1989, events unfolded with astonishing speed. Following confusion over newly announced travel regulations, government spokesman Günter Schabowski mistakenly suggested during a televised press conference that East Germans could cross the border immediately.
Thousands of Berliners gathered at border crossings demanding passage. Border guards, lacking clear instructions and unwilling to use force against the growing crowds, eventually opened the checkpoints. People crossed freely for the first time in nearly three decades. Scenes of celebration spread around the world. Families embraced after years of separation. Strangers climbed onto the Wall, danced together, and began breaking pieces from the concrete with hammers and chisels.
The fall of the Berlin Wall quickly became one of the defining images of the twentieth century and demonstrated that political systems once thought permanent could collapse with remarkable speed.
Although the Wall had fallen, reunification was not automatic. Many difficult questions remained. Would a united Germany remain part of NATO? What would happen to Soviet troops stationed in East Germany? How would Germany's borders be guaranteed? Would neighbouring countries support reunification? The answers required careful diplomacy involving not only East and West Germany but also the four Allied powers that had occupied Germany after the Second World War.
These negotiations became known as the Two Plus Four talks: the two German states plus the United States, the United Kingdom, France, and the Soviet Union. After months of negotiations, agreements were reached concerning Germany'sborders, military status, and full sovereignty. These agreements removed the final international obstacles to reunification.
Before political reunification, important economic steps had already been taken. On 1 July 1990, East Germany adopted the West German Deutsche Mark. For many East Germans, this represented immediate access to a stronger currency and greater purchasing power. However, the transition also exposed East German industries to intense competition from Western companies. Many state-owned enterprises proved unable to compete in a market economy. Factories closed, unemployment increased sharply, and entire regions experienced profound economic restructuring. Although living standards gradually improved over time, the transition proved far more difficult than many people had expected.
On 3 October 1990, East Germany officially ceased to exist. Its five federal states joined the Federal Republic of Germany under the existing West German constitution. Berlin once again became the capital of a united Germany. Across the country, celebrations marked what Germans now commemorate annually as the Day of German Unity. For millions, the event represented the realization of hopes that had seemed impossible only a year earlier.
Political reunification did not instantly eliminate decades of separation. East and West Germany had developed under entirely different political, economic, and social systems. Integrating these systems required enormous investment. The German government spent hundreds of billions of euros rebuilding infrastructure, modernizing transportation networks, renovating cities, and improving public services in eastern Germany. While these investments transformed many regions, economic differences persisted. Average incomes, employment opportunities, and business activity often remained lower in the eastern states than in the west. Many East Germans also experienced significant personal challenges. Some lost secure jobs that disappeared during privatization. Others struggled to adapt to a competitive market economy after decades of state planning. At the same time, many younger people moved westward in search of employment, contributing to population decline in some eastern communities.
Beyond economics, reunification involved merging two societies with distinct life experiences. People who had grown up on opposite sides of the Wall often held different memories, expectations, and perspectives. Terms such as Ossis (East Germans) and Wessis (West Germans) reflected stereotypes that sometimes complicated integration. Over time, these differences have gradually diminished, especially among younger generations.
Today, many Germans identify primarily with a united national identity while still recognizing the historical experiences that shaped different regions. German reunification transformed not only Germany but also Europe. The disappearance of the Iron Curtain accelerated European integration. Countries across Central and Eastern Europe gradually embraced democratic reforms and market economies. Many later joined both the European Union and NATO. A larger, democratic Germany became one of Europe's leading political and economic powers. Its commitment to European cooperation reassured neighbouring countries that had once feared German nationalism. Rather than pursuing dominance, reunified Germany generally emphasized partnership, diplomacy, and integration within European institutions.
More than three decades after reunification, Germany continues to reflect on its divided past. The remains of the Berlin Wall have been preserved as historical monuments. Museums, memorials, and educational programs help younger generations understand the realities of dictatorship, division, and peaceful democratic change.
Every year on 3 October, Germany celebrates the Day of German Unity, commemorating both the political achievement of reunification and the peaceful civic movements that made it possible. Historians often describe reunification as one of the greatest diplomatic successes of the late twentieth century. Unlike many major geopolitical transformations, it occurred largely without violence and through negotiation rather than war.
German reunification was far more than the merging of two states. It marked the end of one of history's most enduring political divisions and symbolized the collapse of the Cold War order in Europe.
The process was made possible by changing international politics, courageous political leadership, and, above all, the determination of ordinary citizens who demanded freedom through peaceful protest. Although reunification brought enormous economic, political, and social challenges, it also demonstrated that seemingly permanent divisions can be overcome through dialogue, democratic participation, and international cooperation.
Today, a united Germany stands as a reminder that history is not fixed. The peaceful reunification of a country once separated by walls, ideology, and global rivalry remains one of the defining achievements of modern European history and continues to inspire those who believe that reconciliation is possible even after decades of division.
Today, The Grandma wants to pay tribute to one of the best writers of the 20th century, Antoine de Saint-Exupéry, the author of TheLittle Prince, one of her most beloved and favourite works, who was born on a day like today in 1900.
Antoine de Saint-Exupéry was born in Lyon, a city that The Grandma knowsvery well from when she studied and worked there.
Lugdunum, capital of Gaul and city of light is a beautiful dynamic and enterprising city that is proud of Antoinede Saint-Exupéry and that pays tribute to him in every corner of Vieux Lyon.
These past months, The Grandma has visited Lyon many times for sports. When she lived there some years ago, she became a season ticket holder for its football team and was able to enjoy good French league matches, good derbies (against Saint-Etiénne) and also a women's team that was hegemonic in Europe at the time.
Everything in life is in cycles and it seems that now they can once again have their women's team touching those stars that Saint-Exupéry described in TheLittlePrince and that remind us day after day that what is truly important is invisible to the eye.
Saint Eixupéry disappeared during a reconnaissance mission over Corsica on 31 July 1944 and although his disappearance has never been considered a closed case, we all know that dying does not necessarily mean disappearing because as long as his work is read, his legacy will live on.
Antoine Marie Jean-Baptiste Roger de Saint-Exupéry (29 June 1900-disappeared 31 July 1944) was a French writer, poet, journalist, andpioneering aviator whose life and work were inseparably linked. Best known as the author of The Little Prince, he is regarded as one of the twentieth century's most influential literary figures, combining philosophical reflection with firsthand experiences of aviation and war.
Born into an aristocratic family in Lyon, Saint-Exupéry lost his father at an early age and was raised by his mother alongside his siblings. The death of his younger brother François during childhood had a profound emotional impact on him and influenced many of the themes that would later appear in his writing. After unsuccessfully applying to the French Naval Academy, he completed his military service and trained as a pilot, discovering the vocation that would shape the rest of his life.
In the 1920s he joined the pioneering airmail service Aéropostale, flying dangerous postal routes across France, North Africa, and later South America. At a time when aviation was still in its infancy, these flights demanded exceptional courage and endurance. The isolation of the cockpit, the responsibility of transporting the mail, and the bonds formed between pilots became recurring themes in his literary work.
Saint-Exupéry began publishing fiction while pursuing his aviation career. His first notable work was The Aviator (1926), followed by Southern Mail (1929). International recognition came with Night Flight (1931), a novel that portrayed the risks and moral responsibilities of early commercial aviation. Rather than focusing solely on adventure, his writing explored duty, friendship, sacrifice, and the search for meaning in human existence.
In 1931, he married Salvadoran writer and artist Consuelo Suncín. Their marriage was passionate, complicated, and often turbulent, yet it remained one of the defining relationships of his life. Many scholars believe that Consuelo inspired the Rose in The Little Prince, symbolizing both love and the challenges of close human relationships.
Throughout the 1930s Saint-Exupéry worked as both an aviator and a journalist. He travelled widely, reporting from the Soviet Union and covering the Spanish Civil War. These experiences deepened his concerns about political extremism, violence, and the loss of human dignity, subjects that increasingly appeared in his essays and fiction.
One of the defining moments of his life occurred in December 1935, when he attempted to break the speed record on the Paris-Saigon route. His aircraft crashed in the Libyan Desert, leaving him and his mechanic stranded with almost no water. After several days of wandering through the Sahara while suffering from dehydration and hallucinations, they were rescued by a Bedouin. The experience profoundly influenced his later writing and inspired several of the desert scenes that would become central to The Little Prince.
In 1938, he survived another serious aircraft accident in Guatemala during an attempt to establish a long-distance flight record. Although he recovered, he suffered permanent injuries that affected his health for the remainder of his life.
His 1939 memoir Wind, Sand and Stars became one of his greatest literary successes, earning prestigious awards in both France and the United States. Blending autobiography, philosophy, and reflections on aviation, the book argues that hardship and shared responsibility reveal humanity at its best.
When the Second World War began, Saint-Exupéry returned to military service as a reconnaissance pilot in the French Air Force. Flying dangerous intelligence missions during the Battle of France, he witnessed the rapid collapse of his country. These experiences formed the basis of Flight to Arras (1942), an account that combines personal testimony with reflections on courage, duty, and the tragedy of war.
After France's defeat, he spent much of the war in the United States. Although he attempted to remain above political divisions among the French resistance movements, he consistently argued for national unity and reconciliation. During his American exile he wrote The Little Prince, published in 1943 in both French and English. Although presented as a children's story, the novella explores universal themes including friendship, love, loneliness, imagination, responsibility, and the importance of seeing beyond appearances. Saint-Exupéry also created the book's distinctive watercolor illustrations, which have become inseparable from the story itself.
Despite being older than the permitted age for combat pilots and suffering from numerous physical injuries, Saint-Exupéry insisted on returning to operational flying. In 1943 he joined the Free French Air Force, flying Lockheed P-38 Lightning reconnaissance aircraft on high-risk photographic missions over occupied Europe.
On 31 July 1944, he departed from Corsica on a reconnaissance mission over southern France in preparation for the Allied invasion ofProvence. He never returned, and his disappearance became one of the enduring mysteries of the Second World War. For decades numerous theories surrounded his fate.
In 1998, a fisherman recovered Saint-Exupéry's identification bracelet near Marseille, and in 2000 divers located wreckage identified as his aircraft on the Mediterranean seabed. Although these discoveries confirmed the approximate location of the crash, the precise circumstances of his death remain uncertain.
Saint-Exupéry's principal works include The Aviator, Southern Mail, Night Flight, Wind, Sand and Stars, Flight to Arras, Letter to a Hostage, The Little Prince, and the posthumously published philosophical work Citadel, compiled from his unfinished manuscripts.
Today, Antoine de Saint-Exupéry is remembered not only as one of the great pioneers of early aviation but also as a writer whose works transcend generations and cultures. The Little Princehas become one of the most translated and widely read books in history, while his broader body of work continues to inspire readers with its reflections on humanity, responsibility, courage, and the enduring value of compassion.
Tonight, Claire Fontaine and TheGrandma have gone to El Port Vell in Barcelona to listen to RufusWainwright, the American-Canadian singer, songwriter, and composer who has oferred an amazing show promoted by BlaumaríMusic.
The concert has been fantastic and Rufus has performed classics such as Poses, Cigarretes and Chocolate Milk, Going to a Town; a wonderful Complainte de la Butte;premieres such as Seasonal Pain in the Ass, Look Down at the Stars and Raining in Athens, and two very special songs: Leonard Cohen's Hallellujah and Barcelona, a song he dedicated to the Catalan capital in 1998.
Claire and The Grandma have always followed Rufus and whether at the Auditori de Sant Cugat del Vallès, the Teatre del Liceu and the Palau de la Música Catalana in Barcelona or his concerts in Montréal, it is always a pleasure to listen to this great artist who yesterday had an added challenge: singing at the Port Vell on a terribly warm night and a humidity that made both his guitar and his piano suffer.
Rufus McGarrigle Wainwright (born July 22, 1973) is an American-Canadian singer, songwriter, and composer.
He
has recorded nine albums of original music and numerous tracks on
compilations and film soundtracks. He has also written two classical
operas and set Shakespeare's sonnets to music for a theater piece by
Robert Wilson. He is the son of musician and actor Loudon Wainwright
III.
Wainwright's self-titled debut album was released through DreamWorks Records in May 1998. His second album, Poses, was released in June 2001. Wainwright'sthird and fourth studio albums, Want One (2003) and Want Two (2004), were repackaged as the double album Want in 2005.
In 2007, Wainwright released his fifth studio album Release the Stars and his first live album Rufus Does Judy at Carnegie Hall. His second live album Milwaukee at Last!!! was released in 2009, followed by the studio albums All DaysAre Nights: Songs for Lulu (2010) and Out of the Game (2012).
The double album Prima Donna (2015), was a recording of his opera of the same name. His ninth studio album Take All My Loves: 9 Shakespeare Sonnets (2016), featured nine adaptions of Shakespeare's sonnets. Rufus' 10th studio album, Unfollow the Rules, was released on July 20, 2020.
Wainwright is the son of musicians Loudon Wainwright III and Kate McGarrigle, and the older brother of singer Martha Wainwright.
Wainwright was born in Rhinebeck, New York,
to folk singers Kate McGarrigle and Loudon Wainwright III. His parents
divorced when he was three, and he lived with his mother in Montreal for
most of his youth. His father is a descendant of Peter Stuyvesant, the
17th century Dutch governor of New Amsterdam, later New York. Wainwright
has dual US and Canadian citizenship.
He
attended high school at the Millbrook School in New York, and later
briefly studied piano at McGill in Montreal. He began playing the piano
at age six, and started touring at age 13 with The McGarrigle Sisters and Family, a folk group featuring Rufus, his sister Martha, his mother Kate, and aunt Anna.
His song I'm a-Runnin',
which he performed in the film Tommy Tricker and the Stamp Traveller at
the age of 14, earned him a nomination for a 1989 Genie Award for Best
Original Song. He was nominated for a 1990 Juno Award for Most Promising
Male Vocalist of the Year.
Through weekly shows at Cafe Sarajevo, Wainwright
was on the Montreal club circuit and eventually cut a series of demo
tapes produced by Pierre Marchand, who later produced Wainwright's album
Poses. The resulting tapes impressed his father Loudon, who
passed them on to his friend Van Dyke Parks. Parks sent the recordings
to Lenny Waronker, the DreamWorks executive who eventually signed Wainwright to his label.
Wainwright lived in the Chelsea Hotel in New York City for six months, during which he wrote most of his second album.
On June 5, 2001, Wainwright's second album, Poses, was released to critical acclaim but limited sales.
In 2003, Rufus released the full-length album Want One. Then Wainwright'salbum Want Two, from which four songs were released as the EP Waiting for aWant, was released by DreamWorks/Geffen on November 16, 2004.
Wainwright's fifth studio album, Release the Stars, was released by Geffen on May 15, 2007. The album was produced by Wainwright
and featured Richard Thompson, friend Teddy Thompson, sister Martha
Wainwright, mother Kate McGarrigle, Neil Tennant, Joan Wasser, Julianna
Raye, Larry Mullins, and actress Siân Phillips.
In November 2009, Wainwright announced that he had finished recording his sixth studio album, and was calling it All Days Are Nights: Songs for Lulu.
In December 2009, Wainwright
appeared with sister Martha Wainwright and mother Kate McGarrigle at
the Royal Albert Hall in London, raising $55,000 for the Kate McGarrigle
Fund, which was established in 2008 to raise awareness of sarcoma, a
rare cancer that affects connective tissue such as bone, muscle, nerves,
and cartilage.
In July 2011 a 19-disc box set called House of Rufus containing all his studio and live recordings as well as previously unreleased material was released.
In 2015, Wainwright launched a new version of his first opera, accompanied by a film directed by Francesco Vezzoli, featuring Cindy Sherman as the PrimaDonna.
Almost a year after releasing stand-alone single Sword of Damocles in October 2018, Rufus signed a record deal with music publisher and record label BMG Rights Management for a new album.
In February 2020, the album, Unfollow the Rules, was announced alongside the release of Joni Mitchell inspired single Damsel in Distress and was slated for an April release.
On March 7, 2023, Wainwright announced his eleventh studio album, Folkocracy, would be released in June 2023.
Wainwright's opera, Dream Requiem, premiered in 2024. A soundtrack album is due for release in February 2025; actress Meryl Streep is featured.
On 21 November 2025, Wainwright released the live album I'm A Stranger Here Myself: Wainwright Does Weill, in collaboration with Pacific Jazz Orchestra. The album contains performances of songs written by Kurt Weill.
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