On the anniversary of PereQuart's death, TheGrandma, from Santanyí,has beenrereading and remembering another greatwriter, Blai Bonet.
The islanders have a character very marked by the sea. It is normal. Entire generations have lived without ever leaving their island and this marks the local idiosyncrasy. The Mallorcans are no exception and this is because Mallorca isone of the largest islands in the Mediterranean, but like all islands it is finite.
Mallorcan culture is of enormous majesty, rooted in the land, its people and this blue and infinite horizon that can always be seen from any part of the island.
Mallorcan artists have painted the island, sung about it and written about it and it is through art that they have expressed states of mind, illusions and disappointments, dreams, hopes and fears.
One of the best Mallorcan poets of the 20th century was Blai Bonet, born in Santanyí. He was a novelist and poet who captured the colors of the island like few others and who wrote one of the most beautiful poems ever written about the island, a poem that sheds light, not so much because it speaks of light, but because its language seems to illuminate what it describes. It is a poetry that does not argue or explain: it makes a vision appear. It is the union between matter and transcendence. In many religious poets, spirituality tends to distance itself from the physical world; however, Blai Bonet does just the opposite. Faith passes through colors, through animals, through the earth, through the Mediterranean light.
Blai Bonet (1926-1997) was a Mallorcan poet, novelist and art critic.
Bonet released El Mar (The Sea) in 1958. In 1962, his collections of poems L'Evangeli segons un de tants (The Gospel According to One of Many) was awarded the Carles Riba Poetry Prize, but it was not published due to Spanish Francoist censorship, delaying it for more than five years.
In 1990, he was awarded the Creu de Sant Jordi by the Catalan Government.
He was a member of the Association of Catalan Language Writers. He was a participant in the resurgence of Catalan literature in the 1960s.
Blaus i sol de roses blanques. El pati verd i blanc de primavera, ple de bels astorats davant la Pasqua.
Blues and sunlight of white roses. The green-and-white courtyard of spring, filled with lambs' bewildered bleating before Easter.
Sàpigues company, tu que ets conscient que no tot és por, que no tot és plany, que no tot són crits i ràbies i cops. Ni desig d’amor ni amor compartit.
Cal pensar també i molt aviat en aprendre bé, amb vocació i aplicadament, un ofici clar, un treball decent.
Company, cal servir segons els teus dons, sense vanitat. Si no, què seràs? Un número més, un paràsit més, una nosa més.
Si no vols ser esclau del podrit diner, del poder d'un sol o el poder de molts, fes-te abans esclau de les teves mans i del teu cervell, a profit de tu, a profit dels teus, a profit de tots.
Joan Oliver i Sallarès, who used as a poetry-writer the pseudonym Pere Quart, (Sabadell, 1899-Barcelona, 1986) is considered one of the most important writers in Catalonia, specially because of his rebelliousness and social commitment.
Joan Oliver is a writer who is difficult to place from the generational standpoint. He was born in 1899 and hence is of the batch of Carles Riba, J.V.Foix, Josep Maria de Sagarra and Joan Salvat-Papasseit.
He published his first book, a collection of short stories, in 1928 but did not become known as a poet until 1934, a circumstance that brings him closer, in chronological terms, to Salvador Espriu, Bartomeu Rosselló-Pòrcel and Joan Vinyoli.
Again, with his commitment to the Republican cause and subsequent exile, he reached his peak of fame in the 1960s through the points of contact in his work with what was known as historic realism.
Milers de finestres i cors t’esguarden com bulls i et regires.
La nit s’atarda.
Els coixins esventrats de la memòria, la flama del teu somni, la sang nova del crim, la infàmia morta, el clam i la barreja!
Barcelona! Barcelona, ferida i eixalada. Repiquen les campanes soterrades, volen les creus, ocells d’incert auguri. Els murs suporten voltes invisibles, fumeres, panys de cel, roba blanca de núvol.
D’aquí estant, Barcelona, el tumult és ordre. L’or pàl·lid ni respira. Bressen els asfaltats deliris de les rodes inflades de tempesta, veles terreres i envilides.
Barcelona, els teus fills no t’acaben d’entendre, bruixa frenètica, matalàs d’esperes. Escabellada, ronca, Perds la vergonya i la senyera, però et guanyes la vida, entre la mort i la follia.
Danses encara i et pentines un xic amb les estrelles i maquilles tes nafres amb pólvores i cendres. Però fills teus et deserten, els que aviciares massa, enguantats, clenxinats, patriotes ha ha! No et reconeixen sense el teu posat de monja llamenca. Et maleeixen quan ja no ets polida, oficiosa, inscrita en el joc brut de la riquesa dels favorits i les bagasses.
Barcelona, cantes una cançó maligna que ens eixorda i despertes els altres que ja arriben, davallen, s’apleguen; després pugen com un torrent contracorrent, Rambla amunt, Passeig de Gràcia amunt. Xiulen, flastomen, s’empentegen, ullen estades senyorials, persianes porugues, barrots tremoladissos, portes que es clouen subreptíciament. Riuen els homes del carrer i es destrien en escamots que esfondren reixes, comminen ascensors perquè s’afanyin, invaliden panys dobles; amb una escopinada enceguen els senyals d’alarma. Els passadissos, llagoters, s’escurcen, però les sales-rebedor malreben i les catifes comuniquen tímides queixes a les espardenyes. Els balcons s’esbatanen i entren alenades goludes de carrer, sang, bruel, pols, llambordes dreçades a cops d’ungla furiosa. Fueteja el serpent, fibla la llum el llarg llampec vermell: “Estatge incautat per les Joventuts Revolucionàries”.
Barcelona, rumbeges el barri aristocràtic amb roba proletària. Somriu amb urc, amb impaciència la gent nova i jove. Ai ton capritx fill de l’antiga enveja, que finalment caldrà que ofeguis! Sofrí tant! I no pas fam o nuesa: l’exaltació xarona del privilegi.
La veritat erecta. L’atzar estult. L’oprobi de la beutat antiga. La pau de l’ànima bescanviada per monedes i voluntat esclava. El treball prostituint-se en les cambres secretes del negoci, enllefiscant-se en les llacors del luxe.
Els crisantems, les clavellines de les floristes mamelludes tenen set i migranya. Les roses, ai! les roses enyoren el marcir-se en aires capitosos. La Venus de Clarà, a la gatzoneta, no ha perdut ni un cabell, mes té una piga tendra a l’anca esquerra. Els coloms volen i peonen com espectres preciosos d’un àngel mort, dels temps que tristament plovia lluna, i alzinetes d’argent i baladres nafrats protegien besars i mans nuades per pactes de desig i jovenesa extrema.
Tanmateix, Barcelona, la mar no et deixa i et gombolda. Allitaràs tos sofriments en faldes suaus i tombes provisòries on operen amb punya les forces dures de la renaixença. Al cap d’anyades t’arribarà l’eco: sospirs, gemecs, renecs, esclats, sanglots, udols, xiscles, esclats! I ja tindràs l’himne triomfal sota la bandera de la quàdruple flama.
Barcelona: pairal ciutat de Catalunya, de València i les Illes. Les comarques gerdes, eixutes, alteroses, planes. Màquines i collites. Tiges en estol, bestiar i aigües submisos.
Barcelona, esdevindràs, si vols, la capital altiva d’una pàtria novella de rels velles, quasi feliç, penosament fecunda. Mestressa sobirana, sola en ton clos obert com una rosa dels vents, als vents de mar, de terra!
Barcelona, contempla’t. Barcelona, no cantis. Ausculta aquest cor teu que s’escarrassa a batre. No et deturis. Plora una mica cada dia quan la Terra comença un altre tomb, ullcluca.
A poc a poc, no et distraguessis amb les fulles que el vent requisa als arbres. Ni amb el presagi de les ales noves.
Treballa. Calla. Malfia’t de la història. Somnia-la i refés-la.
Vigila el mar, vigila les muntanyes. Pensa en el fill que duus a les entranyes.
Els llibres han guanyat més batalles que les armes.
Claire Fontaine is a great follower of Pere Quart, one of the most important Catalan writers of the 20th century. She wants to talk about the poet and about metrics in poetry which are so important as metrics in internet.
Joan Oliver i Sallarès, who used as a poetry-writer the pseudonym Pere Quart, (1899-1986) is considered one of the most important writers in Catalonia, specially because of his rebelliousness and social commitment.
He was born in 1899, the member of an outstanding family of the industrial bourgeoisie of Sabadell. He was the fourth of eleven brothers; he was the only survivor. He took the pseudonym with which he would sign his poetic work: Pere Quart. He studied Law. In year 1919, he formed the Group of Sabadell with the novelist Francesc Trabal and the poet Armand Obiols. In this group the influence of vanguardism was combined with local humor.
During the Civil War he engaged politically with the republican side. He was nominated president of the Association of Catalan Writers and leader of Generalitat's Ministry of Culture publications. Moreover he was co-founder and headleader of Institution of the Catalan Letters publications, and author of the Catalan popular army hymn's letter. All this means a definite break with his bourgeois past and the birth of a strong political, ethical and social commitment.
In this context he created Oda a Barcelona and the play La fam. At the end of the war, the Republican Generalitat will order him the task of evacuating all the intellectuals. Finished the war will exile first in France, embark towards Buenos Aires and establish definitively in Santiago of Chile, where he will live for eight years. During the exile, he continued his task of intellectual compromised with his time and his country. He collaborated with Catalonia, edited in Buenos Aires, and directed Germanor, edited in Chile. He set up the collection The pine of the three branches along Xavier Benguerel.
In 1948 Joan Oliver came back to Barcelona, where Franco's dictatorship was characterized by authoritarianism and repression. He was imprisoned for three months in the Model prison of Barcelona. Three years later he received the Prize of the French Republic President in the floral games of Paris, for the translation into Catalan of The Misanthrope by Molière. He translated and adapted works of several authors like Anton Chekhov.
Pere Quart / Joan Oliver
In 1960 his more emblematic work appeared: Vacances Pagades. It is a skeptical work, sarcastic too, where a great appointment with the social and political reality of the country is shown. Oliver makes an acid crictisim to the capitalism, the consumer society and the Franco dictatorship.
With the death of the dictator and democracy entry, he was especially displeased with the dominant politicians, denouncing the betrayal that meant the transition. In year 1982 he rejected the Cross of Saint George. He became an uncomfortable character for the politicians, who was necessary to corner.
Nothing of all this, however, prevented him from being considered one of the five best Catalan poets of the 20th century. In 1986 he died in Barcelona and was buried in his natal city, Sabadell.
The metric is a necessary and fundamental work in any web analytics. The web allows us to measure metrics that can extract data from a webpage. Choose the parameters studied, read and analyze them carefully allow us to improve the performance of this.
Pere Quart composed couplets, sonnets, glosses, rooms and songs while respecting the standards set for metric creation -number of syllables and rhyme- and web analysts today, analyze visits -exclusive or recurring-, the length of connecting users or bounce rates and conversion. Pere Quart wanted to transmit feelings through poems. Analysts studying how to make certain information available to the largest number of people possible.
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