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The fact is that everything — or just about everything — is part of my literary activity.
Les històries naturals by Carla Padró Fabregat on Prezi
My interest in biology and history of art, my vocation as a journalist, my work as a novelist, all of it somehow links up and, from the different connections, I keep getting a written return. There is no lived “material” that doesn’t somehow “materialise”: Right now, I’m finishing the third novel of a trilogy devoted to the Enlightenment preceded by novels on Buffon and Goethewhich describes the last years of one of the most important writers of the Age of Enlightenment.
I’m especially interested in the wavering and contradictory man but also the banished writer, hounded even after his death; in the implacable persecution suffered by freethinkers which we Valencians understand so well in a world marked by obscurity and superstition.
It is a novel histoties seeks to inquire more deeply into the exile of an intellectual, the ferocious daily struggle of the outsider, of the idealist. Now I’m also working on my next novel, which is of a different nature and set in the city of Valencia, in my own time. In the field of the essay, I’m particularly attracted to nature and its relationship with man.
My articles in the weekly El Temps now collected into two books, Peiximinuti [Small Fry] and Bestiari [Bestiary] attempt to look into these relations in a sort of glossary of nature studded with literary perceptions, scientific discoveries and artistic nuance.
Here, I’m chiefly interested in the relationship that is established between art and science, especially in the age of the Renaissance. I’ve been working in this domain with a series of articles I’d like to expand and turn into a book at some future date. However, in the background, more than the investigative inducement, is pure narrative aspiration.
What I love is the act, the phenomenon of writing, and communicating a way of understanding life. It is this impulse — this compulsion — that incites me to write, and to live too. He writes in an expository style and presents the different theories literally, nuancing them with the views of the narrator who is looking back over his life.
As in a historical novel of scientific bent, he pulls together a great deal of information and news of the times, composing scenes that make one relive the moment and drawing the reader’s attention towards everyday life. Rarely has this been achieved with more naturalness and rigour.
Historical facts, presented with total modesty, are more appealing than great discourses and flights of the imagination. The main character of Joan Perucho ‘s Les histories naturals [Natural History] is a scientist who seeks security in the rational jooan of the world and, who through contact with the supernatural, discovers poetry.
Les Histories Naturals
Buffon, Tischbein and Goethe are vital, passionate characters who find in observation and study a way to establish a niche in the world and fulfil themselves as men. Buffon, who discovers his humanity in disciplined, patient labour, is the best-rounded character, a new kind of hero who bases his grandeur in measurement. Tischbein introduces an element of imbalance, hiwtories of the future and historise as to his own ability, while Goethe appears as a creation of the painter trapped by his own contingency.
Will the third part of the trilogy delve further into this imbalance to tip us wholly into modern times? We use our own and third-party cookies.
Presentation The author A selection of texts Reviews and interviews The author 2. With this sustained preordained standpoint, one might fear he could fall into the trap of the monotony of flat reportage.
Les histories naturals: Joan Perucho: : Books
Not in the least. Here, he might rival the best masters of description in Catalan literature, putting together, with a few masterly strokes, small verbal gems of dazzling plasticity.
He knows this and is reinvigorated, with a touch of festive coquetry, in such perfect articles as “El vol dels ocells” [Flight of the Birds], which both renders homage and is an example of this art of capturing in words the ephemeral and moving beauty of life. It is a joy to recognise in his pages the fragrance of flowers, the thousand nuances of the flight and song of birds, the fidgety darting of fish, the rustling of the breeze through reeds and the dance of poppies, which are his enamoured and jovial testimony, a great act of celebration of the beauty and joqn variety of the world around us.
Again, he does not shun confrontation — although his approach is generally rather oblique — with present-day issues, whether it is violence wreaked on the land or the destruction of our heritage. Many texts are steeped in sadness over the destruction of beautiful settings, of so many places that were once full of naurals, which we’ve had to endure as impotent observers in recent years.
This desolation gives succinct, captivating intensity to the text titled “Vora el barranc dels Algadins” [By the Algadins Ravine].
His innuendos are frequently of a depth that irony does not totally disable. In this page imbued with judiciously contained lyricism, the deep harmony between nature and art for which his prose tirelessly quests is transformed into an emblem.