{"id":1346,"date":"2023-08-06T10:25:47","date_gmt":"2023-08-06T10:25:47","guid":{"rendered":"https:\/\/vazquezmontalban.bnc.cat\/commitment-to-the-present\/"},"modified":"2023-10-18T14:59:47","modified_gmt":"2023-10-18T14:59:47","slug":"commitment-to-the-present","status":"publish","type":"page","link":"https:\/\/vazquezmontalban.bnc.cat\/en\/commitment-to-the-present\/","title":{"rendered":"Commitment to the present"},"content":{"rendered":"<p>[et_pb_section fb_built=&#8221;1&#8243; admin_label=&#8221;section&#8221; module_class=&#8221;flex flex-column hero&#8221; _builder_version=&#8221;4.22.0&#8243; background_image=&#8221;https:\/\/vazquezmontalban.bnc.cat\/wp-content\/uploads\/2023\/08\/hero_compromis-scaled.jpg&#8221; custom_padding=&#8221;12em||3em||false|false&#8221; background_last_edited=&#8221;on|phone&#8221; background_image_phone=&#8221;https:\/\/vazquezmontalban.bnc.cat\/wp-content\/uploads\/2023\/08\/hero_compromis_res.jpg&#8221; background_enable_image_phone=&#8221;on&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_row column_structure=&#8221;1_2,1_2&#8243; make_equal=&#8221;on&#8221; _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; custom_margin=&#8221;||0px||false|false&#8221; custom_padding=&#8221;||0px||false|false&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;1_2&#8243; _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_text _builder_version=&#8221;4.22.0&#8243; _module_preset=&#8221;default&#8221; header_font=&#8221;|||on|||||&#8221; header_text_color=&#8221;#F8F9F2&#8243; header_font_size=&#8221;3em&#8221; custom_margin=&#8221;||0px||false|false&#8221; custom_padding=&#8221;||0px||false|false&#8221; animation_style=&#8221;fade&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<h1>Commitment to the present<\/h1>\n<p>[\/et_pb_text][et_pb_text module_class=&#8221;serif&#8221; _builder_version=&#8221;4.22.2&#8243; _module_preset=&#8221;default&#8221; text_text_color=&#8221;#F8F9F2&#8243; text_font_size=&#8221;2em&#8221; animation_style=&#8221;fade&#8221; hover_enabled=&#8221;0&#8243; saved_tabs=&#8221;all&#8221; locked=&#8221;off&#8221; global_colors_info=&#8221;{}&#8221; sticky_enabled=&#8221;0&#8243;]<\/p>\n<p class=\"xmsonormal\"><span>Text and selection of content: Georges Tyras <o:p><\/o:p><\/span><\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=&#8221;1_2&#8243; _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=&#8221;1&#8243; _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_row _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;4_4&#8243; _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_text _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; animation_style=&#8221;fade&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<h2>Reference of <em>collective life<\/em><\/h2>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=&#8221;1_2,1_2&#8243; _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;1_2&#8243; _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_text _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; text_text_color=&#8221;#020B11&#8243; animation_style=&#8221;fade&#8221; global_colors_info=&#8221;{}&#8221;]In the years following the death of Manuel V\u00e1zquez Montalb\u00e1n, people &#8211; in particular those who used to read his Monday column in El Pa\u00eds \u2013 would wonder, when faced with any kind of event occurring in Spain or anywhere in the world: \u201cWhat would Manolo think?\u201d It was, and still is, a way of underlining the role of reference point, as a lookout of the collective life, that Manuel V\u00e1zquez Montalb\u00e1n performed throughout his life and in all the territories of his writing. Born with the civil war, V\u00e1zquez Montalb\u00e1n experienced and suffered, on the losing side, a long post-war era that forged a visceral anti-Francoist conviction. [\/et_pb_text][\/et_pb_column][et_pb_column type=&#8221;1_2&#8243; _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_text _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; text_text_color=&#8221;#020B11&#8243; link_font=&#8221;||||on||||&#8221; link_text_color=&#8221;#020B11&#8243; animation_style=&#8221;fade&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p>As an intellectual, he couldn&#8217;t help but be committed. To memory, to his time, to his city, to his social class, to writing. Hence he always combined personal involvement in public life with a creative activity that encompassed journalism, poetry, the novel, the essay, and much more besides. Joining the PSUC after a spell in support of Felipe [Gonzalez], participation in the <span><a href=\"https:\/\/arca.bnc.cat\/arcabib_pro\/ca\/consulta\/busqueda_referencia.do?id=7498&amp;posicion=1&amp;forma=ficha\" target=\"_blank\" rel=\"noopener\"><em>La Pau: diari de la Pau,<\/em><\/a><\/span> against the first Gulf War, the tireless search for the historic subject of change, with the travels to Latin America, are some facts, among many others, that attest to the scale of the committed intellectual that Manuel V\u00e1zquez Montalb\u00e1n was despite all the disillusionments&#8230;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=&#8221;1&#8243; _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; custom_margin=&#8221;||0px||false|false&#8221; custom_padding=&#8221;||0px||false|false&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_row _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; custom_margin=&#8221;||0px||false|false&#8221; custom_padding=&#8221;||0px||false|false&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;4_4&#8243; _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_text admin_label=&#8221;seleccio_textos_title&#8221; module_class=&#8221;seleccio_textos_title&#8221; _builder_version=&#8221;4.22.1&#8243; _module_preset=&#8221;default&#8221; header_2_text_color=&#8221;#020B11&#8243; header_2_font_size=&#8221;4em&#8221; custom_margin=&#8221;||-21px||false|false&#8221; animation_style=&#8221;fade&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<h2>Selection of texts<\/h2>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=&#8221;1&#8243; _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; background_color=&#8221;#020B11&#8243; global_colors_info=&#8221;{}&#8221;][et_pb_row _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;4_4&#8243; _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_text _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; animation_style=&#8221;fade&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<div class=\"seleccio_textos\"><div class=\"et_pb_row nm np width\"><div class=\"et_pb_column et_pb_column_4_4 seleccio_col_title et_pb_css_mix_blend_mode_passthrough et-last-child\"><div class=\"seleccio_subtitle desktop f2 serif m0-bottom\"><\/div><div class=\"seleccio_title desktop\">Commitment<\/div><\/div><\/div><div class=\"et_pb_row nm np width flex\">\n\t\t\t\t<div class=\"et_pb_column et_pb_column_1_3 seleccio_col_1 et_pb_css_mix_blend_mode_passthrough\"><div class=\"label_subtitle_holder\"><div class=\"seleccio_label active\" data-seleccio=\"0\" data-titulo=\"Commitment\" data-subtitulo=\"\">Commitment<i class=\"fi fi-rr-angle-small-down\"><\/i><\/div><div class=\"seleccio_content responsive fadein\" data-seleccio=\"0\"><ul>\n<li>\u00abFrom a left-wing perspective, one is astounded that after a century of working class struggle, in which there have been many deaths, the working class that has not achieved even one hour off work or twenty pence without deaths now has to be grateful simply because a worker is assured severance pay. This means a breach of the moral code.\u00bb (Lola D\u00edaz, \u201cVuelve Pepe Carvalho\u201d (Interview with MVM), <em>Cambio 16<\/em>, no. 653, 4 VI 1984)<\/li>\n<li>\u00abThe commitment until 1978 was called anti-fascism; after the Constitution was enacted it was called integrating Spain into full modernity, in every dimension, from any official position.\u00bb (Manuel V\u00e1zquez Montalb\u00e1n, \u201cTal como \u00e9ramos\u201d, <em>El hermano peque\u00f1o<\/em>, Planeta, 1994, p. 127).<\/li>\n<li>\u00abThe commitment to ideas is the commitment to reality and knowing what is the political, social and historical reality since the dawn of time. This is something one accepts when one is born into a world of victims of a civil war. It is a commitment that does not abandon one in life and that leads one to seek instruments to change things. Political commitment is like a marriage that one enters into with an infinite number of people who share the same ideas.\u00bb (Manuel V\u00e1zquez Montalb\u00e1n, Interview by Julio Luz\u00e1n, <em>La Calle<\/em>, 23 X 1979).<\/li>\n<\/ul>\n<\/div><hr\/><div class=\"seleccio_label \" data-seleccio=\"1\" data-titulo=\"Anti-Francoism\" data-subtitulo=\"\">Anti-Francoism<i class=\"fi fi-rr-angle-small-down\"><\/i><\/div><div class=\"seleccio_content responsive \" data-seleccio=\"1\"><ul>\n<li>\u00abFrancoism was extremely ugly; it was tacky. Not even its mass movements had the morbid grandeur of those of Nazism. It was a militaristic aesthetic, and gave the impression that everyone was wearing smelly socks.\u00bb (Manuel V\u00e1zquez Montalb\u00e1n, Interview by Xavier Moret, <em>El Pa\u00eds<\/em>, 26 X 1992)<\/li>\n<li>\u00abThe historians of the future, including those of the present, will not have lived through the cruelty, the brazenness, the mediocrity of Francoism. [\u2026] \u2013 Francoism was a noise, that was a noise all right, that interrupted the message of democracy&#8230;of freedom\u2026\u00bb (Manuel V\u00e1zquez Montalb\u00e1n, <em>Autobiograf\u00eda del general Franco<\/em>. Planeta, 1992, p. 651) (imatge 3.Mem\u00f2ria_4.jpg)<\/li>\n<li>\u00abThere was a sociological Francoism that still lives on to a greater or lesser extent and a rhetoric of Francoism that recall the best years, the ones from 1962 or 1963 to the early seventies, and forgets the years of penury and the subsequent economic crisis that was hatched during the Franco era. Many sectors of sociological Francoism have mythologised the years that were good ones in economic terms, but one has to remember that these were based on exporting the unemployed first to Catalonia and the Basque Country and then to Europe.\u00bb (Manuel V\u00e1zquez Montalb\u00e1n, Interview by Xavier Moret, <em>El Pa\u00eds<\/em>, 26 X 1992)<\/li>\n<\/ul>\n<\/div><hr\/><div class=\"seleccio_label \" data-seleccio=\"2\" data-titulo=\"Barcelona-ism\" data-subtitulo=\"\">Barcelona-ism<i class=\"fi fi-rr-angle-small-down\"><\/i><\/div><div class=\"seleccio_content responsive \" data-seleccio=\"2\"><ul>\n<li>\u00abThe destruction of its landscapes and its leading figures was total. The city was unrecognisable. [\u2026] the post-Olympic city, open to the sea, criss-crossed by fast roads, in the middle of the destruction of the Barrio Chino, the light aircraft of political correctness flying over the city, fumigating it to kill its bacteria, its historical viruses, the social struggles, the lumpen, a city now without groins, a city with its groins cut out, converted into a prophylactic theatre to act out the farse of modernity.\u00bb (Manuel V\u00e1zquez Montalb\u00e1n, <em>Quinteto de Buenos Aires<\/em>. Planeta, 1997, p. 16-17) (imatge 2.Novel\u00b7la negra_9.jpg)<\/li>\n<li>\u00abPerhaps it is something people assume about me [Barcelona-ism] because almost all my literature is grounded in the stuff of Barcelona of the space I share and the time I have lived through. |\u2026] I have let myself be led astray by a series of inadequate falsehoods: a false spontaneity, a no less false automatism of personal and cultured memory and an undemonstrable erudite effort, on which I don&#8217;t insist so as not to enter the preserve of the historians and social scientists whom I respect and admire. It&#8217;s not a \u201cpoetic\u201d book, nor is it an \u201chistorical\u201d book, but rather a documented yet subjective chronicle, according to the method of writing I have already tried out in the past.\u00bb (Manuel V\u00e1zquez Montalb\u00e1n, \u201cprologue\u201d, <em>Barcelonas<\/em>. Empurias, 1987, p. 7)<\/li>\n<\/ul>\n<\/div><hr\/><div class=\"seleccio_label \" data-seleccio=\"3\" data-titulo=\"Writing\" data-subtitulo=\"\">Writing<i class=\"fi fi-rr-angle-small-down\"><\/i><\/div><div class=\"seleccio_content responsive \" data-seleccio=\"3\"><ul>\n<li class=\"s11\"><span class=\"s4\">\u00ab<\/span><span class=\"s4\">I still believe in the division of labour, in the idea that if some of us do a job that consists in accumulating knowledge and distributing it through language, that entails a social responsibility. Whether you take it on board or not is another matter, that you accept it in a more or less explicit manner is also a free fact. I start from the principle that if you have taken up a particular position you have to clarify it with the necessary codes. You can&#8217;t write poetry denouncing Bush or converting the novel into a territory of ideological education for the masses. But neither do you have to conceal what you think, because politics is also literary <\/span><span class=\"s4\">material.<\/span><span class=\"s4\">\u00bb<\/span> <span class=\"s4\">\u00ab<\/span><a href=\"http:\/\/www.revistafusion.com\/2002\/noviembre\/entrev110.htm\" title=\"Http:\/\/www.revistafusion.com\/2002\/noviembre\/entrev110.htm\"><span class=\"s7\">Defensa<\/span><span class=\"s7\"> de la utopia<\/span><\/a><span class=\"s4\">\u00bb. <\/span><em><span class=\"s5\">Revista <\/span><span class=\"s5\">Fusi\u00f3n<\/span><\/em><span class=\"s4\">. Novembe<\/span><span class=\"s4\">r<\/span><span class=\"s4\"> 2002.<\/span><\/li>\n<li class=\"s11\"><span class=\"s4\">\u00ab<\/span><span class=\"s4\">I would like to know how to write [&#8230;] to tell all this, because nobody will ever tell it and these people will die when their time comes to die, I don&#8217;t know if you may ever have thought about it. To know how to express oneself, to know how to put down on paper what you think and feel is like being able to send messages in a bottle to posterity. Each neighbourhood should have at least one poet and one chronicler so that many years from now, in some special museums, people will be able to relive through <\/span><span class=\"s4\">memory.<\/span><span class=\"s4\">\u00bb<\/span> <span class=\"s4\">(<\/span><span class=\"s4\">Manuel V\u00e1zquez <\/span><span class=\"s4\">Montalb\u00e1n<\/span><span class=\"s4\">, <\/span><em><span class=\"s5\">El <\/span><span class=\"s5\">pianista<\/span><\/em><span class=\"s4\">. <\/span><span class=\"s4\">Seix<\/span> <span class=\"s4\">Barral<\/span><span class=\"s4\">, 1985, p. 138-39<\/span><span class=\"s4\">)<\/span><\/li>\n<\/ul>\n<\/div><hr\/><div class=\"seleccio_label \" data-seleccio=\"4\" data-titulo=\"Globalisation\" data-subtitulo=\"\">Globalisation<i class=\"fi fi-rr-angle-small-down\"><\/i><\/div><div class=\"seleccio_content responsive \" data-seleccio=\"4\"><ul>\n<li class=\"s11\"><span class=\"s4\">\u00ab<\/span><span class=\"s4\">From <\/span><span class=\"s4\">Kalfon\u2019s<\/span><span class=\"s4\"> book [Pierre <\/span><span class=\"s4\">Kalfon<\/span><span class=\"s4\">: \u2018Ernesto Che Guevara, a legend of our century\u2019) I stress the contrast between the imaginary of the guerilla fighter cut off from his communications, Guevara, and the media-friendly guerilla, the <\/span><span class=\"s4\">subcomandante<\/span><span class=\"s4\">Marcos; Guevara was perhaps the last exponent of the dramaturgy of armed revolution and Marcos the first of the televised revolution, despite Frank Zappa [sic] singing in the nineteen sixties: \u2018No, the revolution will not be televised.\u2019 In any case, Guevara and Marcos appear to be sons of that magical or perhaps exclusively fun meeting between Marx and Rimbaud that was the stuff of dreams in all the Mays of the nineteen sixties: to change Life, to change <\/span><span class=\"s4\">History.<\/span><span class=\"s4\">\u00bb<\/span> <span class=\"s4\">(<\/span><span class=\"s4\">Manuel V\u00e1zquez <\/span><span class=\"s4\">Montalb\u00e1n<\/span><span class=\"s4\">, \u201cEl Che en <\/span><span class=\"s4\">el<\/span> <span class=\"s4\">supermercado<\/span><span class=\"s4\"> de la <\/span><span class=\"s4\">transgresi\u00f3n<\/span><span class=\"s4\">\u201d \u00a0<\/span><em><span class=\"s5\">Le<\/span><span class=\"s5\"> Monde<\/span><\/em><span class=\"s4\">, 9 X 1997<\/span><span class=\"s4\">,<\/span><span class=\"s4\"> with the title \u201c<em>Un cauchemar pour la pens\u00e9e unique<\/em>\u201d)<\/span><\/li>\n<li class=\"s11\"><span class=\"s4\">\u00ab<\/span><span class=\"s4\">The problem now is to find out who is the historic subject of change<\/span><span class=\"s4\">, that is to say, who<\/span><span class=\"s4\">wants or needs to change things. And here, within the current phase of development of capitalism that is called globalisation, we would be in the land of the losers. Just as in the stage of slavery one spoke of the master and the slave, in the subsequent stage of aristocracy and the bourgeoisie, then of the bourgeoisie and the proletariat, now we have a tension between globalisers and <\/span><span class=\"s4\">globalised.<\/span><span class=\"s4\">\u00bb<\/span> <span class=\"s4\">(\u00ab<\/span><a href=\"http:\/\/www.revistafusion.com\/2002\/noviembre\/entrev110.htm\" title=\"Http:\/\/www.revistafusion.com\/2002\/noviembre\/entrev110.htm\"><span class=\"s7\">Defensa<\/span><span class=\"s7\"> de la utopia<\/span><\/a><span class=\"s4\">\u00bb. <\/span><em><span class=\"s5\">Revista <\/span><span class=\"s5\">Fusi\u00f3n<\/span><\/em><span class=\"s4\">. <\/span><span class=\"s4\">November<\/span><span class=\"s4\"> 2002).<\/span><\/li>\n<\/ul>\n<\/div><hr\/><\/div><\/div><div class=\"et_pb_column seleccio_col_2 et_pb_column_2_3 et_pb_css_mix_blend_mode_passthrough et-last-child\"><div class=\"seleccio_content fadein\" data-seleccio=\"0\"><ul>\n<li>\u00abFrom a left-wing perspective, one is astounded that after a century of working class struggle, in which there have been many deaths, the working class that has not achieved even one hour off work or twenty pence without deaths now has to be grateful simply because a worker is assured severance pay. This means a breach of the moral code.\u00bb (Lola D\u00edaz, \u201cVuelve Pepe Carvalho\u201d (Interview with MVM), <em>Cambio 16<\/em>, no. 653, 4 VI 1984)<\/li>\n<li>\u00abThe commitment until 1978 was called anti-fascism; after the Constitution was enacted it was called integrating Spain into full modernity, in every dimension, from any official position.\u00bb (Manuel V\u00e1zquez Montalb\u00e1n, \u201cTal como \u00e9ramos\u201d, <em>El hermano peque\u00f1o<\/em>, Planeta, 1994, p. 127).<\/li>\n<li>\u00abThe commitment to ideas is the commitment to reality and knowing what is the political, social and historical reality since the dawn of time. This is something one accepts when one is born into a world of victims of a civil war. It is a commitment that does not abandon one in life and that leads one to seek instruments to change things. Political commitment is like a marriage that one enters into with an infinite number of people who share the same ideas.\u00bb (Manuel V\u00e1zquez Montalb\u00e1n, Interview by Julio Luz\u00e1n, <em>La Calle<\/em>, 23 X 1979).<\/li>\n<\/ul>\n<\/div><div class=\"seleccio_content \" data-seleccio=\"1\"><ul>\n<li>\u00abFrancoism was extremely ugly; it was tacky. Not even its mass movements had the morbid grandeur of those of Nazism. It was a militaristic aesthetic, and gave the impression that everyone was wearing smelly socks.\u00bb (Manuel V\u00e1zquez Montalb\u00e1n, Interview by Xavier Moret, <em>El Pa\u00eds<\/em>, 26 X 1992)<\/li>\n<li>\u00abThe historians of the future, including those of the present, will not have lived through the cruelty, the brazenness, the mediocrity of Francoism. [\u2026] \u2013 Francoism was a noise, that was a noise all right, that interrupted the message of democracy&#8230;of freedom\u2026\u00bb (Manuel V\u00e1zquez Montalb\u00e1n, <em>Autobiograf\u00eda del general Franco<\/em>. Planeta, 1992, p. 651) (imatge 3.Mem\u00f2ria_4.jpg)<\/li>\n<li>\u00abThere was a sociological Francoism that still lives on to a greater or lesser extent and a rhetoric of Francoism that recall the best years, the ones from 1962 or 1963 to the early seventies, and forgets the years of penury and the subsequent economic crisis that was hatched during the Franco era. Many sectors of sociological Francoism have mythologised the years that were good ones in economic terms, but one has to remember that these were based on exporting the unemployed first to Catalonia and the Basque Country and then to Europe.\u00bb (Manuel V\u00e1zquez Montalb\u00e1n, Interview by Xavier Moret, <em>El Pa\u00eds<\/em>, 26 X 1992)<\/li>\n<\/ul>\n<\/div><div class=\"seleccio_content \" data-seleccio=\"2\"><ul>\n<li>\u00abThe destruction of its landscapes and its leading figures was total. The city was unrecognisable. [\u2026] the post-Olympic city, open to the sea, criss-crossed by fast roads, in the middle of the destruction of the Barrio Chino, the light aircraft of political correctness flying over the city, fumigating it to kill its bacteria, its historical viruses, the social struggles, the lumpen, a city now without groins, a city with its groins cut out, converted into a prophylactic theatre to act out the farse of modernity.\u00bb (Manuel V\u00e1zquez Montalb\u00e1n, <em>Quinteto de Buenos Aires<\/em>. Planeta, 1997, p. 16-17) (imatge 2.Novel\u00b7la negra_9.jpg)<\/li>\n<li>\u00abPerhaps it is something people assume about me [Barcelona-ism] because almost all my literature is grounded in the stuff of Barcelona of the space I share and the time I have lived through. |\u2026] I have let myself be led astray by a series of inadequate falsehoods: a false spontaneity, a no less false automatism of personal and cultured memory and an undemonstrable erudite effort, on which I don&#8217;t insist so as not to enter the preserve of the historians and social scientists whom I respect and admire. It&#8217;s not a \u201cpoetic\u201d book, nor is it an \u201chistorical\u201d book, but rather a documented yet subjective chronicle, according to the method of writing I have already tried out in the past.\u00bb (Manuel V\u00e1zquez Montalb\u00e1n, \u201cprologue\u201d, <em>Barcelonas<\/em>. Empurias, 1987, p. 7)<\/li>\n<\/ul>\n<\/div><div class=\"seleccio_content \" data-seleccio=\"3\"><ul>\n<li class=\"s11\"><span class=\"s4\">\u00ab<\/span><span class=\"s4\">I still believe in the division of labour, in the idea that if some of us do a job that consists in accumulating knowledge and distributing it through language, that entails a social responsibility. Whether you take it on board or not is another matter, that you accept it in a more or less explicit manner is also a free fact. I start from the principle that if you have taken up a particular position you have to clarify it with the necessary codes. You can&#8217;t write poetry denouncing Bush or converting the novel into a territory of ideological education for the masses. But neither do you have to conceal what you think, because politics is also literary <\/span><span class=\"s4\">material.<\/span><span class=\"s4\">\u00bb<\/span> <span class=\"s4\">\u00ab<\/span><a href=\"http:\/\/www.revistafusion.com\/2002\/noviembre\/entrev110.htm\" title=\"Http:\/\/www.revistafusion.com\/2002\/noviembre\/entrev110.htm\"><span class=\"s7\">Defensa<\/span><span class=\"s7\"> de la utopia<\/span><\/a><span class=\"s4\">\u00bb. <\/span><em><span class=\"s5\">Revista <\/span><span class=\"s5\">Fusi\u00f3n<\/span><\/em><span class=\"s4\">. Novembe<\/span><span class=\"s4\">r<\/span><span class=\"s4\"> 2002.<\/span><\/li>\n<li class=\"s11\"><span class=\"s4\">\u00ab<\/span><span class=\"s4\">I would like to know how to write [&#8230;] to tell all this, because nobody will ever tell it and these people will die when their time comes to die, I don&#8217;t know if you may ever have thought about it. To know how to express oneself, to know how to put down on paper what you think and feel is like being able to send messages in a bottle to posterity. Each neighbourhood should have at least one poet and one chronicler so that many years from now, in some special museums, people will be able to relive through <\/span><span class=\"s4\">memory.<\/span><span class=\"s4\">\u00bb<\/span> <span class=\"s4\">(<\/span><span class=\"s4\">Manuel V\u00e1zquez <\/span><span class=\"s4\">Montalb\u00e1n<\/span><span class=\"s4\">, <\/span><em><span class=\"s5\">El <\/span><span class=\"s5\">pianista<\/span><\/em><span class=\"s4\">. <\/span><span class=\"s4\">Seix<\/span> <span class=\"s4\">Barral<\/span><span class=\"s4\">, 1985, p. 138-39<\/span><span class=\"s4\">)<\/span><\/li>\n<\/ul>\n<\/div><div class=\"seleccio_content \" data-seleccio=\"4\"><ul>\n<li class=\"s11\"><span class=\"s4\">\u00ab<\/span><span class=\"s4\">From <\/span><span class=\"s4\">Kalfon\u2019s<\/span><span class=\"s4\"> book [Pierre <\/span><span class=\"s4\">Kalfon<\/span><span class=\"s4\">: \u2018Ernesto Che Guevara, a legend of our century\u2019) I stress the contrast between the imaginary of the guerilla fighter cut off from his communications, Guevara, and the media-friendly guerilla, the <\/span><span class=\"s4\">subcomandante<\/span><span class=\"s4\">Marcos; Guevara was perhaps the last exponent of the dramaturgy of armed revolution and Marcos the first of the televised revolution, despite Frank Zappa [sic] singing in the nineteen sixties: \u2018No, the revolution will not be televised.\u2019 In any case, Guevara and Marcos appear to be sons of that magical or perhaps exclusively fun meeting between Marx and Rimbaud that was the stuff of dreams in all the Mays of the nineteen sixties: to change Life, to change <\/span><span class=\"s4\">History.<\/span><span class=\"s4\">\u00bb<\/span> <span class=\"s4\">(<\/span><span class=\"s4\">Manuel V\u00e1zquez <\/span><span class=\"s4\">Montalb\u00e1n<\/span><span class=\"s4\">, \u201cEl Che en <\/span><span class=\"s4\">el<\/span> <span class=\"s4\">supermercado<\/span><span class=\"s4\"> de la <\/span><span class=\"s4\">transgresi\u00f3n<\/span><span class=\"s4\">\u201d \u00a0<\/span><em><span class=\"s5\">Le<\/span><span class=\"s5\"> Monde<\/span><\/em><span class=\"s4\">, 9 X 1997<\/span><span class=\"s4\">,<\/span><span class=\"s4\"> with the title \u201c<em>Un cauchemar pour la pens\u00e9e unique<\/em>\u201d)<\/span><\/li>\n<li class=\"s11\"><span class=\"s4\">\u00ab<\/span><span class=\"s4\">The problem now is to find out who is the historic subject of change<\/span><span class=\"s4\">, that is to say, who<\/span><span class=\"s4\">wants or needs to change things. And here, within the current phase of development of capitalism that is called globalisation, we would be in the land of the losers. Just as in the stage of slavery one spoke of the master and the slave, in the subsequent stage of aristocracy and the bourgeoisie, then of the bourgeoisie and the proletariat, now we have a tension between globalisers and <\/span><span class=\"s4\">globalised.<\/span><span class=\"s4\">\u00bb<\/span> <span class=\"s4\">(\u00ab<\/span><a href=\"http:\/\/www.revistafusion.com\/2002\/noviembre\/entrev110.htm\" title=\"Http:\/\/www.revistafusion.com\/2002\/noviembre\/entrev110.htm\"><span class=\"s7\">Defensa<\/span><span class=\"s7\"> de la utopia<\/span><\/a><span class=\"s4\">\u00bb. <\/span><em><span class=\"s5\">Revista <\/span><span class=\"s5\">Fusi\u00f3n<\/span><\/em><span class=\"s4\">. <\/span><span class=\"s4\">November<\/span><span class=\"s4\"> 2002).<\/span><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=&#8221;1&#8243; _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_row _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;4_4&#8243; _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_text _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; animation_style=&#8221;fade&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<h2>Contributions<\/h2>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; custom_padding=&#8221;0px||0px||false|false&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;4_4&#8243; _builder_version=&#8221;4.21.0&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_text _builder_version=&#8221;4.22.1&#8243; _module_preset=&#8221;default&#8221; animation_style=&#8221;fade&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<div class=\"aportacions aportacions_left et_pb_row nm np width flex\"><div class=\"et_pb_column et_pb_column_1_2 aportacions_col1 \"><h3>Audiovisual and songs<\/h3><ul class=\"aportacio_list\"><li data-aportacio=\"0\" class=\"video triggable\" data-list=\"audiovisual-and-songs\"><p>Resistence. At: <em>Ep\u00edlogo<\/em>. Canal+. 18 October 2002.4:53 \u2013 5:27<\/p>\n<\/li><li class=\"aportacio_content responsive video active\" data-aportacio=\"0\" data-list=\"audiovisual-and-songs\"><div class=\"videoWrapper\">\n\t\t\t\t<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/_4ueSwSyyvs\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\t\t\t\t<\/div><\/li><li data-aportacio=\"1\" class=\"video triggable\" data-list=\"audiovisual-and-songs\"><p>Desenchantement. At: <em>Manuel V\u00e1zquez Montalb\u00e1n a Fondo<\/em>. Interview by Joaqu\u00edn Soler Serrano. Editrama. 21 October 1979. 42:55 \u2013 43:55<\/p>\n<\/li><li class=\"aportacio_content responsive video \" data-aportacio=\"1\" data-list=\"audiovisual-and-songs\"><div class=\"videoWrapper\">\n\t\t\t\t<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/2WQWMGhU56E\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\t\t\t\t<\/div><\/li><li data-aportacio=\"2\" class=\"video triggable\" data-list=\"audiovisual-and-songs\"><p>Militancy. At: <em>Manuel V\u00e1zquez Montalb\u00e1n a Fondo<\/em>. Interview by Joaqu\u00edn Soler Serrano. Editrama. 21 October 1979. 46:49 \u2013 48:27<\/p>\n<\/li><li class=\"aportacio_content responsive video \" data-aportacio=\"2\" data-list=\"audiovisual-and-songs\"><div class=\"videoWrapper\">\n\t\t\t\t<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/2WQWMGhU56E\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\t\t\t\t<\/div><\/li><li data-aportacio=\"3\" class=\"video triggable\" data-list=\"audiovisual-and-songs\"><p><em>Tatuaje<\/em>. Music by Manuel Quiroga; lyrics by Rafael de Le\u00f3n and Xandro Valerio. Performed by Concha Piquer. VintageMusic.es.<\/p>\n<\/li><li class=\"aportacio_content responsive video \" data-aportacio=\"3\" data-list=\"audiovisual-and-songs\"><div class=\"videoWrapper\">\n\t\t\t\t<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/ns72t1BrF30\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\t\t\t\t<\/div><\/li><li data-aportacio=\"4\" class=\"video triggable\" data-list=\"audiovisual-and-songs\"><p><em>Suspiros de Espa\u00f1a<\/em>. Music by Antonio \u00c1lvarez Alonso; lyrics by Jos\u00e9 Antonio \u00c1lvarez Cantos. Performed by Estrella Morente. Universal Music Group.<\/p>\n<\/li><li class=\"aportacio_content responsive video \" data-aportacio=\"4\" data-list=\"audiovisual-and-songs\"><div class=\"videoWrapper\">\n\t\t\t\t<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/rntsC6Q3Pmk\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\t\t\t\t<\/div><\/li><\/ul><\/div><div class=\"et_pb_column et_pb_column_1_2 aportacions_col2 et-last-child\"><div class=\"aportacio_content_holder\"><div class=\"aportacio_content video active\" data-aportacio=\"0\" data-list=\"audiovisual-and-songs\"><div class=\"videoWrapper\">\n\t\t\t\t<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/_4ueSwSyyvs\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\t\t\t\t<\/div><\/div><div class=\"aportacio_content video \" data-aportacio=\"1\" data-list=\"audiovisual-and-songs\"><div class=\"videoWrapper\">\n\t\t\t\t<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/2WQWMGhU56E\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\t\t\t\t<\/div><\/div><div class=\"aportacio_content video \" data-aportacio=\"2\" data-list=\"audiovisual-and-songs\"><div class=\"videoWrapper\">\n\t\t\t\t<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/2WQWMGhU56E\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\t\t\t\t<\/div><\/div><div class=\"aportacio_content video \" data-aportacio=\"3\" data-list=\"audiovisual-and-songs\"><div class=\"videoWrapper\">\n\t\t\t\t<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/ns72t1BrF30\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\t\t\t\t<\/div><\/div><div class=\"aportacio_content video \" data-aportacio=\"4\" data-list=\"audiovisual-and-songs\"><div class=\"videoWrapper\">\n\t\t\t\t<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/rntsC6Q3Pmk\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\t\t\t\t<\/div><\/div><\/div><\/div><\/div>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Commitment to the presentText and selection of content: Georges Tyras Reference of collective lifeIn the years following the death of Manuel V\u00e1zquez Montalb\u00e1n, people &#8211; in particular those who used to read his Monday column in El Pa\u00eds \u2013 would wonder, when faced with any kind of event occurring in Spain or anywhere in the world: \u201cWhat would Manolo think?\u201d It was, and still is, a way of underlining the role of reference point, as a lookout of the collective life, that Manuel V\u00e1zquez Montalb\u00e1n performed throughout his life and in all the territories of his writing. Born with the civil war, V\u00e1zquez Montalb\u00e1n experienced and suffered, on the losing side, a long post-war era that forged a visceral anti-Francoist conviction. As an intellectual, he couldn&#8217;t help but be committed. To memory, to his time, to his city, to his social class, to writing. Hence he always combined personal involvement in public life with a creative activity that encompassed journalism, poetry, the novel, the essay, and much more besides. Joining the PSUC after a spell in support of Felipe [Gonzalez], participation in the La Pau: diari de la Pau, against the first Gulf War, the tireless search for the historic [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","inline_featured_image":false,"footnotes":""},"class_list":["post-1346","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/vazquezmontalban.bnc.cat\/en\/wp-json\/wp\/v2\/pages\/1346","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/vazquezmontalban.bnc.cat\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/vazquezmontalban.bnc.cat\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/vazquezmontalban.bnc.cat\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/vazquezmontalban.bnc.cat\/en\/wp-json\/wp\/v2\/comments?post=1346"}],"version-history":[{"count":11,"href":"https:\/\/vazquezmontalban.bnc.cat\/en\/wp-json\/wp\/v2\/pages\/1346\/revisions"}],"predecessor-version":[{"id":2443,"href":"https:\/\/vazquezmontalban.bnc.cat\/en\/wp-json\/wp\/v2\/pages\/1346\/revisions\/2443"}],"wp:attachment":[{"href":"https:\/\/vazquezmontalban.bnc.cat\/en\/wp-json\/wp\/v2\/media?parent=1346"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}