1 00:00:24,080 --> 00:00:28,000 HE PUBLISHED 18 BOOKS 2 00:00:31,960 --> 00:00:35,960 HE WAS ALSO A PHOTOGRAPHER, PAINTER AND SCULPTOR 3 00:00:40,000 --> 00:00:44,040 THIS DOCUMENTARY IS ABOUT HIS LIFE AND WORK 4 00:00:44,040 --> 00:00:47,920 MY HOME WITH TREES 5 00:00:54,160 --> 00:00:56,280 I arrive in the village of Campos 6 00:00:56,280 --> 00:00:59,120 on a humid and sunny day. 7 00:00:59,120 --> 00:01:01,760 The village is in the south of the island of Mallorca. 8 00:01:01,760 --> 00:01:03,680 This is where Damià Huguet lived, 9 00:01:03,680 --> 00:01:05,280 a poet who is not among 10 00:01:05,280 --> 00:01:06,800 the well-known names 11 00:01:06,800 --> 00:01:08,920 of Catalan literature. 12 00:01:08,920 --> 00:01:10,720 I’ve decided to find out more about him. 13 00:01:12,120 --> 00:01:14,080 He died 25 years ago and, 14 00:01:14,080 --> 00:01:15,680 as a person and an artist, 15 00:01:15,680 --> 00:01:18,680 lived on the fringe of the fringe. 16 00:01:21,760 --> 00:01:26,280 But was that really the way he wanted to live? 17 00:01:26,280 --> 00:01:28,680 Did he want to be on the fringe? 18 00:01:49,200 --> 00:01:50,160 [VOICE OF THE POET] If you open the door 19 00:01:50,160 --> 00:01:51,240 of my home with trees 20 00:01:51,240 --> 00:01:54,080 you’ll find my children 21 00:01:54,080 --> 00:01:55,640 dusting off the tenderness 22 00:01:55,640 --> 00:01:58,640 of the crude writings 23 00:01:58,640 --> 00:02:01,640 of this violent omen 24 00:02:01,640 --> 00:02:04,640 that the hardships of faith 25 00:02:04,640 --> 00:02:07,640 have furrowed in anger. 26 00:02:11,320 --> 00:02:13,600 I enter Damià’s house 27 00:02:13,600 --> 00:02:14,880 and don’t see anything particular 28 00:02:14,880 --> 00:02:16,720 nor anything very defined, 29 00:02:16,720 --> 00:02:19,120 except pictures and books. 30 00:02:52,240 --> 00:02:55,040 Biel, the poet’s son, 31 00:02:55,040 --> 00:02:56,560 has left me his father’s address book 32 00:02:56,560 --> 00:02:58,960 on the table. 33 00:02:58,960 --> 00:03:04,320 I open it and read the names of other artists: 34 00:03:04,320 --> 00:03:08,800 Toni Catany, photographer, 35 00:03:08,800 --> 00:03:12,960 Vicent Andrés Estellés, poet, 36 00:03:12,960 --> 00:03:15,960 Maria del Mar Bonet, singer. 37 00:03:19,360 --> 00:03:20,400 I wonder who was 38 00:03:20,400 --> 00:03:21,800 the man Damià Huguet 39 00:03:21,800 --> 00:03:24,680 who emerged as an artist in 40 00:03:24,680 --> 00:03:27,120 Mallorca of the 1960s, 41 00:03:27,120 --> 00:03:28,280 who at best 42 00:03:28,280 --> 00:03:31,880 was indifferent towards his work and himself, 43 00:03:31,880 --> 00:03:34,880 and at worst, disdainful. 44 00:03:36,120 --> 00:03:40,200 The immense creative potential of Damià Huguet 45 00:03:40,200 --> 00:03:44,000 has a mysterious quality to it. 46 00:03:44,000 --> 00:03:46,240 I, like many others, 47 00:03:46,240 --> 00:03:50,040 deeply admire his poetry. 48 00:03:50,040 --> 00:03:51,960 And I also admire his attempts at 49 00:03:51,960 --> 00:03:54,960 painting, photography and sculpture. 50 00:03:58,200 --> 00:04:02,000 A self-taught, avant-garde poet, 51 00:04:02,000 --> 00:04:06,000 who earned his living as a builder, 52 00:04:06,000 --> 00:04:07,880 an artist who went every day 53 00:04:07,880 --> 00:04:10,160 to the local café, 54 00:04:10,160 --> 00:04:11,440 without ever any need 55 00:04:11,440 --> 00:04:15,120 to talk about his literary work. 56 00:04:15,120 --> 00:04:17,320 Who was this man? 57 00:04:19,160 --> 00:04:20,920 I come across the name of Miquel Adrover 58 00:04:20,920 --> 00:04:25,080 and I feel like someone has told me about him. 59 00:04:25,080 --> 00:04:27,000 I decide to phone him. 60 00:04:27,000 --> 00:04:31,000 My name’s Sebastià Alzamora. 61 00:04:31,000 --> 00:04:32,600 Thank you very much. 62 00:04:47,560 --> 00:04:49,200 The man who greets me is straight out 63 00:04:49,200 --> 00:04:51,000 of an American road movie. 64 00:04:51,000 --> 00:04:53,720 But this man is an architect and a writer. 65 00:04:53,720 --> 00:04:55,320 Talking with him, I found out 66 00:04:55,320 --> 00:04:57,600 that when he was young, he and Damià 67 00:04:57,600 --> 00:04:58,680 were the leading 68 00:04:58,680 --> 00:05:01,040 cultural movers and shakers in the village. 69 00:05:01,040 --> 00:05:02,320 It would still be 10 years 70 00:05:02,320 --> 00:05:04,200 before the arrival of democracy 71 00:05:04,200 --> 00:05:05,680 and they were trying to create 72 00:05:05,680 --> 00:05:07,920 social debate and culture. 73 00:05:09,400 --> 00:05:11,600 There was a lot of censorship 74 00:05:11,600 --> 00:05:14,400 and prohibition and arrests. 75 00:05:14,400 --> 00:05:17,120 Although here they didn’t do anything. 76 00:05:17,120 --> 00:05:22,480 There were Gori Mir, Biel Janer, Blai Bonet, 77 00:05:22,480 --> 00:05:24,080 Antònia Vicens,… and if I’m not mistaken… 78 00:05:24,080 --> 00:05:25,480 intellectuals of the time. 79 00:05:25,480 --> 00:05:26,720 And Damià Huguet. 80 00:05:26,720 --> 00:05:28,360 Yes. He was there too. He helped. 81 00:05:28,360 --> 00:05:29,040 Helped? 82 00:05:29,040 --> 00:05:31,320 Yes, he was still very young. 83 00:05:31,320 --> 00:05:34,360 Damià Huguet came under 84 00:05:34,360 --> 00:05:35,520 a lot of pressure 85 00:05:35,520 --> 00:05:37,920 from inside his family, from an uncle of his 86 00:05:37,920 --> 00:05:42,480 who was a fierce supporter of Franco, 87 00:05:42,480 --> 00:05:44,040 a Spanish nationalist, like they were at my place. 88 00:05:44,040 --> 00:05:46,560 And from time to time, this uncle 89 00:05:46,560 --> 00:05:49,960 would go to Damià’s place, his father had died, 90 00:05:49,960 --> 00:05:51,840 and ask Damià’s mother 91 00:05:51,840 --> 00:05:54,320 to show her her son’s books. 92 00:05:54,320 --> 00:05:55,640 And then he would go through them. 93 00:05:55,640 --> 00:05:58,080 That one out, that one out… 94 00:05:58,080 --> 00:05:59,280 He censored him? 95 00:05:59,280 --> 00:06:00,680 Yes, massively censored. 96 00:06:00,680 --> 00:06:03,400 Do you think the censorship 97 00:06:03,400 --> 00:06:05,520 his uncle subjected him to could have 98 00:06:05,520 --> 00:06:07,720 prompted Damià’s reaction 99 00:06:07,720 --> 00:06:10,120 against it all 100 00:06:10,120 --> 00:06:11,920 and led him to doing 101 00:06:11,920 --> 00:06:13,880 all that he did? 102 00:06:13,880 --> 00:06:16,440 As a writer, as an editor, as a publisher, as an activist… 103 00:06:16,440 --> 00:06:18,440 Yes. I’m convinced that 104 00:06:18,440 --> 00:06:21,240 quite a lot of intellectuals from that time 105 00:06:21,240 --> 00:06:23,160 were reacting 106 00:06:23,160 --> 00:06:25,800 to an oppressive family environment. 107 00:06:25,800 --> 00:06:26,440 Oppressive… 108 00:06:26,960 --> 00:06:30,240 And that was also the case for Damià? 109 00:06:30,240 --> 00:06:32,400 Yes. He was disapproved of by 110 00:06:32,400 --> 00:06:34,240 a lot of people in Campos 111 00:06:34,240 --> 00:06:37,760 who were strong Franco supporters. 112 00:06:37,760 --> 00:06:39,200 Was his use of language 113 00:06:39,200 --> 00:06:40,600 self-taught? 114 00:06:40,600 --> 00:06:41,840 Sí, autodidacta. 115 00:06:41,840 --> 00:06:43,000 ¿Was he a learned man? 116 00:06:43,000 --> 00:06:45,000 Extremely so. 117 00:06:45,000 --> 00:06:46,240 He reminded me. 118 00:06:46,240 --> 00:06:49,440 of a Renaissance man. 119 00:06:49,440 --> 00:06:51,680 He was never arrogant, he was very humble. 120 00:06:51,680 --> 00:06:53,440 Damià didn’t make anything up, 121 00:06:53,440 --> 00:06:54,640 he simply verified things. 122 00:06:54,640 --> 00:06:56,600 Reading his books, you see 123 00:06:56,600 --> 00:07:00,120 the Campos of that time … 124 00:07:00,120 --> 00:07:02,400 … which wasn’t very different to today. 125 00:07:03,400 --> 00:07:05,120 I have the feeling that 126 00:07:05,120 --> 00:07:08,040 reacting to the claustrophobia of those years 127 00:07:08,040 --> 00:07:11,520 could have been a possible drive to create, 128 00:07:11,520 --> 00:07:14,360 but not the only one. 129 00:07:14,360 --> 00:07:16,080 I’m not sure about going back to the house 130 00:07:16,080 --> 00:07:18,600 and rummaging through the drawers. 131 00:07:18,600 --> 00:07:21,600 It’s not easy to enter someone else’s intimacy. 132 00:07:21,600 --> 00:07:24,320 And even less so if they are no longer alive. 133 00:07:24,320 --> 00:07:26,520 There’s something almost profane about it. 134 00:07:29,000 --> 00:07:31,360 Luckily, the phone rings. 135 00:07:31,360 --> 00:07:33,840 Biel tells me that Damià’s work van 136 00:07:33,840 --> 00:07:36,840 is restored already. 137 00:07:38,920 --> 00:07:42,520 Like I said, Damià, as well as being a poet, was a builder. 138 00:07:42,520 --> 00:07:45,760 He worked in a factory that made concrete beams. 139 00:07:45,760 --> 00:07:47,800 At the age of 10 he lost his father 140 00:07:47,800 --> 00:07:49,400 and at 16 he stopped studying 141 00:07:49,400 --> 00:07:52,040 to take over the family business. 142 00:07:52,040 --> 00:07:55,040 That’s what he wanted. 143 00:08:09,360 --> 00:08:10,920 I like to imagine Damià Huguet 144 00:08:10,920 --> 00:08:13,800 returning from the café at sunset, 145 00:08:13,800 --> 00:08:16,640 still covered in dust from work, 146 00:08:17,000 --> 00:08:19,000 driving through the streets of the town 147 00:08:19,000 --> 00:08:21,520 before arriving home. 148 00:08:21,520 --> 00:08:24,680 He loved the cinema! 149 00:08:24,680 --> 00:08:27,440 He’d written a great deal on the subject, 150 00:08:28,160 --> 00:08:29,840 writing film reviews 151 00:08:29,840 --> 00:08:31,200 for a newspaper on the island, 152 00:08:31,200 --> 00:08:33,720 the Diario de Mallorca. 153 00:08:33,720 --> 00:08:37,120 In Cannes, San Sebastian and Venice he interviewed 154 00:08:37,120 --> 00:08:40,760 the big directors from that time. 155 00:08:40,760 --> 00:08:43,640 I’m sure Damià could have felt 156 00:08:43,640 --> 00:08:45,520 like a character from those films by 157 00:08:45,520 --> 00:08:48,600 Rossellini or Antonioni that he loved so much. 158 00:08:52,480 --> 00:08:54,800 As a reporter for the Diario de Mallorca 159 00:08:54,800 --> 00:08:58,120 he covered the village football matches. 160 00:08:58,120 --> 00:09:01,600 He took photos of them, which he sent to the paper. 161 00:09:01,600 --> 00:09:03,520 One day, at this very pitch, 162 00:09:03,520 --> 00:09:05,760 he took a photo considered to be unique 163 00:09:05,760 --> 00:09:09,360 and which everyone talked about. 164 00:09:09,360 --> 00:09:11,000 Depending on how you look at it 165 00:09:11,000 --> 00:09:13,720 it might seem a ridiculous story. 166 00:09:13,720 --> 00:09:16,480 But it wasn’t at all for Damià. 167 00:09:16,480 --> 00:09:17,760 Everyone says that this 168 00:09:17,760 --> 00:09:22,000 was the first blow his town dealt him. 169 00:09:22,000 --> 00:09:24,640 It happened on 8 October 1972 170 00:09:24,640 --> 00:09:27,280 This was where the passion erupted. 171 00:09:52,840 --> 00:09:55,520 [VOICE OF THE POET] But in this village of mine, 172 00:09:55,520 --> 00:09:58,200 of bulls and few ferrets, 173 00:09:58,200 --> 00:09:59,800 what ever prevails is the pitilessness 174 00:09:59,800 --> 00:10:01,560 of the scream and the ocean of culture 175 00:10:01,560 --> 00:10:05,600 at which every countryman tirelessly scrapes away. 176 00:10:14,840 --> 00:10:17,000 I imagine Damià taking the photo 177 00:10:17,000 --> 00:10:18,520 and thinking, while he developed it, 178 00:10:18,520 --> 00:10:19,960 that it was simply like a sequence 179 00:10:19,960 --> 00:10:22,240 of neo-realist cinema. 180 00:10:22,240 --> 00:10:24,560 But that famous photo did not go down well at all 181 00:10:24,560 --> 00:10:26,360 among the people in the village. 182 00:10:26,360 --> 00:10:29,200 There were gross exaggerations about it. 183 00:10:29,200 --> 00:10:31,600 They said it had been seen all over the world 184 00:10:31,600 --> 00:10:34,880 and that it portrayed the villagers as savages. 185 00:10:34,880 --> 00:10:36,520 Paris Match magazine 186 00:10:36,520 --> 00:10:39,520 wanted to buy the whole series 187 00:10:39,520 --> 00:10:41,840 but Damià didn’t want to sell it. 188 00:10:43,160 --> 00:10:44,280 Like Godard said 189 00:10:44,280 --> 00:10:46,520 and as quoted by the poet 190 00:10:46,520 --> 00:10:49,240 This is not a just image, 191 00:10:49,240 --> 00:10:51,600 it’s just an image. 192 00:10:55,560 --> 00:10:58,080 In the end I enter his study 193 00:10:58,080 --> 00:11:01,080 and sit where the poet sat. 194 00:11:22,800 --> 00:11:26,440 I look through the objects and the first to catch my eye 195 00:11:26,440 --> 00:11:30,080 is a copy of a photo often used in publications. 196 00:11:32,240 --> 00:11:35,240 The poet with a Toscano cigar in his mouth. 197 00:11:36,760 --> 00:11:39,480 He always used to smoke those Italian cigars, 198 00:11:39,480 --> 00:11:42,400 which are labourers’ cigars because they’re short 199 00:11:42,400 --> 00:11:45,640 and can be smoked while you work. 200 00:11:45,640 --> 00:11:47,640 The beret and his everyday clothes 201 00:11:47,640 --> 00:11:50,480 complete the character. 202 00:11:50,480 --> 00:11:53,800 But… Why do I say character? 203 00:11:53,800 --> 00:11:57,400 What have I seen that I didn’t see before? 204 00:11:57,400 --> 00:11:58,720 Could it be that because I’m 205 00:11:58,720 --> 00:12:00,440 in his book-filled studio, 206 00:12:00,440 --> 00:12:03,120 I see that the pose in the photo 207 00:12:03,120 --> 00:12:05,160 is like a disguise. 208 00:12:05,160 --> 00:12:07,680 In this image he’s smiling. 209 00:12:07,680 --> 00:12:09,960 It’s a self-portrait. 210 00:12:09,960 --> 00:12:12,200 I would say he has a roguish face. 211 00:12:12,200 --> 00:12:16,440 Damià became a powerful intellectual, 212 00:12:16,440 --> 00:12:19,920 but here he’s smiling through the mask of a labourer. 213 00:12:19,920 --> 00:12:22,320 A mask which isn’t really a mask 214 00:12:22,320 --> 00:12:24,440 because he did in fact spend hour upon hour 215 00:12:24,440 --> 00:12:26,320 in the factory making cement. 216 00:12:31,600 --> 00:12:35,080 Damià Huguet was very good at segmenting his activities 217 00:12:35,080 --> 00:12:39,440 and a lot of the locals didn’t even know that he wrote. 218 00:12:39,440 --> 00:12:41,160 He had multiple faces and, as a rule, 219 00:12:41,160 --> 00:12:44,240 he didn’t mix them. 220 00:12:44,240 --> 00:12:46,600 He was like Joan Miró in that respect. 221 00:12:46,600 --> 00:12:48,720 Was it humility? 222 00:12:48,720 --> 00:12:50,360 Was it shyness? 223 00:12:50,360 --> 00:12:52,400 Or was it a way of being one 224 00:12:52,400 --> 00:12:54,200 and many at the same time? 225 00:13:16,400 --> 00:13:20,920 Look! This is a lemon. 226 00:13:20,920 --> 00:13:24,160 I’ve called up my friend Montserrat. 227 00:13:24,160 --> 00:13:25,760 He knew Damià, 228 00:13:25,760 --> 00:13:28,320 He teaches philosophy and likes 229 00:13:28,320 --> 00:13:30,920 to get to the bottom of things. 230 00:13:30,920 --> 00:13:33,440 We talk a lot about the poet and… 231 00:13:33,440 --> 00:13:35,200 …we talk about strangely shaped lemons. 232 00:13:36,800 --> 00:13:39,840 Damià used to say that the cinema was a provocation. 233 00:13:39,840 --> 00:13:41,240 Here’s something 234 00:13:41,240 --> 00:13:44,240 that has really made me think. 235 00:13:44,240 --> 00:13:46,640 Cinema will always be a provocation. 236 00:13:46,640 --> 00:13:47,440 A meditated action 237 00:13:47,440 --> 00:13:49,240 taken to its ultimate consequences 238 00:13:49,240 --> 00:13:52,640 so that the fascination of the images prevails 239 00:13:52,640 --> 00:13:55,640 over the emptiness of what is being said. 240 00:13:57,520 --> 00:14:01,040 Yes, for Damià the image prevailed 241 00:14:01,040 --> 00:14:05,960 over the written language and, even so, 242 00:14:05,960 --> 00:14:08,960 he kept writing. 243 00:14:08,960 --> 00:14:09,960 It’s interesting 244 00:14:09,960 --> 00:14:11,800 and paradoxical at the same time. 245 00:14:11,800 --> 00:14:13,400 A contradiction. 246 00:14:13,400 --> 00:14:16,160 Montserrat is always in a hurry, 247 00:14:16,160 --> 00:14:17,880 aparece de golpe 248 00:14:17,880 --> 00:14:19,240 he appears suddenly and then suddenly vanishes. 249 00:14:29,760 --> 00:14:33,440 [LETTER FROM THE POET] What pushed me to write was always the cinema.. 250 00:14:33,440 --> 00:14:36,080 I write because the cinema works for me 251 00:14:36,080 --> 00:14:38,040 and mainly because I don’t dare 252 00:14:38,040 --> 00:14:40,240 to film what I see. 253 00:14:40,240 --> 00:14:43,160 Cinema is everything for me. 254 00:14:43,160 --> 00:14:44,400 Everything is cinema. 255 00:14:48,200 --> 00:14:50,320 There are a great many published scripts 256 00:14:50,320 --> 00:14:53,200 and books on cinema in the house. 257 00:14:53,200 --> 00:14:54,440 Which might seem unusual 258 00:14:54,440 --> 00:14:57,720 in a poet’s library. 259 00:14:57,720 --> 00:15:02,200 Reading a script by Antonioni is no easy task. 260 00:15:02,200 --> 00:15:03,120 No script is 261 00:15:03,120 --> 00:15:04,760 if you’re not a cinephile. 262 00:15:49,600 --> 00:15:50,800 [VERSES OF THE POET] Tomorrow 263 00:15:50,800 --> 00:15:52,040 perhaps we’ll be happy 264 00:15:52,040 --> 00:15:53,800 with a glass of gin 265 00:15:53,800 --> 00:15:56,200 or a cry from Pasolini. 266 00:15:56,200 --> 00:15:57,880 Who also gets you drunk 267 00:15:57,880 --> 00:16:00,040 but doesn’t quench your thirst. 268 00:16:00,040 --> 00:16:03,040 The rest will be literature. 269 00:16:28,800 --> 00:16:30,560 [VERSES OF THE POET] He slowly, very softly, 270 00:16:30,560 --> 00:16:33,640 rubbed his lips, 271 00:16:33,640 --> 00:16:35,760 with a cold heart 272 00:16:35,760 --> 00:16:38,720 and the uncertainty of ignoring the adventure 273 00:16:38,720 --> 00:16:39,480 where he died. 274 00:17:40,160 --> 00:17:42,240 [VERSES OF THE POET] A film is like a man. 275 00:17:42,240 --> 00:17:44,960 One option against a single option. 276 00:17:50,400 --> 00:17:52,320 This book belongs to Guaret, 277 00:17:52,320 --> 00:17:54,200 the publishing house the poet created. 278 00:17:54,200 --> 00:17:55,480 Like the collections 279 00:17:55,480 --> 00:17:58,480 Quaderns Campaners and La Garangola. 280 00:17:58,480 --> 00:18:03,040 A total of 26 books published using his own money. 281 00:18:03,040 --> 00:18:04,560 In a blue folder I find, 282 00:18:04,560 --> 00:18:07,760 a list of the cost of each edition of Guaret. 283 00:18:07,760 --> 00:18:11,080 A total of a million pesetas. 284 00:18:11,080 --> 00:18:12,480 On the three collections 285 00:18:12,480 --> 00:18:15,360 he spent nearly a million and a half. 286 00:18:15,360 --> 00:18:16,800 In the early eighties 287 00:18:16,800 --> 00:18:18,000 the minimum wage was 288 00:18:18,000 --> 00:18:20,440 around thirty thousand pesetas. 289 00:18:20,440 --> 00:18:21,240 Converted into euros, 290 00:18:21,240 --> 00:18:22,760 the poet would have spent 291 00:18:22,760 --> 00:18:24,320 some forty seven thousand euros 292 00:18:24,320 --> 00:18:27,280 on publishing new poetry. 293 00:18:27,280 --> 00:18:29,880 Damià didn’t do things by half. 294 00:18:29,880 --> 00:18:31,760 He made concrete beams 295 00:18:31,760 --> 00:18:34,320 and had three or four employees. 296 00:18:40,080 --> 00:18:42,720 Tomorrow I’m going to see his first printer. 297 00:18:42,720 --> 00:18:44,080 And the factory. 298 00:19:12,520 --> 00:19:15,480 I like this place even before I enter. 299 00:19:15,480 --> 00:19:17,000 Sebastià Roig manages it. 300 00:19:17,000 --> 00:19:18,760 It’s a space that, depending on how you look at it, 301 00:19:18,760 --> 00:19:21,120 is already from another time. 302 00:19:21,120 --> 00:19:24,120 Here is where they made the first Guaret books. 303 00:19:28,360 --> 00:19:30,560 Hi, how are things? 304 00:19:30,560 --> 00:19:31,720 We share a name. 305 00:19:31,720 --> 00:19:32,720 Exactly. 306 00:19:33,040 --> 00:19:34,800 These are the machines, right? 307 00:19:34,800 --> 00:19:35,440 Yes. These are offset, 308 00:19:35,440 --> 00:19:37,080 but basically the books 309 00:19:37,080 --> 00:19:38,600 were made with these, 310 00:19:38,600 --> 00:19:39,520 with typography. 311 00:19:39,520 --> 00:19:41,000 Guaret was made… 312 00:19:41,000 --> 00:19:44,000 Guaret and some Quaderns Campaners. 313 00:19:47,720 --> 00:19:50,880 My father did the first one 314 00:19:50,880 --> 00:19:53,880 with pure typography 315 00:19:53,880 --> 00:19:56,600 and then transferred it to linotype. 316 00:19:56,600 --> 00:19:59,600 It had to be really well corrected 317 00:19:59,600 --> 00:20:01,720 so that the person transferring it… 318 00:20:01,720 --> 00:20:02,880 There couldn’t be any mistakes. 319 00:20:02,880 --> 00:20:03,760 No. There couldn’t be any mistakes. 320 00:20:03,760 --> 00:20:06,280 Damià did the correction. 321 00:20:06,280 --> 00:20:08,400 And other authors… 322 00:20:08,400 --> 00:20:10,880 He must have been a craftsman when it came to publishing… 323 00:20:10,880 --> 00:20:14,920 Damià was a great poet and a great publisher. 324 00:20:14,920 --> 00:20:17,160 When he brought you an original to print, 325 00:20:17,160 --> 00:20:19,840 you really had to do very little to it. 326 00:20:19,840 --> 00:20:22,880 Sure, you had to set up the pages, 327 00:20:22,880 --> 00:20:24,880 but then he wanted to correct it again… 328 00:20:24,880 --> 00:20:26,240 He was very meticulous. 329 00:20:26,240 --> 00:20:27,000 Very meticulous. 330 00:20:27,000 --> 00:20:28,760 For Damià, culture 331 00:20:28,760 --> 00:20:33,160 always had a great importance. 332 00:20:33,160 --> 00:20:34,800 I was much younger 333 00:20:34,800 --> 00:20:38,760 and Damià helped us, a group of youngsters 334 00:20:38,760 --> 00:20:42,200 to set up the Literature Festival in Campos. 335 00:20:42,200 --> 00:20:45,280 He took it upon himself to invite 336 00:20:45,280 --> 00:20:47,280 Maria del Mar Bonet, Lluís Llach, etc. 337 00:20:47,280 --> 00:20:52,000 I think Campos owes a great deal to Damià. 338 00:20:52,000 --> 00:20:55,000 Do you think he received recognition? 339 00:20:55,000 --> 00:20:58,120 Not at the time. No. 340 00:20:58,120 --> 00:21:00,240 And did that bother him? 341 00:21:00,240 --> 00:21:04,200 I don’t think so because his character was like 342 00:21:04,200 --> 00:21:08,360 that of the people round here, like mine, 343 00:21:08,360 --> 00:21:11,480 sometimes we just put things behind us. 344 00:21:11,480 --> 00:21:12,600 I’m really happy 345 00:21:12,600 --> 00:21:15,000 that people are paying attention to Damià, even now. 346 00:21:15,000 --> 00:21:19,240 I’m really happy and I think his family is too. 347 00:21:19,240 --> 00:21:23,080 I’ve always thought that he is a fundamental piece 348 00:21:23,080 --> 00:21:25,680 of our culture today. 349 00:21:25,680 --> 00:21:31,400 His ideas were very clear, very radical, 350 00:21:31,400 --> 00:21:34,400 in the sense of going to the root, 351 00:21:34,400 --> 00:21:38,960 writing poetry, seeking out young authors… 352 00:21:38,960 --> 00:21:41,600 That was very important. 353 00:21:41,600 --> 00:21:47,320 He opened the door to the world of books, 354 00:21:47,320 --> 00:21:52,080 for young authors who were practically unknown 355 00:21:52,080 --> 00:21:53,720 at the time. 356 00:21:53,720 --> 00:21:58,120 He gave them a hand. 357 00:21:58,120 --> 00:21:59,000 I guess, if I’m honest, 358 00:21:59,000 --> 00:22:01,800 this was hard work for him, 359 00:22:01,800 --> 00:22:03,920 because in those days you didn’t sell books 360 00:22:03,920 --> 00:22:05,000 like you do today. 361 00:22:05,000 --> 00:22:08,280 Economically, a venture 362 00:22:08,280 --> 00:22:12,600 like Guaret and Quaderns Campaners, 363 00:22:12,600 --> 00:22:14,680 I imagine it was a disaster. 364 00:22:14,680 --> 00:22:16,200 Yes, yes. 365 00:22:16,200 --> 00:22:18,560 He lived for culture. 366 00:22:18,560 --> 00:22:22,800 I think that at the time he was essential. 367 00:22:22,800 --> 00:22:25,200 He was essential and I’m pleased. 368 00:22:25,200 --> 00:22:28,440 Although I may shoulder part of the responsibility 369 00:22:28,440 --> 00:22:33,000 for not recognising him when I was mayor. 370 00:22:33,000 --> 00:22:37,280 Maybe… but sometimes these things happen without us realising… 371 00:22:37,280 --> 00:22:40,360 Time helps us to give things perspective. 372 00:22:40,360 --> 00:22:41,800 Yes, yes. 373 00:22:46,520 --> 00:22:49,880 I’m left with the idea of the injustice of it all. 374 00:22:49,880 --> 00:22:53,640 But, he persevered. 375 00:22:53,640 --> 00:22:55,640 When Editorial Moll closed down, 376 00:22:55,640 --> 00:22:58,360 the island’s biggest distributor, 377 00:22:58,360 --> 00:22:59,760 there were still copies of Guaret 378 00:22:59,760 --> 00:23:02,440 stored in boxes. 379 00:23:02,440 --> 00:23:05,960 A run of 500 books and forty years later 380 00:23:05,960 --> 00:23:09,320 there are still books left. 381 00:23:09,320 --> 00:23:10,800 Culture, mechanisms, 382 00:23:10,800 --> 00:23:14,160 the artist, tragic fate. 383 00:23:14,160 --> 00:23:17,160 wrote Damià. 384 00:23:39,600 --> 00:23:43,080 Persevere, like the idea of being firmly rooted in a place. 385 00:23:44,680 --> 00:23:47,280 Damià was firmly rooted in Campos, 386 00:23:47,280 --> 00:23:49,880 making beams every day. 387 00:23:49,880 --> 00:23:52,280 At first, in the workshop next door, 388 00:23:52,280 --> 00:23:55,080 and then, at the factory. 389 00:23:55,080 --> 00:23:56,520 Now the factory is run by his son 390 00:23:56,520 --> 00:23:59,960 and 35 people work there. 391 00:23:59,960 --> 00:24:01,840 They make construction materials 392 00:24:01,840 --> 00:24:03,840 using traditional methods 393 00:24:03,840 --> 00:24:07,280 but for contemporary architecture. 394 00:24:07,280 --> 00:24:11,280 Damià made beams. And little else. 395 00:24:11,280 --> 00:24:13,440 Beams, some tiles, 396 00:24:13,440 --> 00:24:16,360 some marble pieces, 397 00:24:16,360 --> 00:24:18,560 but basically beams. 398 00:24:18,560 --> 00:24:21,760 Concrete beams for building houses. 399 00:24:21,760 --> 00:24:24,200 It was his decision. 400 00:24:24,200 --> 00:24:25,480 His mother, a dressmaker, 401 00:24:25,480 --> 00:24:28,360 had put money aside for his studies. 402 00:24:28,360 --> 00:24:30,760 But he didn’t want to study. 403 00:24:30,760 --> 00:24:32,760 He took a radical decision. 404 00:25:58,480 --> 00:26:02,440 I find in a cupboard, the poet’s Betamax tapes. 405 00:26:02,440 --> 00:26:04,400 Things that he filmed himself, 406 00:26:04,400 --> 00:26:05,560 but also the tapes 407 00:26:05,560 --> 00:26:07,680 of an interview with Magdalena, his wife, 408 00:26:07,680 --> 00:26:10,800 after he’d passed away. 409 00:26:10,800 --> 00:26:15,200 Magdalena died three years ago, at 68. 410 00:26:15,200 --> 00:26:17,960 He died at 50. 411 00:26:17,960 --> 00:26:19,680 They met when they were very young. 412 00:26:28,360 --> 00:26:29,440 He would often say… 413 00:26:29,440 --> 00:26:30,920 - I like being dirty. 414 00:26:30,920 --> 00:26:32,720 I used to get angry with him sometimes. 415 00:26:32,720 --> 00:26:35,200 I asked him why he didn’t have a shower. 416 00:26:35,200 --> 00:26:37,440 - Ah, no. 417 00:26:37,440 --> 00:26:38,560 - Why don’t you get changed? 418 00:26:38,560 --> 00:26:39,080 - Ah, no. 419 00:26:39,080 --> 00:26:40,880 He liked being dirty. 420 00:26:40,880 --> 00:26:42,400 He liked that! 421 00:26:42,400 --> 00:26:43,880 I mean, you could tell 422 00:26:43,880 --> 00:26:47,120 he’d been working, with his hands. 423 00:26:47,120 --> 00:26:48,640 He liked that! 424 00:26:48,640 --> 00:26:49,880 But if he ever had to wear a suit… 425 00:26:49,880 --> 00:26:52,800 He liked to have a suit 426 00:26:52,800 --> 00:26:55,160 for when it was needed. 427 00:26:55,160 --> 00:26:57,080 He liked being dirty for work, 428 00:26:57,080 --> 00:26:59,840 to go to the café and meet down-to-earth people, 429 00:26:59,840 --> 00:27:02,120 that he’d talk about real things with. 430 00:27:02,120 --> 00:27:05,080 With real people. 431 00:27:05,080 --> 00:27:08,840 He really liked that kind of person. 432 00:27:08,840 --> 00:27:10,960 The question is why. 433 00:27:10,960 --> 00:27:13,160 Porque disfrutaba. 434 00:27:13,160 --> 00:27:14,000 Por ejemplo, 435 00:27:14,000 --> 00:27:15,800 There was one that worked at home… 436 00:27:15,800 --> 00:27:18,400 Joan Feliu. 437 00:27:18,400 --> 00:27:21,120 He was crazy about him. 438 00:27:21,120 --> 00:27:25,240 This man knew all the herbs 439 00:27:25,240 --> 00:27:27,080 and the trees in the countryside. 440 00:27:27,080 --> 00:27:29,200 He told him things… 441 00:27:29,200 --> 00:27:32,120 He loved all that! 442 00:27:32,120 --> 00:27:35,400 That’s why he liked being dirty, 443 00:27:35,400 --> 00:27:36,440 because he liked work 444 00:27:36,440 --> 00:27:39,240 and getting down to it. Not giving orders! 445 00:27:48,280 --> 00:27:50,920 Damià wrote in a local magazine 446 00:27:50,920 --> 00:27:53,600 for the last 8 years of his life. 447 00:27:53,600 --> 00:27:54,560 In fact, 448 00:27:54,560 --> 00:27:57,480 he was also responsible for starting the magazine. 449 00:27:57,480 --> 00:28:00,160 Antònia, the director, tells me that 450 00:28:00,160 --> 00:28:03,120 still today, the house they use for office 451 00:28:03,120 --> 00:28:05,640 is the Huguet family home. 452 00:28:05,640 --> 00:28:08,320 That was the poet’s decision. 453 00:28:08,320 --> 00:28:09,440 On an island where everyone 454 00:28:09,440 --> 00:28:11,960 thinks about property speculation, 455 00:28:11,960 --> 00:28:14,240 it’s a surprising decision. 456 00:28:14,240 --> 00:28:17,960 Damià was someone who would do everything. 457 00:28:17,960 --> 00:28:20,760 Not just… 458 00:28:20,760 --> 00:28:23,040 … the big pieces. 459 00:28:23,040 --> 00:28:25,840 Exactly. He did the editorials, 460 00:28:25,840 --> 00:28:29,800 he did political articles, 461 00:28:29,800 --> 00:28:31,840 social critiques…, 462 00:28:31,840 --> 00:28:33,240 which he didn’t always put his name to. 463 00:28:36,120 --> 00:28:38,000 I spent a few hours with her 464 00:28:38,000 --> 00:28:40,680 after Damià’s death. 465 00:28:40,680 --> 00:28:42,680 I used to drop in to see her 466 00:28:42,680 --> 00:28:45,920 and was always amazed at how her eyes shone, 467 00:28:45,920 --> 00:28:49,080 at her affable optimism. 468 00:28:49,080 --> 00:28:50,960 There has never been enough 469 00:28:50,960 --> 00:28:54,440 said about Magdalena. 470 00:28:54,440 --> 00:28:58,240 Magdalena was the mainstay of the home. 471 00:28:58,240 --> 00:29:02,760 Damià was creative, he was the artist, 472 00:29:02,760 --> 00:29:06,240 he was someone that could produce 473 00:29:06,240 --> 00:29:09,200 literature in all its facets, 474 00:29:09,200 --> 00:29:14,880 cinema, poetry, photography too… 475 00:29:14,880 --> 00:29:15,760 … everything! 476 00:29:15,760 --> 00:29:19,600 But Magdalena saw things clearly. 477 00:29:19,600 --> 00:29:22,640 Era la sensatez de la casa. 478 00:29:22,640 --> 00:29:24,240 I don’t mean to say that Damià didn’t, 479 00:29:24,240 --> 00:29:28,280 but Magdalena was able to put things in order. 480 00:29:28,280 --> 00:29:32,600 She looked after the factory’s accounts. 481 00:29:32,600 --> 00:29:36,040 She took care of the house, the children, 482 00:29:36,040 --> 00:29:39,640 everything. 483 00:29:39,640 --> 00:29:41,800 I don’t know if Damià could have done 484 00:29:41,800 --> 00:29:44,040 everything he did without Magdalena. 485 00:29:44,040 --> 00:29:46,240 Magdalena was essential. 486 00:29:46,240 --> 00:29:50,120 And she was always very much in love with Damià. 487 00:29:50,120 --> 00:29:53,200 You could see it in everything she did, 488 00:29:53,200 --> 00:29:54,520 in everything she said. 489 00:29:54,520 --> 00:30:00,600 And when Damià faltered a little, 490 00:30:00,600 --> 00:30:02,720 Magdalena was by his side. 491 00:30:02,720 --> 00:30:04,480 Because no matter what happened 492 00:30:04,480 --> 00:30:05,520 she would always be by his side. 493 00:30:07,320 --> 00:30:11,720 I’m happy, of course, 494 00:30:11,720 --> 00:30:13,840 because I think that those 25 years, 495 00:30:13,840 --> 00:30:15,080 we really made the most of them. 496 00:30:15,080 --> 00:30:17,960 We made the most of them and we loved each other very much. 497 00:30:19,960 --> 00:30:22,920 Damià dedicated many poems to Magdalena. 498 00:30:26,240 --> 00:30:27,400 A poem from ‘69 comes to mind 499 00:30:27,400 --> 00:30:29,040 from the book 500 00:30:29,040 --> 00:30:32,560 Home de primera mà. [First-hand Man.] 501 00:30:32,680 --> 00:30:33,840 [VERSES OF THE POET] On the small yellow table 502 00:30:33,840 --> 00:30:35,680 in the Can Corem bar, 503 00:30:35,680 --> 00:30:37,080 I think about you 504 00:30:37,080 --> 00:30:38,280 and drink my gin. 505 00:30:49,120 --> 00:30:50,560 TOMEU from Bar Sinto, 506 00:30:50,560 --> 00:30:52,480 is Damià’s first cousin. 507 00:30:52,480 --> 00:30:54,040 There’s a kindness in his eyes 508 00:30:54,040 --> 00:30:55,040 and in the way he speaks 509 00:30:55,040 --> 00:30:57,200 that reminds me of Damià. 510 00:30:57,200 --> 00:30:57,880 Although 511 00:30:57,880 --> 00:30:59,920 I only saw Damià once. 512 00:30:59,920 --> 00:31:02,240 I interviewed him just before he died. 513 00:31:02,240 --> 00:31:03,840 Do you remember if when he was young 514 00:31:03,840 --> 00:31:07,040 he was already doing things that were 515 00:31:07,040 --> 00:31:08,240 creative, artistic…? 516 00:31:08,240 --> 00:31:10,160 Yes, he loved doing those things. 517 00:31:10,160 --> 00:31:13,280 For example, he would take some plates… 518 00:31:13,280 --> 00:31:16,680 He had a stable… 519 00:31:16,680 --> 00:31:17,880 In those days everyone had 520 00:31:17,880 --> 00:31:20,240 a pigsty. 521 00:31:20,240 --> 00:31:22,680 And he used to play there. 522 00:31:22,680 --> 00:31:24,360 He would make a hook, 523 00:31:24,360 --> 00:31:25,440 put the plate on it 524 00:31:25,440 --> 00:31:27,400 and hang it on the wall. 525 00:31:27,400 --> 00:31:28,200 On the wall of the pigsty? 526 00:31:28,200 --> 00:31:29,160 Exactly, on the wall of the pigsty. 527 00:31:29,160 --> 00:31:30,920 That’s where he kept his collection. 528 00:31:30,920 --> 00:31:33,120 He might find an unusual tile 529 00:31:33,120 --> 00:31:34,680 and he’d fix a hook to that too 530 00:31:34,680 --> 00:31:37,640 and would hang it up there. 531 00:31:37,640 --> 00:31:39,120 How old was he 532 00:31:39,120 --> 00:31:40,240 when he did those things? 533 00:31:40,240 --> 00:31:43,240 He was 10 or 11. 534 00:31:45,320 --> 00:31:46,880 I was younger. 535 00:31:46,880 --> 00:31:48,720 You saw him as your big cousin… 536 00:31:48,720 --> 00:31:49,800 Yes, he was my big cousin. 537 00:31:49,800 --> 00:31:51,480 I always followed him around. 538 00:31:51,480 --> 00:31:53,440 Like children often do, 539 00:31:53,440 --> 00:31:54,560 follow the big kids around… 540 00:31:54,560 --> 00:31:56,200 Yeah, following the big kids... 541 00:31:56,200 --> 00:31:58,840 And later, as an adult, he must 542 00:31:58,840 --> 00:32:01,680 have been a customer. 543 00:32:01,680 --> 00:32:03,440 Yes, a customer and family. 544 00:32:03,440 --> 00:32:03,840 Of course. 545 00:32:03,840 --> 00:32:05,680 We were cousins. 546 00:32:05,680 --> 00:32:08,760 He would drink his coffee… 547 00:32:08,760 --> 00:32:10,400 with the typical liquor, “3 Caires”. 548 00:32:10,400 --> 00:32:13,400 He’d pour it in. 549 00:32:16,840 --> 00:32:18,760 He’d pour it in. 550 00:32:18,760 --> 00:32:21,520 Like we all do. 551 00:32:21,520 --> 00:32:26,000 Then, he’d go off to do his things, 552 00:32:26,000 --> 00:32:31,560 working, reading or writing. 553 00:32:31,560 --> 00:32:33,120 He’d spend all afternoon there, 554 00:32:33,120 --> 00:32:34,800 doing his things. 555 00:32:34,800 --> 00:32:35,960 At Son Pere? 556 00:32:35,960 --> 00:32:37,680 Yes, at Son Pere. 557 00:32:54,680 --> 00:32:55,600 Halfway between 558 00:32:55,600 --> 00:32:58,040 Campos and the neighbouring village, 559 00:32:58,040 --> 00:33:00,080 the estate of Son Pere is like a paradise 560 00:33:00,080 --> 00:33:02,600 in the middle of nowhere. 561 00:33:02,600 --> 00:33:03,960 There are no electric cables 562 00:33:03,960 --> 00:33:05,480 no telephone. 563 00:33:05,480 --> 00:33:07,200 It’s like going back in time. 564 00:33:58,720 --> 00:34:00,040 Stones are everywhere 565 00:34:00,040 --> 00:34:02,560 in Damià’s poetry. 566 00:34:02,560 --> 00:34:05,640 Specifically the word “pebble”. 567 00:34:05,640 --> 00:34:09,800 More insistently the word “land”. 568 00:34:09,800 --> 00:34:12,040 And even more so, the word “callus”, 569 00:34:12,040 --> 00:34:15,120 the hard bits that form on your hands 570 00:34:15,120 --> 00:34:16,480 when you work too much. 571 00:34:23,760 --> 00:34:25,960 “Red callus” is what we call them here, 572 00:34:25,960 --> 00:34:28,600 in this red and dry land. 573 00:34:28,600 --> 00:34:29,200 An image 574 00:34:29,200 --> 00:34:32,400 which appears often in his poems. 575 00:34:32,400 --> 00:34:35,200 It’s all about what’s primitive. 576 00:34:41,640 --> 00:34:42,680 They found the stone 577 00:34:42,680 --> 00:34:44,880 while they were restoring the houses 578 00:34:44,880 --> 00:34:47,880 and Damià wanted to put it here, 579 00:34:47,880 --> 00:34:49,120 like a sculpture. 580 00:34:52,240 --> 00:34:53,360 I’ve found in the house 581 00:34:53,360 --> 00:34:54,960 other unusually shaped stones 582 00:34:54,960 --> 00:34:57,080 which he would collect and add a wooden stand to 583 00:34:57,080 --> 00:34:59,680 turning them into an art object. 584 00:34:59,680 --> 00:35:02,160 Marcel Duchamp’s L’Objet trouvé. 585 00:35:22,600 --> 00:35:24,160 Present in the house are the 586 00:35:24,160 --> 00:35:26,160 textures of Antonioni, 587 00:35:26,160 --> 00:35:28,680 the matterism of Jean Dubuffet 588 00:35:28,680 --> 00:35:30,120 or Antoni Tàpies. 589 00:35:47,000 --> 00:35:49,400 Damià Huguet came to Son Pere to paint, 590 00:35:49,400 --> 00:35:52,560 although he never considered himself a painter. 591 00:35:52,560 --> 00:35:53,760 He also took photos, 592 00:35:53,760 --> 00:35:57,280 although he never considered himself a photographer. 593 00:35:57,280 --> 00:36:01,120 These were worlds that complemented his writing. 594 00:36:01,120 --> 00:36:02,960 Perhaps they were necessary worlds. 595 00:36:38,480 --> 00:36:42,600 Part of his artwork was focused on creating collage. 596 00:36:42,600 --> 00:36:45,080 Like him: a living collage. 597 00:36:58,720 --> 00:37:00,440 [VERSES OF THE POET] This Mediterranean corral 598 00:37:00,440 --> 00:37:02,920 that I have travelled and come to know. 599 00:37:02,920 --> 00:37:04,440 The breath of the trees 600 00:37:04,440 --> 00:37:05,800 and the blue that shines 601 00:37:05,800 --> 00:37:08,720 between the salt and the sun. 602 00:37:08,720 --> 00:37:10,080 It is all one. 603 00:37:11,360 --> 00:37:12,080 "It is all one" 604 00:37:12,080 --> 00:37:14,440 the poet wrote on several occasions. 605 00:37:14,440 --> 00:37:16,200 What did he mean? 606 00:37:16,200 --> 00:37:17,640 It is all one. 607 00:37:17,640 --> 00:37:20,720 It might mean 608 00:37:20,720 --> 00:37:22,600 that nothing can be taken away, just added to. 609 00:37:22,600 --> 00:37:25,000 Or that everything is mixed, 610 00:37:25,000 --> 00:37:26,960 like here, now. 611 00:37:26,960 --> 00:37:29,040 Sketches of a house being restored, 612 00:37:29,040 --> 00:37:31,840 of a doorway or some stairs, 613 00:37:31,840 --> 00:37:33,840 mixed with the Picasso blue 614 00:37:33,840 --> 00:37:35,560 he liked so much. 615 00:38:13,360 --> 00:38:16,080 Some images turn up from some slides 616 00:38:16,080 --> 00:38:19,080 I found in a box in the house. 617 00:38:22,320 --> 00:38:25,320 [VOICE OF THE POET] … with small, earth-coloured eyes, 618 00:38:25,320 --> 00:38:29,040 provocative and untamed, always accepting 619 00:38:29,040 --> 00:38:32,200 of the carnal maggot and absurd tenderness 620 00:38:32,200 --> 00:38:34,480 of this cruel vestige of getting old 621 00:38:34,480 --> 00:38:35,920 perhaps before time. 622 00:38:37,560 --> 00:38:40,160 The eroticism and sex 623 00:38:40,160 --> 00:38:43,080 that are so present in Damià’s work, 624 00:38:43,080 --> 00:38:45,880 understood as subversion, 625 00:38:45,880 --> 00:38:48,000 as truth. 626 00:38:48,000 --> 00:38:51,160 A truth without any possible subterfuge. 627 00:39:07,320 --> 00:39:10,720 What Damià wanted was to leave something behind. 628 00:39:10,720 --> 00:39:14,400 Do something that would remain. 629 00:39:14,400 --> 00:39:15,880 The fact that at that time 630 00:39:15,880 --> 00:39:18,400 he wasn’t recognised, 631 00:39:18,400 --> 00:39:19,920 he didn’t like that, it made him feel bad. 632 00:39:19,920 --> 00:39:22,200 Because deep down 633 00:39:22,200 --> 00:39:26,200 we’re all vain. 634 00:39:26,200 --> 00:39:28,000 He was a very simple man 635 00:39:28,000 --> 00:39:30,000 and not at all showy, 636 00:39:30,000 --> 00:39:31,080 but deep down he recognised that 637 00:39:31,080 --> 00:39:32,360 he was also a little vain. 638 00:39:32,360 --> 00:39:33,720 He thought that at some time or another 639 00:39:33,720 --> 00:39:35,720 the work that he’d done would receive recognition. 640 00:39:35,720 --> 00:39:39,400 He would leave, but he wanted to leave his work behind. 641 00:39:39,400 --> 00:39:41,840 He knew what it was he had to do 642 00:39:41,840 --> 00:39:44,920 and that what he did had to be 643 00:39:44,920 --> 00:39:45,800 good enough 644 00:39:45,800 --> 00:39:47,760 for something to be left behind. 645 00:39:53,760 --> 00:39:58,560 The tapes are full of little findings. 646 00:39:58,560 --> 00:39:59,480 There are also extracts 647 00:39:59,480 --> 00:40:02,400 from when he was on television. 648 00:40:02,400 --> 00:40:03,240 Maybe for the presentation 649 00:40:03,240 --> 00:40:04,640 of a new book. 650 00:40:07,880 --> 00:40:10,320 He comes across as a compelling man. 651 00:40:10,320 --> 00:40:13,160 Both in his words and his gestures. 652 00:40:13,160 --> 00:40:15,000 In my poetry, 653 00:40:15,000 --> 00:40:16,680 especially in my works 654 00:40:16,680 --> 00:40:17,920 from recent years, 655 00:40:17,920 --> 00:40:19,280 I think that is where the 656 00:40:19,280 --> 00:40:21,880 cinematic influence can be most clearly seen. 657 00:40:21,880 --> 00:40:23,800 From directors, creators, 658 00:40:23,800 --> 00:40:25,120 who have left their mark on me, have influenced me 659 00:40:25,120 --> 00:40:26,440 on a very personal level. 660 00:40:26,440 --> 00:40:28,080 And that’s where my obsession comes from, 661 00:40:28,080 --> 00:40:30,360 my deep obsession, 662 00:40:30,360 --> 00:40:32,400 to write a kind of poetry 663 00:40:32,400 --> 00:40:34,560 that is very close to the image. 664 00:40:34,560 --> 00:40:37,680 A poetry that can be read 665 00:40:37,680 --> 00:40:38,800 as if it were a short 666 00:40:38,800 --> 00:40:40,040 film script. 667 00:40:40,040 --> 00:40:42,480 This really is testimony 668 00:40:42,480 --> 00:40:44,840 to a very intense contact 669 00:40:44,840 --> 00:40:46,000 with the world of cinema. 670 00:40:47,240 --> 00:40:50,680 He sheepishly tried, on two occasions, 671 00:40:50,680 --> 00:40:54,120 to write a script that would end up on film. 672 00:40:54,120 --> 00:40:57,480 Attempts that remained in a drawer. 673 00:40:57,480 --> 00:40:58,920 But his poetry 674 00:40:58,920 --> 00:41:01,400 is always playing with cinema. 675 00:41:01,400 --> 00:41:03,640 [VERSES OF THE POET] I go to the cinema barefoot 676 00:41:03,640 --> 00:41:05,400 to remember 677 00:41:05,400 --> 00:41:06,640 that mute wound 678 00:41:06,640 --> 00:41:08,920 of Louis Malle.. 679 00:41:08,920 --> 00:41:10,680 But what wound? 680 00:41:10,680 --> 00:41:12,480 Why mute? 681 00:41:12,480 --> 00:41:14,240 Going to the cinema barefoot must mean 682 00:41:14,240 --> 00:41:17,040 going with his eyes wide open, 683 00:41:17,040 --> 00:41:19,440 ready to receive. 684 00:41:19,440 --> 00:41:20,400 Because it would make no sense 685 00:41:20,400 --> 00:41:22,520 that it was an act of penitence. 686 00:41:23,520 --> 00:41:25,920 But what is the mute wound? 687 00:41:25,920 --> 00:41:27,640 Why remember it? 688 00:41:43,200 --> 00:41:46,320 I always had the feeling 689 00:41:46,320 --> 00:41:50,920 that if a meteorite were to fall on Campos 690 00:41:50,920 --> 00:41:53,200 environmentalists would get the blame for it. 691 00:41:53,200 --> 00:41:54,200 You say that because of the protection 692 00:41:54,200 --> 00:41:55,200 of the Es Trenc beach, right? 693 00:41:55,200 --> 00:41:58,200 Here, in Campus, 694 00:41:58,200 --> 00:42:02,120 environmentalism has not had much of a following. 695 00:42:04,760 --> 00:42:07,320 It’s like public enemy number one, right? 696 00:42:07,320 --> 00:42:07,800 Yes. 697 00:42:07,800 --> 00:42:09,760 A lot of people would have wanted 698 00:42:09,760 --> 00:42:12,160 all this to have been transformed 699 00:42:12,160 --> 00:42:13,960 into an Arenal or a Magaluf 700 00:42:13,960 --> 00:42:16,440 on the coast by Campos. 701 00:42:16,440 --> 00:42:17,520 Is that right? 702 00:42:19,560 --> 00:42:22,440 In the years when people fought 703 00:42:22,440 --> 00:42:23,800 against the construction of Es Trenc, 704 00:42:23,800 --> 00:42:25,640 the people from Campus who got involved 705 00:42:25,640 --> 00:42:27,400 were singled out, 706 00:42:27,400 --> 00:42:29,440 and one of them was Damià. 707 00:43:13,880 --> 00:43:14,840 Oh shit! 708 00:43:17,680 --> 00:43:18,840 Oh shit! 709 00:43:26,720 --> 00:43:27,720 What a pain in the arse. 710 00:43:29,320 --> 00:43:30,240 Bloody hell! 711 00:43:30,240 --> 00:43:31,320 What a mess. 712 00:43:39,080 --> 00:43:39,840 We’re in a mess now! 713 00:43:39,840 --> 00:43:42,240 We’re really in a mess. What a disaster! 714 00:43:44,720 --> 00:43:45,600 Do you know what I think, Sebastià? 715 00:43:45,600 --> 00:43:48,560 That often while things are happening 716 00:43:48,560 --> 00:43:50,040 we don’t understand them. 717 00:43:50,040 --> 00:43:51,720 And later, over the years, 718 00:43:51,720 --> 00:43:54,760 we understand them even less. 719 00:43:54,760 --> 00:43:57,960 When Damià positioned himself in defence 720 00:43:57,960 --> 00:44:01,840 of Es Trenc as a natural space 721 00:44:01,840 --> 00:44:04,760 and in the fight for its conservation, 722 00:44:04,760 --> 00:44:07,680 a lot of builders and construction companies, 723 00:44:07,680 --> 00:44:08,840 people from his trade, 724 00:44:08,840 --> 00:44:10,120 must have thought that this guy 725 00:44:10,120 --> 00:44:11,080 had lost his mind. 726 00:44:11,080 --> 00:44:14,200 Because it was a chance to make money, 727 00:44:14,200 --> 00:44:16,560 to pull in the cash. 728 00:44:16,560 --> 00:44:18,280 And look, the years have gone by 729 00:44:18,280 --> 00:44:20,760 and now Es Trenc is 730 00:44:20,760 --> 00:44:24,600 “the most iconic, most wonderful beach in Mallorca”, 731 00:44:24,600 --> 00:44:27,880 “Caribbean Water Blue”… 732 00:44:27,880 --> 00:44:30,280 It’s a picture postcard 733 00:44:30,280 --> 00:44:33,600 For attracting tourists. 734 00:44:33,600 --> 00:44:36,280 It’s a paradox! 735 00:44:40,680 --> 00:44:43,680 He must have had a really hard time, 736 00:44:43,680 --> 00:44:48,520 because he had to go and sell his materials 737 00:44:48,520 --> 00:44:51,040 Outside of the town, 738 00:44:51,040 --> 00:44:52,960 Because of all of this. 739 00:44:52,960 --> 00:44:56,600 That was the second blow. 740 00:44:56,600 --> 00:44:58,640 And the first? 741 00:44:58,640 --> 00:45:02,400 The football photo! 742 00:45:02,400 --> 00:45:05,760 And also defending 743 00:45:05,760 --> 00:45:07,880 young poets 744 00:45:07,880 --> 00:45:10,800 and all his publishing project. 745 00:45:10,800 --> 00:45:14,000 Now that’s enthusiasm. 746 00:45:14,000 --> 00:45:17,280 And courage. 747 00:45:17,280 --> 00:45:19,360 A courage born of enthusiasm. 748 00:45:19,360 --> 00:45:21,000 Yes, yes, yes. 749 00:45:42,040 --> 00:45:43,680 Damià’s fascination 750 00:45:43,680 --> 00:45:46,000 for children’s enthusiasm and their innocence 751 00:45:46,000 --> 00:45:49,040 is clearly evident. 752 00:45:49,040 --> 00:45:51,520 There are so many photos and footage, 753 00:45:51,520 --> 00:45:55,800 that Damià himself took of children. 754 00:45:55,800 --> 00:45:59,200 Vigo could have been the origin of that. 755 00:45:59,200 --> 00:46:01,400 Jean Vigo, who was also 756 00:46:01,400 --> 00:46:04,400 a loved and unloved outsider. 757 00:46:12,960 --> 00:46:15,480 [VERSES OF THE POET] Since the cinema has been the world, 758 00:46:15,480 --> 00:46:18,640 since the cinema has been this world, 759 00:46:18,640 --> 00:46:20,640 “Zero for Conduct” will always, 760 00:46:20,640 --> 00:46:21,920 always be, 761 00:46:21,920 --> 00:46:24,240 a song for freedom 762 00:46:24,240 --> 00:46:25,880 for the determined, 763 00:46:25,880 --> 00:46:27,040 of which there are many. 764 00:46:33,080 --> 00:46:34,520 Children as a seed 765 00:46:34,520 --> 00:46:37,800 to regenerate what has decayed. 766 00:46:37,800 --> 00:46:39,320 The children of Vigo, 767 00:46:39,320 --> 00:46:43,040 in the repressive France of 1933, 768 00:46:43,040 --> 00:46:45,360 fly to freedom, 769 00:46:45,360 --> 00:46:48,360 or perhaps to death. 770 00:47:36,040 --> 00:47:38,320 The mute wound of Louis Malle, 771 00:47:38,320 --> 00:47:40,640 must be this: 772 00:47:40,640 --> 00:47:43,680 a wounded childhood. 773 00:47:43,680 --> 00:47:46,680 Maybe growing up is the same as being wounded. 774 00:47:49,720 --> 00:47:50,960 I wouldn’t be surprised if 775 00:47:50,960 --> 00:47:51,840 that was Damià’s experience, 776 00:47:51,840 --> 00:47:55,440 fatherless at such a young age. 777 00:47:55,440 --> 00:47:56,800 Staying quiet and resisting 778 00:47:56,800 --> 00:47:58,360 are two ideas that are very present 779 00:47:58,360 --> 00:48:00,960 in his early work. 780 00:48:00,960 --> 00:48:03,960 The mute wound. 781 00:48:05,000 --> 00:48:07,240 Go on, do the Little Birdies. 782 00:48:07,240 --> 00:48:09,240 No... 783 00:48:09,240 --> 00:48:10,240 Good… 784 00:48:12,760 --> 00:48:15,520 Come on! 785 00:48:16,400 --> 00:48:17,040 Come on? 786 00:48:17,040 --> 00:48:17,560 Yeah. 787 00:48:32,720 --> 00:48:34,320 [VERSES OF THE POET] Don’t try to find an explanation 788 00:48:34,320 --> 00:48:37,000 for the wrongdoing you’ve already suffered. 789 00:48:37,000 --> 00:48:38,800 It was necessary. 790 00:48:40,840 --> 00:48:43,680 Wrongdoing is always in his work. 791 00:48:43,680 --> 00:48:46,400 From its acceptance. 792 00:48:46,400 --> 00:48:47,480 I don’t like to think about the idea 793 00:48:47,480 --> 00:48:50,120 of giving up change. 794 00:48:50,120 --> 00:48:51,880 But a lot of his writing 795 00:48:51,880 --> 00:48:54,160 makes you think about that. 796 00:48:54,160 --> 00:48:55,560 Another large part of his writing 797 00:48:55,560 --> 00:48:58,440 displays a clear desire for subversion 798 00:48:58,440 --> 00:48:59,800 and the avant-garde. 799 00:49:18,080 --> 00:49:19,160 [VERSES OF THE POET] If you open the door 800 00:49:19,160 --> 00:49:20,960 of my home with trees 801 00:49:20,960 --> 00:49:22,560 you’ll find my children 802 00:49:22,560 --> 00:49:24,200 dusting off the tenderness. 803 00:49:24,200 --> 00:49:28,960 … because they didn’t take much notice of him… 804 00:49:28,960 --> 00:49:30,840 I have met with the poets’ children. 805 00:49:30,840 --> 00:49:34,080 Biel, Margalida and Manena. 806 00:49:34,080 --> 00:49:35,800 They tell me that they’ve spoken very little 807 00:49:35,800 --> 00:49:38,120 about their father’s death. 808 00:49:38,120 --> 00:49:39,320 That they experienced it 809 00:49:39,320 --> 00:49:40,440 as something that was highly intimate. 810 00:49:40,440 --> 00:49:41,240 I’ve always thought 811 00:49:41,240 --> 00:49:45,720 that death is very subjective. 812 00:49:45,720 --> 00:49:48,560 I mean,I would deal with it in one way, 813 00:49:48,560 --> 00:49:49,720 Margalida in another, 814 00:49:49,720 --> 00:49:50,480 Biel in another… 815 00:49:52,000 --> 00:49:54,080 At home no one talked about the fact 816 00:49:54,080 --> 00:49:56,360 that my father was sick. 817 00:49:56,360 --> 00:49:56,920 So, 818 00:49:56,920 --> 00:49:59,200 I didn’t really understand 819 00:49:59,200 --> 00:50:00,720 that my father was going to die. 820 00:50:00,720 --> 00:50:02,920 I feel bad about that, 821 00:50:02,920 --> 00:50:04,360 because I feel a bit thoughtless 822 00:50:04,360 --> 00:50:05,760 and I was already 23 years old. 823 00:50:05,760 --> 00:50:07,600 In fact, the day my father died, 824 00:50:07,600 --> 00:50:10,240 I’d been to the cinema in Palma. 825 00:50:10,240 --> 00:50:12,560 When I got back, our house 826 00:50:12,560 --> 00:50:14,280 was full of people. 827 00:50:14,280 --> 00:50:15,720 It was 8 o’clock in the evening. 828 00:50:15,720 --> 00:50:17,120 My father had died. 829 00:50:17,120 --> 00:50:19,000 And I felt a little freed of this feeling 830 00:50:19,000 --> 00:50:20,440 when a girl from Campos 831 00:50:20,440 --> 00:50:21,400 as part of her final degree project 832 00:50:21,400 --> 00:50:22,720 on my father, 833 00:50:22,720 --> 00:50:24,960 4 or 5 years ago, 834 00:50:24,960 --> 00:50:27,560 interviewed my mother. 835 00:50:27,560 --> 00:50:28,920 My mother told her 836 00:50:28,920 --> 00:50:31,360 that they hadn’t spoken about death. 837 00:50:31,360 --> 00:50:33,200 They hadn’t spoken to us 838 00:50:33,200 --> 00:50:35,440 about the seriousness of the illness. 839 00:50:35,440 --> 00:50:37,240 They had tried to carry on 840 00:50:37,240 --> 00:50:39,080 as normal, as if nothing had happened. 841 00:50:39,080 --> 00:50:41,040 I mean, let’s get on with life, 842 00:50:41,040 --> 00:50:42,920 as if none of that was happening. 843 00:50:44,920 --> 00:50:46,680 Sitting around this table 844 00:50:46,680 --> 00:50:48,360 it really reminds me 845 00:50:48,360 --> 00:50:50,720 of what the family was like 846 00:50:50,720 --> 00:50:53,160 when we had lunch or dinner together. 847 00:50:53,160 --> 00:50:55,240 Because, in fact, I sat 848 00:50:55,240 --> 00:50:57,400 right here. This was my place. 849 00:50:57,400 --> 00:50:59,400 I’m sitting where I was supposed to sit. 850 00:50:59,400 --> 00:51:00,520 Biel is also 851 00:51:00,520 --> 00:51:02,240 where he always sat. 852 00:51:02,240 --> 00:51:02,880 Margalida isn’t. 853 00:51:02,880 --> 00:51:04,440 Margalida used to sit here, 854 00:51:04,440 --> 00:51:06,440 between the two of us. 855 00:51:06,440 --> 00:51:07,600 This is where my father sat 856 00:51:07,600 --> 00:51:08,880 and you’re sitting 857 00:51:08,880 --> 00:51:10,320 where my mother sat. 858 00:51:13,160 --> 00:51:15,800 Is it automatic? 859 00:51:15,800 --> 00:51:18,080 More so than for most. 860 00:51:18,080 --> 00:51:19,760 It’s ridiculous… 861 00:51:19,760 --> 00:51:21,720 Making accusations and all that, 862 00:51:21,720 --> 00:51:24,720 I don’t like it, Margarita… 863 00:51:27,400 --> 00:51:29,560 Margarita, don’t touch anything. 864 00:51:29,560 --> 00:51:30,040 Do you hear me? 865 00:51:30,040 --> 00:51:31,800 His own children 866 00:51:31,800 --> 00:51:33,880 seem to struggle to relate 867 00:51:33,880 --> 00:51:35,160 the image of the father 868 00:51:35,160 --> 00:51:38,400 with the image of the artist. 869 00:51:38,400 --> 00:51:39,600 Who really is 870 00:51:39,600 --> 00:51:43,080 the artist Damià Huguet? 871 00:51:43,080 --> 00:51:46,760 Who are the real artists? 872 00:51:46,760 --> 00:51:51,320 They’re masks. They’re not real. 873 00:51:51,320 --> 00:51:55,000 They don’t form part of daily life. 874 00:51:55,000 --> 00:51:58,800 Wait a moment, mum. 875 00:51:58,800 --> 00:52:00,640 Can’t I get water? 876 00:52:00,640 --> 00:52:03,160 No. Wait a minute. 877 00:52:03,160 --> 00:52:05,520 The motor was running. 878 00:52:05,520 --> 00:52:08,520 It’s weird that nothing’s coming out the tap. 879 00:52:11,320 --> 00:52:13,960 Now stay where you are. 880 00:52:13,960 --> 00:52:15,360 Don’t move. 881 00:52:15,360 --> 00:52:17,760 I’ll go and you can do what you want. 882 00:52:17,760 --> 00:52:18,480 But, at least, 883 00:52:18,480 --> 00:52:21,360 let us drink our coffee in peace. 884 00:52:21,360 --> 00:52:23,400 On the shelf where the scripts are 885 00:52:23,400 --> 00:52:26,160 there are many by Bergman. 886 00:52:26,160 --> 00:52:27,360 Bergam made inquiries 887 00:52:27,360 --> 00:52:28,560 for a long period of time 888 00:52:28,560 --> 00:52:30,520 about the mask, 889 00:52:30,520 --> 00:52:33,400 about who we are socially, 890 00:52:33,400 --> 00:52:36,400 about who we are intimately, 891 00:52:36,400 --> 00:52:38,960 about who we are. 892 00:52:38,960 --> 00:52:42,680 Have you ever met anyone merrier than me? 893 00:52:42,680 --> 00:52:43,720 Who? 894 00:52:43,720 --> 00:52:44,400 Me. 895 00:52:45,120 --> 00:52:47,560 [ ----- ] 896 00:52:53,040 --> 00:52:54,280 Margalida, we’ll do something now. 897 00:52:54,280 --> 00:52:55,960 Let’s see if you know how. 898 00:52:55,960 --> 00:52:57,760 Careful! 899 00:52:57,760 --> 00:52:59,400 Stop the camera. Stop it. 900 00:52:59,400 --> 00:53:01,920 When you say you find it difficult to read, 901 00:53:01,920 --> 00:53:04,360 what do you mean? 902 00:53:04,360 --> 00:53:05,640 Is there something specific about it 903 00:53:05,640 --> 00:53:06,560 that bothers you 904 00:53:06,560 --> 00:53:08,720 or that you think it distorts the truth? 905 00:53:08,720 --> 00:53:10,000 It all seems distorted to me. 906 00:53:10,000 --> 00:53:12,000 Of course. For you it doesn’t match 907 00:53:12,000 --> 00:53:14,000 the person you remember. 908 00:53:16,920 --> 00:53:19,640 No. Mmm… I don’t know if I try too much to get 909 00:53:19,640 --> 00:53:23,040 inside my father’s head. 910 00:53:23,040 --> 00:53:24,440 What must he have thought? 911 00:53:24,440 --> 00:53:25,960 Or I try to draw conclusions 912 00:53:25,960 --> 00:53:29,400 and I’ll never come to any anyway. 913 00:53:29,400 --> 00:53:34,560 I don’t know. It’s not something I feel like doing. 914 00:53:34,560 --> 00:53:36,960 Do you wonder…, 915 00:53:36,960 --> 00:53:39,160 why he wrote one thing or another? 916 00:53:39,160 --> 00:53:42,360 I didn’t know my father as an adult. 917 00:53:42,360 --> 00:53:45,200 I was a teenager 918 00:53:45,200 --> 00:53:46,760 and, unlike with my mother, 919 00:53:46,760 --> 00:53:48,480 who I did know as an adult, 920 00:53:48,480 --> 00:53:51,520 and who I saw as a woman, 921 00:53:51,520 --> 00:53:52,920 with my father, that emptiness 922 00:53:52,920 --> 00:53:55,160 of what he was like as a person, 923 00:53:55,160 --> 00:53:58,520 what he was like as a… man, 924 00:53:58,520 --> 00:54:00,720 not as my father, 925 00:54:00,720 --> 00:54:04,840 that’s been hard for me. 926 00:54:04,840 --> 00:54:09,360 How can I get 927 00:54:09,360 --> 00:54:11,800 inside his head 928 00:54:11,800 --> 00:54:14,080 if I don’t know what he was like as an adult? 929 00:54:14,080 --> 00:54:16,120 Maybe we have got to know him 930 00:54:16,120 --> 00:54:17,400 a little more through everything 931 00:54:17,400 --> 00:54:19,480 that we have been told about him. 932 00:54:19,480 --> 00:54:21,000 But my mother also 933 00:54:21,000 --> 00:54:22,720 My mother completely idealised 934 00:54:22,720 --> 00:54:23,800 didn’t she Margalida? 935 00:54:23,800 --> 00:54:25,480 My mother completely idealised 936 00:54:25,480 --> 00:54:26,280 my father. 937 00:54:26,280 --> 00:54:27,200 You would say: 938 00:54:27,200 --> 00:54:29,160 - But didn’t you argue about anything? 939 00:54:29,160 --> 00:54:31,520 - No, never! 940 00:55:32,960 --> 00:55:34,280 Hi, good afternoon Sebastià. 941 00:55:34,280 --> 00:55:34,920 How’s it going? 942 00:55:34,920 --> 00:55:35,760 Good, very good. 943 00:55:35,760 --> 00:55:36,360 Come in! 944 00:55:36,360 --> 00:55:37,240 Thank you very much. 945 00:55:41,800 --> 00:55:45,160 She doesn’t think 946 00:55:45,160 --> 00:55:46,440 it’s a good idea either… 947 00:55:46,440 --> 00:55:47,280 No, no, no… 948 00:55:47,280 --> 00:55:48,800 The attraction was mutual. 949 00:55:48,800 --> 00:55:49,960 You see, he holds onto her 950 00:55:49,960 --> 00:55:52,560 from behind to her arm. 951 00:55:52,560 --> 00:55:54,480 He didn’t want to make any changes. 952 00:55:54,480 --> 00:55:57,440 Not at all. No, no. 953 00:55:57,440 --> 00:55:59,240 She’s really holding on tight to him… 954 00:55:59,240 --> 00:56:00,760 She knows not to let go of a good thing. 955 00:56:00,760 --> 00:56:03,160 of a good thing. 956 00:56:03,160 --> 00:56:05,720 A lot of dancing and a lot of… 957 00:56:05,720 --> 00:56:07,400 You see this stick, the broom? 958 00:56:07,400 --> 00:56:08,160 Yes… 959 00:56:08,160 --> 00:56:11,840 Damià and his girlfriend, at the time… 960 00:56:11,840 --> 00:56:13,760 … ah, no, she was his wife already … 961 00:56:13,760 --> 00:56:16,560 They did this dance that if 962 00:56:16,560 --> 00:56:18,760 you took away someone’s partner, you left them the broomstick. 963 00:56:18,760 --> 00:56:19,920 And as you can see 964 00:56:19,920 --> 00:56:21,800 Damià didn’t want to trade in his wife 965 00:56:21,800 --> 00:56:23,160 for a broomstick. 966 00:56:23,160 --> 00:56:25,920 You wanted to change Magdalena for a broomstick. 967 00:56:25,920 --> 00:56:27,080 Yes, exactly. We all tried 968 00:56:27,080 --> 00:56:28,480 but we weren’t successful. 969 00:56:28,480 --> 00:56:32,440 And I really recognize that place… 970 00:56:32,440 --> 00:56:35,920 It’s where we are right now! 971 00:56:35,920 --> 00:56:36,680 It’s here? 972 00:56:36,680 --> 00:56:39,440 Yes. Although it’s a few years later now. 973 00:56:39,440 --> 00:56:42,320 And that resistance… 974 00:56:42,320 --> 00:56:45,320 when you offered him the broomstick 975 00:56:45,320 --> 00:56:48,760 do you think it was because he was shy, or what…? 976 00:56:48,760 --> 00:56:51,360 More than shy, he was 977 00:56:51,360 --> 00:56:52,880 more formal than us. 978 00:56:52,880 --> 00:56:54,400 He was an older brother. 979 00:56:54,400 --> 00:56:58,560 Stop messing around. 980 00:56:59,120 --> 00:57:01,160 Joan has a few images on paper 981 00:57:01,160 --> 00:57:02,480 that I hadn’t seen. 982 00:57:02,480 --> 00:57:05,160 There’s one of Damià playing football. 983 00:57:05,160 --> 00:57:07,080 Like his idol Pasolini. 984 00:57:07,080 --> 00:57:08,240 These haven’t been seen very much. 985 00:57:08,240 --> 00:57:10,640 Here he’s wearing a football kit. 986 00:57:10,640 --> 00:57:11,800 Yes, he used to play for Campos. 987 00:57:11,800 --> 00:57:15,560 On the wing. Sorry, no, he was a defender. 988 00:57:15,560 --> 00:57:17,400 Was he a good defender? 989 00:57:17,400 --> 00:57:21,920 He defended with all his heart! 990 00:57:21,920 --> 00:57:24,600 What he lacked in technique 991 00:57:24,600 --> 00:57:26,800 he made up for with passion. 992 00:57:26,800 --> 00:57:28,520 He gave it everything he had. 993 00:57:28,520 --> 00:57:30,160 He gave it everything. 994 00:57:30,160 --> 00:57:31,000 He gave it everything he had. 995 00:57:31,000 --> 00:57:35,240 Whatever he did, whether it was football or writing, 996 00:57:35,240 --> 00:57:37,800 or when he was making concrete beams. 997 00:57:37,800 --> 00:57:39,640 Damià gave it his all at every moment. 998 00:57:39,640 --> 00:57:41,760 Wherever he was. 999 00:57:43,080 --> 00:57:48,600 Damià was a one-off. 1000 00:57:48,600 --> 00:57:51,120 I’d say he was a real character. 1001 00:57:51,120 --> 00:57:53,480 It’s just a shame that we’ve found out 1002 00:57:53,480 --> 00:57:55,280 now that he’s no longer with us. 1003 00:57:55,280 --> 00:57:58,320 That’s what really gets to me. 1004 00:57:58,320 --> 00:58:01,120 Those of us that knew him, we were aware of it, 1005 00:58:01,120 --> 00:58:02,960 but a lot of people found out after. 1006 00:58:05,080 --> 00:58:07,040 In one of his most famous verses 1007 00:58:07,040 --> 00:58:08,760 he wrote: 1008 00:58:08,760 --> 00:58:11,320 [VERSES OF THE POET] I have always wanted to be Damià Canova. 1009 00:58:11,320 --> 00:58:14,160 The rest is literature. 1010 00:58:14,160 --> 00:58:15,800 Canova was the nickname 1011 00:58:15,800 --> 00:58:18,520 in the town for his mother’s family. 1012 00:58:18,520 --> 00:58:20,640 His verse reaffirms his desire to be 1013 00:58:20,640 --> 00:58:23,360 a townsman like all the rest. 1014 00:58:23,360 --> 00:58:24,600 But was he? 1015 00:58:28,760 --> 00:58:31,760 I think he was a pessimistic person. 1016 00:58:33,600 --> 00:58:35,560 He was very sensitive and, of course, 1017 00:58:35,560 --> 00:58:37,360 things affected him more than others. 1018 00:58:40,840 --> 00:58:44,280 I would often have to push him. 1019 00:58:49,160 --> 00:58:50,760 We’d often go 1020 00:58:50,760 --> 00:58:56,760 to exhibitions or talks. 1021 00:58:56,760 --> 00:59:00,320 But if I didn’t say anything… 1022 00:59:00,320 --> 00:59:03,240 - Come one, let’s go, you’ll like it, you’ll be glad you went. 1023 00:59:03,240 --> 00:59:04,840 If I didn’t insist, 1024 00:59:04,840 --> 00:59:06,000 we wouldn’t have gone to 1025 00:59:06,000 --> 00:59:07,960 a lot of the places we went to. 1026 00:59:07,960 --> 00:59:12,120 Damià died of throat cancer. 1027 00:59:12,120 --> 00:59:14,240 It was one of death’s ironies. 1028 00:59:14,240 --> 00:59:15,840 As if the way he died 1029 00:59:15,840 --> 00:59:17,240 could be somehow connected 1030 00:59:17,240 --> 00:59:19,800 with how he lived. 1031 00:59:19,800 --> 00:59:22,120 He had to stay quiet. 1032 00:59:22,120 --> 00:59:24,720 I don’t know. Maybe more depressed. 1033 00:59:24,720 --> 00:59:25,840 I think he really believed 1034 00:59:25,840 --> 00:59:27,640 that things would go better… 1035 00:59:27,640 --> 00:59:28,600 I don’t know... 1036 00:59:30,560 --> 00:59:31,800 but... 1037 00:59:32,760 --> 00:59:34,480 in his last years, 1038 00:59:34,480 --> 00:59:35,840 yes, he was more pessimistic. 1039 00:59:35,840 --> 00:59:36,720 We would get angry 1040 00:59:36,720 --> 00:59:37,800 because I thought 1041 00:59:37,800 --> 00:59:40,000 that he had to go to the doctors 1042 00:59:40,000 --> 00:59:42,760 and take something, some medicine 1043 00:59:42,760 --> 00:59:46,360 to bring him out of himself a little, 1044 00:59:46,360 --> 00:59:50,200 because it was like he was depressed, sad. 1045 00:59:50,200 --> 00:59:55,280 I think he had a bit of depression. 1046 01:00:09,600 --> 01:00:12,320 [VOICE OF THE POET] But in this village of mine, 1047 01:00:12,320 --> 01:00:13,960 of bulls and few ferrets, 1048 01:00:13,960 --> 01:00:16,600 what ever prevails is the pitilessness 1049 01:00:16,600 --> 01:00:19,480 of the scream and the ocean of culture 1050 01:00:19,480 --> 01:00:22,480 at which every countryman tirelessly scrapes away. 1051 01:00:22,880 --> 01:00:24,040 Magdalena tells me he became 1052 01:00:24,040 --> 01:00:26,640 a withdrawn, quiet man. 1053 01:00:28,200 --> 01:00:29,440 That brave young man 1054 01:00:29,440 --> 01:00:32,800 became quieter over the years. 1055 01:00:32,800 --> 01:00:35,360 Sometimes, she says, towards the end, 1056 01:00:35,360 --> 01:00:36,360 he didn’t dare greet 1057 01:00:36,360 --> 01:00:38,160 people in the street 1058 01:00:38,160 --> 01:00:39,080 because he thought 1059 01:00:39,080 --> 01:00:40,400 they wouldn’t recognise him. 1060 01:00:49,800 --> 01:00:51,600 I realise that he 1061 01:00:51,600 --> 01:00:53,040 didn’t choose to be excluded, 1062 01:00:53,040 --> 01:00:55,840 but he did seek refuge. 1063 01:00:55,840 --> 01:00:57,600 Not as someone defeated 1064 01:00:57,600 --> 01:00:59,280 but rather as someone who wanted 1065 01:00:59,280 --> 01:01:01,000 to remain on the fringe. 1066 01:01:01,000 --> 01:01:04,440 Someone who decides to look towards another place 1067 01:01:04,440 --> 01:01:06,320 somewhere more open and fertile. 1068 01:01:06,320 --> 01:01:08,920 [VOICE OF THE POET] 1069 01:01:08,920 --> 01:01:11,960 If you open the door 1070 01:01:11,960 --> 01:01:14,680 of my home with trees 1071 01:01:14,680 --> 01:01:17,760 you’ll find my children 1072 01:01:17,760 --> 01:01:20,800 dusting off the tenderness 1073 01:01:20,800 --> 01:01:23,800 of the crude writings 1074 01:01:23,800 --> 01:01:27,040 of this violent omen 1075 01:01:27,040 --> 01:01:29,880 that the hardships of faith 1076 01:01:29,880 --> 01:01:33,760 have furrowed in anger. 1077 01:01:33,760 --> 01:01:36,560 If you want to hurt me 1078 01:01:36,560 --> 01:01:39,480 go only to the first page 1079 01:01:39,480 --> 01:01:41,520 of a unique photo. 1080 01:01:41,520 --> 01:01:43,760 His final work revolves around 1081 01:01:43,760 --> 01:01:46,760 the Mediterranean as a space of reconciliation. 1082 01:01:48,360 --> 01:01:50,280 It is bright 1083 01:01:50,280 --> 01:01:52,280 and looks forward. 1084 01:02:02,560 --> 01:02:05,040 He has seven published poetry books. 1085 01:02:05,040 --> 01:02:06,280 And seven that are unpublished. 1086 01:02:10,160 --> 01:02:12,440 [VERSES OF THE POET] A film is like a man. 1087 01:02:12,440 --> 01:02:18,560 An action against a single option. 1088 01:02:18,560 --> 01:02:20,800 For each blank space 1089 01:02:20,800 --> 01:02:23,600 a single option. 1090 01:02:23,600 --> 01:02:28,400 I understand what he is saying. It’s not easy. 1091 01:02:28,400 --> 01:02:31,040 If the word is gratuitous for the writer, 1092 01:02:31,040 --> 01:02:34,840 then so will it be for the reader. 1093 01:02:34,840 --> 01:02:37,400 But what word must he 1094 01:02:37,400 --> 01:02:40,400 have written most? 1095 01:02:45,720 --> 01:02:49,200 [VERSES OF THE POET] I have always wanted to be Damià Canova. 1096 01:02:49,200 --> 01:02:52,200 The rest is literature. 1097 01:03:00,160 --> 01:03:01,760 It’s heavy. 1098 01:03:05,680 --> 01:03:09,720 Yes. Put it facing this way. 1099 01:03:09,720 --> 01:03:13,880 That’s it. Great. 1100 01:03:13,880 --> 01:03:15,200 Great. 1101 01:03:15,200 --> 01:03:17,680 Fantastic. 1102 01:03:22,840 --> 01:03:24,440 By the way, here you have… 1103 01:03:24,440 --> 01:03:28,040 Brilliant. Thanks very much. 1104 01:03:28,040 --> 01:03:30,400 I’ve sent you the link 1105 01:03:30,400 --> 01:03:32,400 to the Berkeley programme. 1106 01:03:32,400 --> 01:03:35,840 Fantastic. Thanks a lot. 1107 01:04:03,400 --> 01:04:10,120 WORD MAP 1108 01:04:11,960 --> 01:04:13,720 Montserrat has found a programme 1109 01:04:13,720 --> 01:04:16,720 for literature students created at Berkeley. 1110 01:04:16,720 --> 01:04:19,960 A word counter. 1111 01:04:19,960 --> 01:04:23,920 I enter the poetry collections by period. 1112 01:04:23,920 --> 01:04:24,920 First, 1113 01:04:24,920 --> 01:04:27,920 the discursive poetry period. 1114 01:04:41,840 --> 01:04:43,880 The top words, of course, 1115 01:04:43,880 --> 01:04:45,680 are the articles, the determiners 1116 01:04:45,680 --> 01:04:49,000 and prepositions. 1117 01:04:49,000 --> 01:04:51,600 But after comes: 1118 01:04:51,600 --> 01:04:55,560 Silence, gin, 1119 01:04:55,560 --> 01:04:57,600 vice, village, 1120 01:04:57,600 --> 01:04:58,720 life. 1121 01:05:24,080 --> 01:05:26,200 From his experimental period, 1122 01:05:26,200 --> 01:05:29,320 the cinematic poetry: 1123 01:05:29,320 --> 01:05:32,360 land, fire, 1124 01:05:32,360 --> 01:05:33,880 callus, juice, 1125 01:05:33,880 --> 01:05:35,320 pleasure. 1126 01:05:56,720 --> 01:05:58,160 From his final period, 1127 01:05:58,160 --> 01:06:01,920 his Mediterranean reconciliation: 1128 01:06:01,920 --> 01:06:04,520 heart, light, 1129 01:06:04,520 --> 01:06:08,520 clarity, silence, 1130 01:06:08,520 --> 01:06:09,640 stones. 1131 01:06:32,440 --> 01:06:33,960 I notice the word “silence” 1132 01:06:33,960 --> 01:06:36,760 is repeated 1133 01:06:36,760 --> 01:06:38,720 at the beginning and the end 1134 01:06:38,720 --> 01:06:40,640 of his work. 1135 01:06:50,000 --> 01:06:52,080 And throughout all his work 1136 01:06:52,080 --> 01:06:55,400 the word most written is always 1137 01:06:55,400 --> 01:06:58,400 the word “land”. 1138 01:07:21,480 --> 01:07:23,120 I leave with the feeling 1139 01:07:23,120 --> 01:07:24,080 that I haven’t understood 1140 01:07:24,080 --> 01:07:26,640 as much as I would have liked. 1141 01:07:26,640 --> 01:07:27,680 But then I remember 1142 01:07:27,680 --> 01:07:28,800 a note at the beginning 1143 01:07:28,800 --> 01:07:31,800 of one of his unpublished books. 1144 01:07:36,440 --> 01:07:37,800 Perhaps these words 1145 01:07:37,800 --> 01:07:40,920 are the key to it all. 1146 01:07:40,920 --> 01:07:42,760 [VERSES OF THE POET] Poets are the people 1147 01:07:42,760 --> 01:07:45,600 who lie more than any other. 1148 01:07:45,600 --> 01:07:46,960 The poet has the obligation 1149 01:07:46,960 --> 01:07:48,480 to invent, 1150 01:07:48,480 --> 01:07:51,080 to create new words. 1151 01:07:51,080 --> 01:07:53,400 That is why in poetry 1152 01:07:53,400 --> 01:07:56,400 fiction prevails. 1153 01:08:07,720 --> 01:08:09,280 Can you see me ok, or out of focus? 1154 01:08:09,280 --> 01:08:10,080 I see you fine. 1155 01:08:10,080 --> 01:08:10,840 What? 1156 01:08:10,840 --> 01:08:12,000 I see you fine. 1157 01:08:12,000 --> 01:08:13,160 Is it ok or out of focus?