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HE PUBLISHED 18 BOOKS
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HE WAS ALSO A PHOTOGRAPHER, PAINTER AND SCULPTOR
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THIS DOCUMENTARY IS
ABOUT HIS LIFE AND WORK
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MY HOME WITH TREES
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I arrive in the village of Campos
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on a humid and sunny day.
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The village is in the south of the island of Mallorca.
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This is where Damià Huguet lived,
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a poet who is not among
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the well-known names
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of Catalan literature.
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I’ve decided to find out more about him.
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He died 25 years ago and,
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as a person and an artist,
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lived on the fringe of the fringe.
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But was that really the way he wanted to live?
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Did he want to be on the fringe?
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[VOICE OF THE POET]
If you open the door
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of my home with trees
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you’ll find my children
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dusting off the tenderness
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of the crude writings
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of this violent omen
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that the hardships of faith
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have furrowed in anger.
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I enter Damià’s house
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and don’t see anything particular
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nor anything very defined,
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except pictures and books.
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Biel, the poet’s son,
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has left me his father’s address book
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on the table.
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I open it and read the names of other artists:
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Toni Catany, photographer,
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Vicent Andrés Estellés, poet,
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Maria del Mar Bonet, singer.
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I wonder who was
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the man Damià Huguet
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who emerged as an artist in
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Mallorca of the 1960s,
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who at best
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was indifferent towards his work and himself,
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and at worst, disdainful.
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The immense creative potential of Damià Huguet
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has a mysterious quality to it.
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I, like many others,
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deeply admire his poetry.
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And I also admire his attempts at
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painting, photography and sculpture.
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A self-taught, avant-garde poet,
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who earned his living as a builder,
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an artist who went every day
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to the local café,
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without ever any need
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to talk about his literary work.
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Who was this man?
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I come across the name of Miquel Adrover
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and I feel like someone has told me about him.
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I decide to phone him.
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My name’s Sebastià Alzamora.
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Thank you very much.
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The man who greets me is straight out
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of an American road movie.
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But this man is an architect and a writer.
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Talking with him, I found out
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that when he was young, he and Damià
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were the leading
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cultural movers and shakers in the village.
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It would still be 10 years
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before the arrival of democracy
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and they were trying to create
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social debate and culture.
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There was a lot of censorship
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and prohibition and arrests.
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Although here they didn’t do anything.
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There were Gori Mir, Biel Janer, Blai Bonet,
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Antònia Vicens,… and if I’m not mistaken…
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intellectuals of the time.
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And Damià Huguet.
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Yes. He was there too. He helped.
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Helped?
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Yes, he was still very young.
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Damià Huguet came under
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a lot of pressure
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from inside his family, from an uncle of his
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who was a fierce supporter of Franco,
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a Spanish nationalist, like they were at my place.
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And from time to time, this uncle
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would go to Damià’s place, his father had died,
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and ask Damià’s mother
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to show her her son’s books.
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And then he would go through them.
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That one out, that one out…
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He censored him?
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Yes, massively censored.
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Do you think the censorship
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his uncle subjected him to could have
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prompted Damià’s reaction
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against it all
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and led him to doing
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all that he did?
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As a writer, as an editor, as a publisher, as an activist…
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Yes. I’m convinced that
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quite a lot of intellectuals from that time
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were reacting
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to an oppressive family environment.
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Oppressive…
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And that was also the case for Damià?
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Yes. He was disapproved of by
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a lot of people in Campos
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who were strong Franco supporters.
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Was his use of language
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self-taught?
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Sí, autodidacta.
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¿Was he a learned man?
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Extremely so.
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He reminded me.
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of a Renaissance man.
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He was never arrogant, he was very humble.
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Damià didn’t make anything up,
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he simply verified things.
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Reading his books, you see
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the Campos of that time …
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… which wasn’t very different to today.
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I have the feeling that
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reacting to the claustrophobia of those years
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could have been a possible drive to create,
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but not the only one.
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I’m not sure about going back to the house
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and rummaging through the drawers.
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It’s not easy to enter someone else’s intimacy.
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And even less so if they are no longer alive.
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There’s something almost profane about it.
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Luckily, the phone rings.
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Biel tells me that Damià’s work van
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is restored already.
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Like I said, Damià, as well as being a poet, was a builder.
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He worked in a factory that made concrete beams.
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At the age of 10 he lost his father
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and at 16 he stopped studying
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to take over the family business.
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That’s what he wanted.
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I like to imagine Damià Huguet
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returning from the café at sunset,
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still covered in dust from work,
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driving through the streets of the town
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before arriving home.
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He loved the cinema!
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He’d written a great deal on the subject,
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writing film reviews
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for a newspaper on the island,
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the Diario de Mallorca.
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In Cannes, San Sebastian and Venice he interviewed
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the big directors from that time.
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I’m sure Damià could have felt
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like a character from those films by
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Rossellini or Antonioni that he loved so much.
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As a reporter for the Diario de Mallorca
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he covered the village football matches.
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He took photos of them, which he sent to the paper.
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One day, at this very pitch,
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he took a photo considered to be unique
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and which everyone talked about.
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Depending on how you look at it
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it might seem a ridiculous story.
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But it wasn’t at all for Damià.
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Everyone says that this
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was the first blow his town dealt him.
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It happened on 8 October 1972
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This was where the passion erupted.
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[VOICE OF THE POET]
But in this village of mine,
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of bulls and few ferrets,
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what ever prevails is the pitilessness
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of the scream and the ocean of culture
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at which every countryman tirelessly scrapes away.
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I imagine Damià taking the photo
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and thinking, while he developed it,
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that it was simply like a sequence
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of neo-realist cinema.
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But that famous photo did not go down well at all
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among the people in the village.
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There were gross exaggerations about it.
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They said it had been seen all over the world
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and that it portrayed the villagers as savages.
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Paris Match magazine
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wanted to buy the whole series
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but Damià didn’t want to sell it.
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Like Godard said
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and as quoted by the poet
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This is not a just image,
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it’s just an image.
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In the end I enter his study
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and sit where the poet sat.
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I look through the objects and the first to catch my eye
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is a copy of a photo often used in publications.
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The poet with a Toscano cigar in his mouth.
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He always used to smoke those Italian cigars,
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which are labourers’ cigars because they’re short
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and can be smoked while you work.
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The beret and his everyday clothes
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complete the character.
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But… Why do I say character?
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What have I seen that I didn’t see before?
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Could it be that because I’m
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in his book-filled studio,
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I see that the pose in the photo
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is like a disguise.
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In this image he’s smiling.
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It’s a self-portrait.
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I would say he has a roguish face.
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Damià became a powerful intellectual,
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but here he’s smiling through the mask of a labourer.
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A mask which isn’t really a mask
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because he did in fact spend hour upon hour
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in the factory making cement.
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Damià Huguet was very good at segmenting his activities
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and a lot of the locals didn’t even know that he wrote.
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He had multiple faces and, as a rule,
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he didn’t mix them.
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He was like Joan Miró in that respect.
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Was it humility?
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Was it shyness?
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Or was it a way of being one
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and many at the same time?
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Look! This is a lemon.
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I’ve called up my friend Montserrat.
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He knew Damià,
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He teaches philosophy and likes
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to get to the bottom of things.
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We talk a lot about the poet and…
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…we talk about strangely shaped lemons.
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Damià used to say that the cinema was a provocation.
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Here’s something
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that has really made me think.
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Cinema will always be a provocation.
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A meditated action
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taken to its ultimate consequences
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so that the fascination of the images prevails
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over the emptiness of what is being said.
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Yes, for Damià the image prevailed
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over the written language and, even so,
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he kept writing.
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It’s interesting
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and paradoxical at the same time.
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A contradiction.
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Montserrat is always in a hurry,
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aparece de golpe
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he appears suddenly and then suddenly vanishes.
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[LETTER FROM THE POET]
What pushed me to write was always the cinema..
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I write because the cinema works for me
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and mainly because I don’t dare
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to film what I see.
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Cinema is everything for me.
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Everything is cinema.
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There are a great many published scripts
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and books on cinema in the house.
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Which might seem unusual
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in a poet’s library.
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Reading a script by Antonioni is no easy task.
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No script is
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if you’re not a cinephile.
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[VERSES OF THE POET]
Tomorrow
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perhaps we’ll be happy
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with a glass of gin
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or a cry from Pasolini.
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Who also gets you drunk
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but doesn’t quench your thirst.
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The rest will be literature.
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[VERSES OF THE POET]
He slowly, very softly,
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rubbed his lips,
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with a cold heart
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and the uncertainty of ignoring the adventure
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where he died.
274
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[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?