The last time that The writer Sergi Pàmies gave a title to one of his books, the title knocked directly on his door: "Hello, I'm Both will be three". This is how he explained it to me in an interview in which we were talking about how a book title is chosen. The summary, for him, is that it is not so much a choice as a matter of chance. In the middle of writing, not yet especially aware that his stories had the passage of time in common, he sat down in front of the television, and then the news came: "title," he knew immediately. He told me, it would never have occurred to him; he needed that external stimulus, but it was crystal clear: the book would be called At two it will be three (Cuadernos Quema). "Sometimes, the pedants of romanticism, speaking of their great love, would say: "I'll recognize her when I find her." The same thing happens with titles, without the romantic transcendence. If a title comes to mind, you recognize it: this is it."

"Ah, but you have written novels?" This question is probably one of the main reasons that have led the writer Sergi Pàmies to publish Three analog novels (Cream Notebooks), which is collected in a single volume The first stone, from 1990; The instinct, from 1992, and Sentimental, from 1995. At the presentation last Tuesday at the Jaume Fuster Library, the author exclaimed with humor: "I've finally made a thick book!"

The writer Sergi Pàmies (Paris, 1960) has published Three analog novels (Cuadernos Crema), a new volume that brings together the works The first stone, The instinct and Sentimental, which also contains an unpublished prologue. In this prologue, the author explains his predilection for short stories, which he has been able to accommodate more naturally in his life, with different titles published over the years. "The novel is monogamous and the story polygamous," he said in a meeting with different media reported by ACN, and added that a novel requires more time and dedication. Pàmies has also recognized that the book has been for him an exercise "in memory" in which he has recognized himself more with "the writer" than with the "person" of that time.