Gisèle Pelicot has not yet finished dispensing justice. After the whole world saw the faces of her fifty sexual abusers in a public trialBecause "shame must change sides," she is now touring Europe with two messages as transformative as that one. "Victims must speak out, they must report, they must not isolate themselves: being heard and acknowledged can help you recover," argues this woman who doesn't want to be labeled "a heroine, a symbol, or an icon," but rather sees herself as "a conscience-awakener." "I know where I come from and I know who I am. I'm just an ordinary woman who allowed herself to be supported by psychologists, lawyers, family, associations..." she says.

A couple of months ago, Raimon turned 85, and now he takes short walks through Barcelona's Raval neighborhood, an image that doesn't quite fit with the one we have of an artist who has always displayed prodigious vocal abilities on stage, those that Josep Pla immortalized with the description, "He exhales, in Valencian Catalan, a phenomenal outburst." The truth is, time marches on. Raimon jokes that he is now "a vulnerable old man, not a venerable one," and his friend, the journalist Miquel Alberola, has just published his biography. Raimon. That me that I am (Ara Llibres), which is being presented tonight at the Ateneu Barcelonès.

He Colmo Tóibín who in 1975, having just turned 20, arrived in Barcelona "which was emerging from the calamities of dictatorship and repression" could not imagine that, half a century later, he would be such a popular author in Catalonia, that he would be received with all the honors by the mayor of the city, Jaume Collboni, and that he would become He is one of the writers chosen to represent the Catalan capital at this fall's Guadalajara Book Fair..

With a subtitle that says "True facts or almost", Núria Cadenes has managed to find the thread that connects the thirteen stories. that gives us In the flesh (Now Books, 2025). Cadenas does not cheat or involve herself in deceptive terminology: she presents the stories as what they are, free literary elaborations based on real events, which can be oral witnesses or historical studies or ancient or recent chronicles. There is a basis of reality, but the writer manipulates it and works it and serves it as a work of fiction. She has placed the stories in chronological order: first we read stories set in the Middle Ages (about the plague, about Artemisia Gentileschi, about princesses and novices), and we advance among bandits who jump the margins to wars of the 20th century (like the impressive story of the Italian fascist bombing of the city of Xàtiva), dictatorships from here and everywhere, to end the day before yesterday: the last story is inspired by the terrible effects of the DANA. Of all this, there is the exception that confirms the rule: a story entitled "The Dice" and that refers to the universe of Victor Catalan and the Empordà landscape. A dissident voice, says the author in the epilogue, where she explains the diverse origins of the materials: exactly what interests her, as an author, is giving a voice to those who oppose the movement. Allowing them to breathe, giving them a framework of words within which they become people and cease to be numbers or historical data.

Núria Cadenes (Barcelona, ​​​​1970) still finds it hard to find the words to overcome the disbelief and anger caused by "negligence," she says, not saying tragedy, from DANA. The writer has lived in l'Horta Sud, Torrent, for over twenty-five years. Her house was on the edge of ground zero. that affected so many neighbors, friends and familyThat nightmare has become the story that closes his latest book, In the flesh (Now). Describe what happened during the 20 hours and 11 minutes before the alarm didn't sound in time. Cadenes contrasts the notarial description of what was happening in the offices with the dramatic situations that were being experienced on the street, where the water was destroying houses, sweeping people away, drowning children and elderly people with mobility problems, while some escaped by pure luck.

About thirty emaciated men, some of whom can barely stand, arrive on a rickety boat to the southwestern coast of Brazil. The crew claim to be the only survivors of the Wager, a British warship that had left Portsmouth almost two years earlier with more than 250 officers and sailors. In 1742, almost a year after the ship went missing south of Chile, the reappearance of part of the expedition is considered a miracle.