If you see them together, you can imagine what their weekend vermouth sessions were like. Jordi Puntí, Miqui Otero, and Irene Pujadas shared a radio storytelling segment on The supplement from Catalunya Radio. The idea, which originated with Puntí, has a literary basis: apparently, Paul Auster asked listeners of American National Public Radio to send in their stories, and he, with minimal editing, would create a narrative and read it on air. The Catalan version of the experiment was titled It seems unbelievable. The idea was for listeners to send one-minute anecdotes to Catalan public radio via WhatsApp, which writers would then capture and, like a literary machine, transform into short stories.

"He folded the diary, which first unfolded on his knees and then slid slowly down before landing on the waxed parquet floor. You would have thought he had just fallen asleep if it weren't for the thin slit that occasionally appeared between his eyelids." This is the lazy and narcotic—yet also direct and addictive—opening of The cat (1966), one of the great novels by Georges Simenon (1903-1989), has been chosen from the outset by Quaderns Crema and Acantilado to begin their re-release, starting October 13th, of the literary legacy of one of the essential writers of the 20th century. Editor Jaume Vallcorba intends to publish it "with the respect due to great writers," combining the so-called harsh Romans With 72 novels featuring the celebrated Inspector Maigret, always with his pipe in hand and paying attention to the smallest and most revealing details. The Maigret series will begin with Pietr, the Latvian and will continue in November with The Yellow Dog One month later The cat will arrive The canal house

One of the best-known poems of Seamus Heaney (1939-2013) is the one titled Digging (Digging), the first canonical piece in his songbook. The son of generations of Irish peasants, young Seamus must have been the first to break with the family's farming tradition. "Between my index finger and thumb / rests the stubby quill," this poem begins. And it ends in the same way, but with the addition of a final line: "I'll use it for digging." It's not an original theme for Heaney: without straying from his own tradition, we could recall the illustrious poet and mud-dugman Verdaguer (who, in fact, was a poet by vocation and only, if anything, a mud-dugman by family origin). Or, even more so, that prodigy by Guerau de Liost entitled Obaga de pechoswhose last verses I hesitate to reproduce, because they convey an emotion very close to that of the Irish Nobel laureate of 1995: "The shade grows little by little, overcoming / the dangers of dryness and fleas. / My father used to say, his lips now confiding, / 'Grandfather planted the shade / and you will cut it down.' / And I say: 'Oh, the! / What will be my endeavor?'

Although he is just over 30 years old, Carlos Morell (Artés, 1992) has already published half a dozen books. He debuted more than a decade ago with The vapors that kill (Galerada, 2014), which received the Amadeu Oller award, and since then has combined poetry with titles such as Availability (Payés, 2018); the diaries, with Notes for a solo by Scriabin (A Contravent, 2017), and the edition of correspondence such as that of Joan Vinyoli and Eudald Puig (CCG, 2018). Pulse variations (Quaderns Crema, 2025) breaks a seven-year editorial silence, but contains notes written almost a decade ago in which the author reflects on friendship, love, the birth of a literary vocation, and current education.

What does Natalia Ginzburg mean when she says that The History What is the most beautiful novel of the 20th century? Not only because it's a literary ambitious work, but because it goes to the core. The almost eight hundred pages of The History, by Elsa Morante (Rome, 1912-1985), they strike us where it hurts most, which is in the heart. The story—now in lowercase—of Ida Ramundo and her son Useppe, who is barely two inches off the ground, touches us deeply. This powerful choral novel is a hymn to human resilience and the everyday heroism of the weakest, capable of displaying a Numantian fortitude.

"A cold house is not a home: it looks like one, but it isn't," he recalled. Josep Maria Esquirol (San Juan de Mediona, 1963) in the third session of the Dialogues on Ethics and Moral Philosophy held at the Pedralbes Monastery, co-organized by Barcelona City Council and the newspaper ARA and curated by philosopher and essayist Daniel Gamper. The series has so far featured the participation of Victoria Camps, Remedios Zafra and Josep Maria Esquirol, professor of philosophy at the University of Barcelona and author of essays such as Intimate resistance (2015), More human human (2021) and The school of the soul (2024).