The poet and essayist Vicenç Altaió (Santa Perpètua de Mogoda, 1954) grew up in a middle-class family with six siblings and a family business whose future was already decided. His twin brother was destined to inherit the business. He, however, occupied the space often considered unproductive: "nothingness, where art and literature meet." And he turned it into a way of life, freeing himself from the family's predetermined path. There wasn't always enough money at home, but Altaió always had the books he wanted: "I started at 14 to fall into the reading habit thanks to the good idea of ​​a grandfather who gave me books that shouldn't have been bought."

Cadaqués leaves a deep mark, both on those it seduces and those it fails to captivate. The artist Antoni Muntadas first arrived in 1956, invited by some classmates. He stayed in a house owned by Coderch and Correa & Milà, before the emergence of the modern house phenomenon of Lanfranco Bombelli. "I came from Barcelona, ​​and it was a huge shock," Muntadas recalls. "I was struck by the fact that Cadaqués was a very different way of life, very transparent, above all cosmopolitan. The people I knew there were Belgian, French... Many have sold their houses to people from Barcelona, ​​and all this has changed." So Muntadas continued going despite all the difficulties, such as the winding roads, the north winds, the stony beaches and cold water, and the wine that turned sour. And together with others touched by Cadaqués, they began to popularize the term "Sadomasoqués."

If you search on the internet where the poet and art critic was born Vicenç Altaió, you will find that it was in Santa Perpetua de Mogoda. However, if you have the opportunity to ask him directly, he will answer that he is the son of "the Sainte du Mouvement Perpétuel", a free translation that I think best reflects his personality.