Roser Guasch i Bea

She began her literary journey with the publication of the story "Saps qui és Camille Claudel?", in the book Suc de Llimona, by the collective Cisca Lafell (1996). She won the Miquel Martí and Pol de Roda de Ter prize (1998) in a tie, with the work L'amistat de les pedres, which was published the following year. She also won the third prize Joan Duch de Juneda 1999 with the work Lliris de mar, which was published in the volume Batecs (2020).Lately,, she writes literary reviews in the newspaper Avui and El Punt.

The poetic career from 2000 includes the following works: the collection of five poems Josep Cañas, The return of Mexico to Revista de Girona (2002), Plena de tu (2003), La terra del record (2005), with paintings by Maria Teresa Baltasar, Laurel leaves (2009), Platja Llarga and Vindrà la nit (2015), this last book contains poems by Plena de tu and paintings by Joan Descals; and El camí dels molins (2019), with watercolors by Camil·la Pérez Salvà.

In 2007, she commissioned the narrative book Cambrils, spaces for calmness, with photographs by Rafael López-Monné, translated into English and Spanish.

In the summer of 2018, in different spaces, such as the Monastery of Vallbona de les Monges, the castle of Rodonyà or the Cumprativa de Llorenç del Penedès, the recital Temps de vinya was held, where Roser Guasch recites a selection of her poetry and Pemi Rovirosa . (composer and guitarist of Lax'n’Busto) performs too,  on his guitar, with selected pieces from his repertoire.

Her literary essays focus on the work of the writer Maria Àngels Anglada, among which stand out: “M. Àngels Anglada: Poetry is one of the small bastions of freedom we still have", in "Revista de Catalunya" (no. 149, March 2000); "The poetics of Maria Àngels Anglada", in "Serra d'Or" (May 2000) and "El cor. Poetic pretext in the poetry of Maria Àngels Anglada", in Proceedings of the Twelfth International Colloquium of Catalan Language and Literature (May 2003).

Roser Guasch has defined her poetry as a challenge to "express the maximum in the minimum". "If I can say it in two lines, why do I have to do it in two pages? And, set to go further, it's not about saying but feeling"

Both Lluïsa Julià and Montserrat Corretger have highlighted the centrality of nature in Roser Guasch's poetry. On the one hand, Julià pointed out that, beyond experimentation, "Roser Guasch has chosen to base her work on nature, this long tradition changing and renewing according to voices, geographies and historical moments from Blake to Hölderlin, and central, on the other hand, in the Catalan poetic tradition, which is characterized by maintaining a complex dialectic between the subject and the representation of the elements of nature in a line of research that seeks truth, ethics and identity." On the other hand, Corretger highlights the value of the medium, of revelation, of symbolism based on the careful look of the landscape. Both from the Penedès and from Tarragona, from the love of the land, the family roots in a time and a house, from the memory or the present, the writer configured a poetic and vital universe, the symbols and the places whose readers can follow in order to, like the author herself, (re)discover ourselves through literature.