Maria Aurèlia Capmany i Farnés (1918-1991) was a multifaceted writer from Barcelona: Indeed, she was a novelist, translator, playwright and essayist.
She studied at the Institut Escola of the Generalitat of Catalunya and graduated in Philosophy at the University of Barcelona (UB). She was a teacher at the Albéniz Institute in Badalona and also at the Isabel de Villena School in Barcelona. With her first novel, Necessitem morir (1952), she was a finalist for the Joanot Martorell Prize in 1947, a prize she won in 1948 with the novel El cel no és transparent. With another novel of hers, Un lloc entre els morts, she won the Sant Jordi Prize in 1968 and moreover gained prestige as a narrator. However, her work is not limited to novels, but also essays on feminism, youth literature books, memoirs, etc.
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Her relationship with Tarragona began in the 1950s, explains Magí Sunyer, as a result of a school trip that served as an inspiration for her to write the only novel set in Tarragona, L'altra ciutat. Nevertheless, she did not limit herself to this trip but continued to maintain a relationship with Tarragona and other acquaintances, among whom was Josep Anton Baixeras.
Finally, after some meetings with friends from Tarragona and Reus, Capmany and her partner Alcover decided to have a flat in Tarragona, first on Pin i Soler Street and then Les Coques Street, right in front of the cathedral. This was at the very beginning of the seventies, and her closer relationship with the city therefore began.
Alcover, linked to the Rovira i Virgili University, spent much of his time in Tarragona while Capmany lived between Barcelona and Tarragona. When she took up the position of Councilor for Culture at the Barcelona City Council, she had to reduce the time she spent in the capital of Tarragona provincel.
Havien arribat a la Rambla Nova, i la llum excessiva els feia tancar els ulls, i llavors la veien a través del tremolor de les parpelles, com si vibrés.
I Ramon, que s’havia aturat i li oferia una cadira i li deia: “Prendrem cafè”, i procurava somriure, tenia, no obstant, una expressió d’enuig inconfusible.
[...]
Ascendiren cap al mirador i a mesura que la pujada es feia més feixuga, i la tia esbufegava, i l’havia deixada de la cintura -per fi!- i l’oncle i la mare i la tia es quedaven enrera, anà apareixent als seus ulls el mar, tan blau, tan dolorosament blau i quiet —el vent bufava de terra i aturava l'escuma a penes arrissada arran de la platja— que els ulls se li ompliren de llàgrimes i aprofità un nou remolí de pols per treure’s el mocador i eixugar-se les parpelles amb calma.
Tots eren al seu costat i parlaven. Però ella no sabia el que deien perquè enfront seu hi havia el mar. Pertot arreu el mar. I tot d’un plegat li semblà que estava en una illa, i el mar poderós encerclant-la, tan quiet, tan aparentment immòbil, però forçut. I ella adorava la força.
L'altra ciutat, 1955
The air enclosed within the arcades, barely cleared by the colored rays that were thrown from far above, up to the tombstones, it was icy, pleasant, like a perceptible caress.
A scent of humidity made her breathe, deeply. [...]
She raised her eyes upwards, and then ran them down little by little, very slowly , down the great column, enjoying the well-being of the descent, tracing with delight the cobra shape marked by the arch, sliding her gaze down the darkened channel, through the dust , of years, until reaching the plinth.
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Every footstep scraped the stones of the floor with a processional roar.
They knelt in front of the high altar. The Sacrament was not there, buyout of habit, she also knelt, revering the emptiness and silence of the altar.
Kneeling on the ground, she felt the coolness of the stones and the marked relief of a tomb was etched into her kneecap.
The altar of the Sacrament shone. The flames of the candles flickered indecisively. From time to time, invisible, improbable, a breath of air twisted them all in an orderly dance gesture.
[...] The organ trumpeted and filled the nave with an effluvium of solemnity and tenderness.
The voices of the organ, the smell of the incense, the red, striated light of the candles, surrounded her, with concentric waves of emotion, almost reaching her inner essence, almost possessing her entirely.
Chapter II, pàg. 31-33, The other city, 1955
It was this that was impossible, that had made her refuse the avalanche of images that were thrown at her; with the black dust, with the perfume of the sea, with the stench of fish. [...]
The wind had died down, but the sea was still fighting against the immobility of the beach. The foam rose, recharged, and then left a shiny parabola mark until it was greedily sucked up by the sand. [...]
Almost at the same time, she was ashamed, because she knew that a decent woman should not go out early in the morning in a boat and wander from one corner to the other on the sea. On one side the line of the horizon, swinging, on the other the jagged line of the houses, and the waves flowing under the boat, that smelt of tallow, of fish and burnt wood.
But in the afternoon she had persuaded Ramon to go and welcome her.
They had sat on the sand and watched the sea change, until it became still, as if the purple reflections lulled it to sleep.
The keels advanced slowly, towards the port, and the bulls took off on the sand, exposing their soft bellies.
They walked in zigzags, avoiding the boxes of fish, the handles and gimbals still full of bait, and the screw nets, here and there, which gave off an intense smell emerging from the bottom of the sea.
"And this is Carrer del Serrallo," said Ramon. Rosa had not imagined it like this: neither the white colour of the walls with the darkness of the portals below; and on the ground the baskets full of fish, swordfish, mullets, scorpionfish and the breams, all the transparent colours and the fine flights of their scales.
It was difficult to walk around and cross this tangle, and one did so as if one wanted to dance with a leisurely step. The men came and went with a quiet step between the piles of fishnets. There was a small moment of indecision and the roll from the net closed around a fish basket, which trembled like a belly. A flat murmur rose above the silence of the others, unintelligible like a spell. Suddenly someone, with a lowered head and amidst clenched teeth, interrupted the endless song:
—… Sixty-seven, sixty-six, sixty-five.
—My
A disenchantment dispersed the group, and it closed again as if it were impossible to get rid of it. They stood still, their hands in their pockets, their eyes fixed, and the murmuring began again.
[…]
The whiteness of the houses turned pink, the smell of fish was almost a contact, and the faint sound of bare feet on the stone did not cease. In the back of the houses were piled the still loose nets, and the empty boxes.
The other city, 1955
The sun was kind and warm. She went to the museum and was indecisive for a moment, not knowing whether to go up the stairs or not, as if someone were watching her and it was very important to find the exact way. It took an effort for her to make up her mind, and she finally made her way to the esplanade where there were the triangular, jagged, empty tombs.
[...]
Everything had started to move and change color. The tiled tombs, the stirred earth, even the glazed building of the Tabacalera, achieved a homogeneous tone with gleams of copper. The sun was no longer visible. Over there, in the Prades Mountain Range, there were completely red clouds. It was cold.
The other city, 1955.
Diuen que el diable el va fer en una nit.
Els arcs lligaven l’angle Agut de la vall. Els arcs avançaven, un rera l’altre, amb ritme segur, sobre el buit. El gest de la pedra cenyia la verdor dels pins, el cel tan net.
Van seure sota els arcs de l’aqüeducte. El director explicava.
—Com que els romans no sabien -deia- la llei dels vasos comunicants…
—No la sabien? -preguntà, incrèdula, una noia.
—Com que els romans no sabien la llei dels vasos comunicants —repetí el director—, salvaven qualsevol desnivell construint un aqüeducte.
L'altra ciutat, 1955
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