EL PERQUE DE TOT PLEGAT QUIM MONZO PDF

Quim Monzó (24 de marzu de , Barcelona) ye un escritor, traductor y El perquè de tot plegat y Guadalajara respeutivamente, el Premiu de Novela El. 22 Febr. The NOOK Book (eBook) of the El perquè de tot plegat by Quim Monzó at Barnes & Noble. FREE Shipping on $ or more!. 8 Quim Monzó, El perqué de tot plegat, Barcelona, Quaderns Crema, 6 Only a few arbitrary signs allow the reader to identify Monzó’s urban landscape as.

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The Olympic Games of launched Barcelona as one of the most fashionable and appealing cities in the world. In preparation for the Perqque, the city experienced during the s a deep symbolic, political, and architectural transformation which turned Barcelona into a ;legat global city, but also aimed to reconcile this modernization trend with the recovery of her rich historical past and cultural heritage.

Fictional narratives set in cities often relive the spaces, streets or characters that have disappeared because of unremitting processes of urban change. Many narratives struggle in this way against the erasure of spatial and collective memory. No overall demolition was necessary — only a sensitive intervention in concrete points. On the other hand, to monumentalize the periphery referred to two specific things. First, high-speed roads and expressways had to be integrated into the city fabric instead of letting them tear it up and alienate entire neighborhoods.

Second, landmarks were necessary to give a distinctive personality to streets and neighborhoods. Hence, public sculptures minzo internationally recognized figures were placed in the less glamorous areas of the qulm.

Thus, the plan intended to bring back a sense of place or, as Mayor Pasqual Maragall put it, to help the city recover itself. These narratives often function as compensatory devices for the momentary sense of loss and disorientation caused by the new urban landscape.

Even if their representation of a collective memory might seem to contest the urban change, they rather reinforce the new state of things, as these narratives reassure everyone that the past may be erased from the streets but it will be preserved in their pages. His Tpt a pleagt city with atemporal places where citizens are identifiable only as grammatical traces, clothing brands, or social stereotypes. Also, this collection is divided in three parts titled with oblique allusions to Barcelona: Finally, there is not a single reference to Barcelona in the ott collection of short stories that I will examine.

The title of this collection, Guadalajaraalthough inspired by the well-known Mariachi song, even enigmatically alludes to two other cities, the homonymous cities in Spain and Mexico.

In the few cases in which spaces are described, the specifications consist of a plain list of the — serialized — objects contained in them. For example, a hotel room:. And, although occasionally we find references to monzp cities, regions, and states, there is never a detailed description or implied justification of why these cities are mentioned.

He even acknowledges the difficulty of describing the place:. He looked obliquely at the light-colored, varnished large piece of furniture; on it he could see a shiny pottery plate, a Moroccan drum, an aspirin tube, three books and a white Dutch pipe.

pleagt

In most cases they are simply a man, a woman, a boy, or a girl. They visibly embody the three features that Fredric Jameson finds in postmodern cultural artifacts: As a minority and stateless language, Catalan is immediately associated with an actual region, a distinct community, and even with Catalan nationalism.

The Catalan language can hardly be detached from a very specific territory and political history. Thus, this inherent tension between the unidentified characters and spaces and the highly particularizing language of the stories can be interpreted as an attempt to create an imaginary of Barcelona and Catalonia as fully globalized places that still maintain a vernacular language.

In other words, he deals with this underlying anxiety of a minority culture in front of globalization by precisely portraying and endorsing, in Catalan, the homogenizing global forces.

This way he implicitly attests that Catalan can function in this new context too. This component is the circular plots, the claustrophobic e, the Moebius strips from which characters of the stories cannot escape. He is madly in love with her and keeps insisting that she should not be afraid of expressing her mono feelings for him.

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When, after months of treating him cruelly, she finally gives herself over to him and proposes to move in together, he cannot help reacting with coldness and disdain. This predominant present tense suggests that the characters inhabit a perpetual present with no sense of the past or the future, with neither unsettled traumas nor secret longings. Then, two firemen go to rescue him but get stuck in the same circle. At this point, the man can successfully leave the apartment.

The firemen can also leave the apartment but not the building, as the stairs begin to reproduce themselves endlessly. Meanwhile, a neighbor is killed and, after some panic and screams, the other neighbors in the building attribute the crime to the firemen, who cannot offer a plausible alibi in their defense. The story ends with the hearse that carries the coffin with the dead neighbor and his family driving around the city in circles unable to find the cemetery.

The city is totally unrecognizable:. Els carrers tenen noms desconeguts per la majoria de ciutadants, ells inclosos. There are blocks and blocks of houses with industrial plants and enormous trucks parked.

It is a square that bears the name of a general from a couple of centuries ago, with a big, twisted tree in its center, on top of which two kids are playing to make the other fall, and where no street ends except for the one they come from. Most citizens do not recognize the street names, or the name of the square referring to an also unnamed historic general does not help the characters locate themselves either. In this story, a man leaves work and returns to his home, a two-story, single-family house in a suburban villa.

The dog and the woman welcome him, he licks his hand, she kisses his lips. Then he sits on the couch to work on a crossword while she begins to watch TV. But, all of a sudden, he realizes that the woman sitting next to him is not his wife, that he has never owned a pet, and that that is not his house.

Astounded, he wonders how he could possibly miss these changes and why the strange woman is acting so normal as if she was his wife. He knows that he is not suffering amnesia, because he perqje perfectly remember his real wife. He notices that the house is identical to his, like each one in that villa. He looks out the window and sees the same landscape he would see from his house.

Sexual excitement represents here the acceptance of the current hopeless circumstances but also points at the beginning of a potential journey of discovery and new exchanges.

But she does it so insistently and obsessively that the situation begins to distress him. He finally asks her whether his penis is the only thing in which she is interested, and suddenly all her devotion turns into anger.

What’s It All About (El perquè de tot plegat) () – Rotten Tomatoes

The penis stands as fl impediment to establish any subjective — let alone collective plegatt connection. Such a representation of Barcelona as an uninterrupted and disidentified city thus contrasts with the official re-imagining and re-building of it as an idiosyncratic and highly appealing place.

Cities, regions, or states must make themselves attractive in order to bring into their territory those headquarters, tourists, manufacturers, conventions, or services which, given their mobile nature, can potentially be placed anywhere. In it, a man and a woman talk. She complains that he is not listening to her. She says that both nights they have spent together he has only talked about himself and has never asked about her, about who she is or what she does. After some moments of perplexity, he eventually reacts and apologizes.

He says that he had never realized how self-centered he could be and that he cannot stand egotistic people. He says that he needs her to help him find out why and when he behaves this way.

In the end, he says. I would like to talk about it with you. But there is also another possibility, namely that Barcelona is an egotistic city talking all the time about itself. Territories are manufactured, serialized and sold like any other commodity. They are expressed as exchange values and therefore poegat presumed singularity they might contain is dissolved in the structural generality of the market.

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Once again, the paradox plegta that, in the postmodern context, the production of a sense of place and of spatial identity causes the standardization and the dedifferentiation of that very place. In the stories, all the specificity that is left of Barcelona is some scattered location markers. These uninterrupted but also self-enclosed landscapes unveil the ongoing process of commodification of spaces and territories, which, in their turn, interpellate the people who inhabit them as equally generic individuals with no possible singular personalities.

These totally commodified urban spaces incorporate people as serialized figures and stereotypes and they ultimately commodify them altogether. In it, a man has his car radio stolen continuously, so he decides to carry it with him every time he leaves the car. Then they call him from a television contest to ask him a couple of questions for the show. He answers them correctly and he is awarded a beach apartment, where he meets a neighbor whose husband suddenly dies. Then he marries her, they have two children and the story ends enigmatically one morning while he is getting in his car:.

And, even if he cannot do it, his attempt reveals a moment of recognition of the real conditions of his situation. Even if the possibility of retrieving the waned affect proves to be impossible, or precisely because of it, this final act uncovers the totally commodified space that surrounds and also constitutes him.

It is to the extent that he fails in his attempt to cry, which confirms that commodification has occupied his very inner self, which he succeeds in plega this commofidifying process.

E failure to cry corroborates the expansion of commodification and at the same time tears it apart. It proves it to be both inexorable and false.

But, in their very constitution as residues, they set, if not an outside, at least an internal limit to commodification, which consequently uncovers it as a historical — not inexorable or inescapable — process. But these two options entail a paradox. On the one hand, if the qumi are commodified artifacts, then they cannot be accurate and comprehensive accounts of full commodification–they would be merely reproducing its internal logic, with no potential to distance themselves from it, let alone disrupt it or oppose it.

On the other hand, if the narratives remain outside commodification, then they are also inaccurate accounts, as they constitute the proof that commodification is not absolute. The undecidability contained in them asserts the impossibility of escaping commodification but also posits an internal and contradictory limit to it represented by the peruqe existence of the stories.

Their very presence subverts the inexorability of the process that they describe.

Short Stories against Barcelona’s Urban Transformation

Their depiction of the city as a totally enclosed space, with no past, no future, and no outside, undermines the very inevitability of this dystopian but all too real state of things.

Therefore, the process of commodification is uncovered as a historical one — an absolute peque but nonetheless historical. Which, logically, opens up the possibility of a different historical situation: According to him, the restoration of historical buildings and the production of city identity are two of the main agents of the homogenizing Generic, as it is precisely through.

It becomes transparent, like a logo. The reverse never happens … at least not yet. Edicions 62,p. Seix Tit,which similarly portrays the miserable life of a family who lives at the outskirts of eo city during the decades previous to the Olympic transformation.

La Magrana,pp. Perhaps the fact that all these cities are, like Qumi, European and not state capitals is not arbitrary. But we can also find Brussels Duke University Press,pp. Along the story, he is characterized as:

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