I had just read L'art de portar gavardina, Sergi Pàmies and was still under the effects of reading that sad book, but written with a monumental happiness, when I noticed that on the channel Betevé, they were interviewing Pàmies himself, which seemed perfect, because it was going to save me the questions that I wanted to make about the book. I have known him for years and in the last two decades I have followed with special attention the exciting and intellectual (although very well disguised) paths through which his narrative has gone. And I had some questions to ask, although suddenly I saw that I really did not have any, because it was enough for me to still be under the stimulating effects of reading and to continue with the author, now on screen, and to keep the idea -which also , corroborated the interview- that he had a great time when generating fiction.
Fiction? Yes, because this is another, that Cruyff would say (about which, not by chance, Pàmies wrote a book where everything that the Dutch genius answered seemed false and true at the same time): in recent times, the more brutally autobiographical is shown Pàmies, more fiction is what we read. In the first stage of his narrative, however, things were turned upside down: he put special effort to dedicate himself to writing only fiction, and yet everything that counted and how far away he seemed from him was much more autobiographical than what he writes. now.
We have all experienced it once: the more true the story we narrate, the less we believe, the more it seems invented. Because it seems like a lie, you never know it was the glorious title of the not very remembered great book of the Mexican Daniel Sada. And because it seems a lie, they always enchant us. It's our fate … In that mental drift I found myself when I heard that Pàmies said nothing of autofiction, because this was obviously a label of the industry, not of the creators: "I have used the self-portrait technique, which has two rules: first , the decision that one will be the literary subject, and the second, that is never complacent; one appears with a perverse, turbulent point … "
It seems that Pàmies, before writing his book, spent two mornings at the MNAC analyzing the self-portrait techniques in painters. For me, those two mornings could be key, because surely they confirmed that painters have it easier, because they pose with their work tools, where many times the perfect testimony of their creations is preserved, this being not the case those writers who inject reflection into their anecdotes. And he might also confirm that linking only life adventures made no sense and that his relentless self-portrait needed to let in more and more thought and imagination and what never happened. And I thought of a phrase by Giorgio Agamben in his newly appeared Self-portrait in the studio: "An authentic autobiography should rather deal with events not happened".