Sat. Feb 29th, 2020

“Ens fan the manicure and not els diem or hello”



They say that they understand that there are first novels that go beyond a high level of recoursement because they are author of molts elements of the Seventh Experience, and that the novelties follow them, in Canvi, they do not please so much. This is not the case of Gemma Ruiz Palà (Sabadell, 1975), who plows signa amb els dos cognoms, “With fan moltes companyes de TV3, is a claim”.

The popular journalist, who is going to discover with the author 2016 amb

Argelagues

, a story of gifts above where I’m here looking for a safer life to Sabadell, who has killed the mateix amb
Ca la Wenling
(Proa), in those cases, a donut and the seventh family that will arrive in the neighborhood of Gràcia provinents d´una populated a mica llunyana, Qintiang, to the province of Zhejiang.




‘Ca la Wenling’ tells the story of a Catalan-Xinian amistat, a fiction based on a compendium of realities

With a bona journalist, n’ha aplegat the documentation and ha fet treball de camp (sobretot, stop l’orella en Belgian Salons), amb l’objectiu to report a història d’amistat catalano-xinesa, a fiction based on a compendium of realitats: “Soc journalist; I don’t know what else, ”confessava fa a couple of mesos.

Ruiz Palà fa a summary of the novel·la: “The cor is a perruqueria, the mestressa is xinesa and I will bet per fer the canvi of life to Barcelona. Hi trobem a documentary client, who is the storyteller of the novel, and, setmana rere setmana, assistim to her process of awareness and descoberta d’if you see that I practically do not look in the face


Després d’Argelagues ’, the journalist parla d’uns veïns“ that practically does not look in the face ”

Però l’author does not speak of Ca la Wenling; hi has excursions: “The peruquery esoteric cap a fora and that is the original d’uns capitols on account of the cost of the manicure, the racism cap als xinesos, the Vietnam…”. Fins and tot hi surt Tippi Hedren amb a curious molt history of manicure. Als Estats Units is going to document about the Xinesa diaspora, about the first racist history, against the Xines …

The protagonist declares that manicure is fa Simone de Beauvoir: “Moltes companyes that estem al voltant dels quaranta ens repensem represented the feminitat: els cabells curts or not, depilació, maquillatge”.



The protagonist and l’autora duen les ungles vermelles: “It was not a fugir d’estudi i per això that documentary filmmaker had sown to sow itself, in the new life and in my privileges. The journalists of vegades ens pensem that estem molt conscienciats, and I am not always there. ”


The novel·la de tant en tant jumps from the català fresc of the documentary filmmaker to castellà telegràfic de la Wenling

I was surprised that the clientele was not the digués or hello: “I gave them to a pam, yes, I established an intimate gairebe relationship! How can I be such beasts?” The protagonist is an effort to communicate-so, so that the novel of Tant in Tant jumps from the documentary’s Catalan fresco to the telegrafic castellà of the Wenling.

“Amb els xinesos tothom s’hi atreveix, racisme es molt marcat – he affirms -. The dèria de les heroïnes silenciades ja em ve d’
Argelagues
, because emigrating from Múrcia or Qintiang ends up with the mateix: agafa el farcellet i vinga. Here I donat veu a personatges that, in a movie, tend to sort out blurring ”.

Also defense les àvies: “Són pilars bàsics i, in canvi, is a socially molt figure mocked; I have aprofitat per treure històries that enalteixin ”. I, like the one who didn’t see the thing, it happens Flaubert i els pintors orientalistes, com Fortuny, “Per la fetitxització dels cossos de les dones orientals”, conclou.





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