1. 18:02 by gate3freel


  2. And, suddenly, the Paradise

    09:51 by Nuria

    El Paradise

    Forthcoming novel by the authoress

    Work in progress




  3. Essays

    16:56 by gate3freel

    La Poesia de GF w .   Mas que una maquina wruins003

    (Work in progress: Pages on Núria Perpinyà’s Essays. They will be avalaible soon).


  4. Comments A House to Compose

    11:26 by gate3freel

    9 casainreves w


    Letter of professor Dr. Arthur Terry about A House to compose.

    Francesc Serés, a letter from January 17, 2001: “Kesler c’est moi, as he would say”
    If I can permit a compliment, I’d say -finally!- I find someone who is a university professor and doesn’t write like a teacher-who-writes. (…) I had a feeling of being constantly going up and down the stairs in the Percebe rue 13 of the new millennium and I could not help myself but imagine all the characters summoning by Olivia in her hotel. In fact, it is what it is: a démodé hotel, where the intensities are crossed forming rhizomes and roots. Yes, we have lost the Heidegger’s habitat, the one that connects us to the living and the dead. When someone is able to bring into play all these variables and succeed…

    seres fragment

    Melitó Camprubí, architect (2001): I guess I was pushed to write these notes by some professional remorse. In the first part of the book, I was concerned. Our dear Olivia cannot find any suitable home and it seems that we, the architects, taken as a kind of subspecies responsible for the construction, have part of the responsibility. Sure we do. Then, once I got to know Olivia better, I relaxed thinking that, as a client, she would be a very demanding person, difficult to satisfy. Thus, I said to myself, she needs a sublime architect, loaded with resources . – “It is not you, man. You can continue reading.” However, I realized that the novel is as demanding as the pianist. Or, kooky, lunatic, variable, striking, sharp, desperate. Requiring a fine ear, a novel of a careful execution, complicated melodies. Gradually, the space is built: cylindrical, high, roofless. Inside, the walls are arranged in no apparent order. These walls are of variable height and position. Starting at any point and ending at the perimeter surface. (Hint for a cylindrical space: Asplund library in Stockolm.) We cannot discard that the cylinder surface may deform and lose its circularity. (New hint: Aalto vase evokes the ripples of the Northern Lights.) (…) While the space is built, pictures appear on the walls: landscapes, houses, things, people or beings, attitudes, thoughts. It is built and painted, a large fresco with a persistent background piano music. Olivia, freed from gravity, moves around this space creating, by her presence, the themes of each place, and spreading, with her savoir à faire, the sounds that accompany her; topics (and sounds) that become fragmented, partial, incomplete, unresolved. I wished I knew more music in order to continue writing: I know some adagios and Mahler, barely. The perfection of Architecture, the perfection of Music, of Literature, the perfection of Life and Love. What a hard, impossible, yet stimulating research…




    MIQUEL, Dolors. “Passadissos compartits: Núria Perpinyà”. Narradors contemporanis. A cura de Jordi Carrión i Manel Guerrero. Associació per la Cultura i l’Art Contemporani. 2007. [9 PDF]

    MASGRAU, Mariona. “Núria Perpinyà: “Una casa per compondre””. Bengala. Revista literària.  Juliol-agost 2002.

    ABELLÀ, Maria. “No em carregaré la Víctor Català”. Avui. 21-V-2002.

    OLLÉ, Manel. “Núria Perpinyà. Una casa per compondre”. Revista de Catalunya, 181. Febrer 2003. [8 PDF]

    CALVERA, Irene. “Una búsqueda incessant”. La Mañana. 21-IV-2002. [7 PDF]

    SAEZ, ANNA. “La recerca d’una casa és la recerca d’una vida”. Segre. 18-IV-2002.

    CALVERA, Irene. “Núria Perpinyà narra la hazaña de buscar piso en la actualidad”. La Mañana. 18-IV-2002.

    MIQUEL, Dolors. “Núria Perpinyà”. Entrevista a La Verge Peluda.1 i mig. 2002. [6 PDF]

    BOU, Enric. “Desequilibrio inmobiliario”. El Periódico. 18-I-2002. [5 PDF]

    GUILLAMON, Julià. “El narrador como ablandador de zapatos”. La Vanguardia. 6-I-2002. [4 PDF]

    PAGÈS, V.. “Resumen literario del 2001”. El Periódico. 4-I-2002.

    “Música y arquitectura”. La Vanguardia. 14-XII-2001.

    MONTFERRER, Óscar. “Construcció”. Avui. 13-XII-2001.

    BONADA, Lluís. “La relació amb la casa és tan problemàtica com la de la parella”. El Temps. 4-XII-2001. [3 PDF]

    GARCÍA VINYALS, Marisa. “Més que una novel.la”. La Mañana. 28-XI-2001.

    DÒRIA. Sergi, “Núria Perpinyà: “Música, novela y arquitectura tienen mucho en común”. ABC. 26-XI-2001.

    BATISTA, Antoni. “El boom de novelas con música”. La Vanguardia, 23-XI-2001. [2 PDF]

    “Perpinyà presenta “Una casa per compondre”. Segre. 22-XI-2001.

    “Una novela explora com els pisos i els espais afecten les persones”. Diari de Girona. 22-XI-2001.

    “Núria Perpinyà novela la búsqueda del espacio vital”. El Mundo. 23-XI-2001.

    RIBALTA, Miquel (ACN). “Núria Perpinyà habla del sentido de la vida en su nueva novela”. La Mañana. 22-XI-2001.

    EFE. “Núria Perpinyà publica la novela “Una casa per compondre”. El Punt. 22-XI-2001.

    ARAGAY, Ignasi. “Núria Perpinyà fon arquitectura i música en una novel.la urbana”. Avui. 23-XI-2001.

    OBIOLS, Isabel. “He volgut donar una bellesa musical a la novel.la. Núria Perpinyà enllaça arquitectura i música a “Una casa per compodre”. El País. 22-XI-2001.

    PUIGDEVALL, Ponç. “Un lloc per combatre el temps”. El País. 22-XI-2001. [1 PDF]

    PIÑOL, Rosa Maria. “Núria Perpinyà convierte en novela un periplo inmobiliario”. La Vanguardia. 22-XI-2001.



    Catalunya Ràdio. Ester Pinart. Només hi faltes tu. 16-IX-2013.

    Catalunya Ràdio. Màrius Serra. Lecturàlia.18-01-2007.

    Com Ràdio. Lleida. Enric Pinyol. 19-IV-2002.

    Ona Catalana. Anna Pujol. 21-XI-2001.

    Catalunya Ràdio. Rosa M. Bartolí / M.Pau Janer. Ex-Libris. 23-XII-2001.



    TV3. Genís Cormand. Revista de Llibres. Telenotícies Migdia. 10-I-2002.

    City TV. Marta Cáceres, Magazine. 2-0I-2002.

    BTV. Josep Rocafort. Càpsules repetides. Gener 2002.

    TV2. Mabel Beltrán. Continuarà. Gener 2002.



    CARREÑO, Óscar. “Núria Perpinyà: “Una casa per compondre”. TeHac18 2002.

    “Núria Perpinyà: “Una casa per compondre””. Passem Pàgina. El Pati. Novembre 2002.

    HERNÁNDEZ BUSTOS, Ernesto. “Una casa (no sólo) para componer”. 1-II-2002. FNAC / Clubcultura.com. [10 PDF]

    MIRÓ, Carles. “Notes al marge”. 21-XI-2001


  5. Comments A Good Mistake

    11:25 by gate3freel

    4 african-american-scientist w

    Vicenç Pagès: Helical matter

    A Good Mistake is impressive for its compositional control, linguistic accuracy, the originality of the action, and the huge documentation involved, but especially for the thematic cluster of fronts that, superimposed in a helical way, are deployed along 400 condensed and admirably well spent pages.

    Antoni Mateu, Maite Videl: Unconditional surrender

    A novel that could be described as complete, encyclopedic, ambitious, polished and well bonded but without craving to be pretentious.



    MATEU, Antoni, VIDEL, Maite. “Rendició incondicional”. Transversal, 7. Desembre 1998. [6 PDF]

    AULET, J.. “De Ferraté a Ferrater”. Serra d’Or, 465. Setembre 1998.

    PAGÈS, Vicenç. “Quince prosistas catalanes que merece la pena leer”. Ajoblanco, 107. Maig 1998.

    PUJOL, Marina. “Un vermut en plena calle para la complicidad literaria. Núria, un “rostro” nuevo en el cordial intercambio de plumas de la Rambla de Aragó”. La Mañana. 24-IV-1998.

    SÀEZ, Anna. “Bona acollida de la novel.la de Núria Perpinyà”. Segre. 23-IV-1998,

    CIÉRCOLES, Marta. “Drets d’autora”. Avui. 23-IV-1998.

    PORTA, Roser. “Cosmopolitisme i etnografia. Novetats lleidatanes”. Segre. 23-IV-1998.

    CAPDEVILA, Jordi. “Esclat de noves veus”. Avui. 23-IV-1998.

    VIDAL, Pau. “Errors sentimentals”. El País. 23-IV-1998. [5 PDF]

    ALZAMORA, Sebastià. “Error de càlcul”. Avui. 9-IV-1998.

    SÀEZ, Anna. “Entrevista Núria Perpinyà”. Segre. 5-IV-1998. [4 PDF]

    GUILLAMON, Julià. “Autoras para una renovación”. La Vanguardia. 27-III-1998.

    PUJOL, Marina. “Núria Perpinyà se estrena en la novela con una crítica al poder”. La Mañana. 14-III-1998.

    PAGÈS, Vicenç. “Temàtica helicoïdal”. Presència. 14-III-1998. [3 PDF]

    BONADA, Lluís. “No sé si he fet una novel.la de formació o de corrupció”. El Temps. 2-III-1998.

    CAPDEVILA, Jordi. “Núria Perpinyà entra a la novel.la amb un al.legat contra el racisme”. Avui. 24-II-1998.

    SÀEZ, Anna. “Científics que fan de detectius a la primera novel.la de Núria Perpinyà”. Segre. 21-II-1998.

    PIÑOL, Rosa María. “Núria Perpinyà debuta en la novela con un thriller científico”. La Vanguardia. 17-II-1998. [2 PDF] 

    MORET, Xavier. “Núria Perpinyà debuta en la novela con “Un bon error”, un “thriller” científico ambientado en Londres”. El País. 15-II-1998. [1 PDF]


  6. Comments Mistana

    11:24 by gate3freel

    5 Cartell Mistana w


    María Dasca: Mistana

    Mistana is an insolent fiction, tragic and comic at once, full of breakthrough purposes, connected with the vanguards between the two World Wars (…). The novel distorts the concept of identity and problematizes it relating it to a bleak and devastating community life.

    Julià Guillamon: Vertigo in the mist

    Mistana is a very special book. For its mysterious and invisible landscape (…). For its changes in the personality, motivated by varying moods, which lead men and women to madness. For its continously intriguing, sexual and powerful climate. (…) After three books of fiction, Perpinyà seems to have found the right formula to express the variety of her interests and the overwhelming complexity of her inner world.

    Xavier Cortadellas: Mistana

    Mistana is a lyrical novel, as well as surprising, intimidating and inspiring, difficult because, as Maud Lalage is asked, “how can you make a sculpture of the fog, a formless object?” (…) It is a radical commitment in favor of art and literature.

    Ponç Puigdevall: The stimulus of the difficulty

    Núria Perpinyà is a strong supporter of literature representing a willful effort to make the reader suffer with pleasure, stretching all his mental molecules. Each of her pages means an ascent on a mountain under all possible meteorological adversities one can imagine. (…) Núria Perpinyà has written a hard and uncomfortable novel to digest, but the narrative voice, smart and efficient, is charged with high intensity of humour. (…) Mistana is a dark and blurred geographical area where a multitude of avatars are produced, governed by a kind of Kafkaesque chance.

    Anton Not: To write well there is nothing forbidden

    The scenery of the village reminds me of a Gothic novel, even in the sense in which Mario Vargas Llosa calls a Gothic novel the Story of the Eye by Georges Bataille. (…) Mistana is not dominated by any supernatural force, by monsters or by ghosts. The irrationality does not come from outside but from inside. All the anxiety there is real. (…) The key issue of the book is formulated in a narrator’s intervention on the page 86: “What is fantasy? A refuge from a hostile environment or a natural and caring birth of a person in life?”

    Enric Bou: For survivors

    In an unusual environment, away from the world, but so authentical that it leaves Franz Kafka as an apprentice of the uncertainty of everyday life. (…) [we find] a magmatic writing, typical of its author, made of long concentric circles that surround the reader, like jazz tunes.

    Lluïsa Julià: Mistana

    Mistana is a symbolic, grotesque and cannibalistic world, which analyzes the complex reality we live in. (…) The novel is divided into nine chapters, or circles, following the Dantesque purgatory. Each chapter receives a name attributed to fog: lost, blind, evil, ethereal, wet, still, insane, minor and finally tragic. (…) On the one hand, it makes you smile, on the other hand, it is horrifying; that is the tone of both; an abitious author and work.

    Estripsipedaços: Mistana (by the right foot)

    Mistana is a novel that is altogether a lot of things: a tribute to Lleida’s fog, a reflection on madness, on the adaptability of human beings, on the need for self-deception in order to survive the greatest horrors. It is also about the need for truth in order not to get completely crazy. Mistana is also a novel full of magic realism that rides on a minutely-calculated-text-horse back that gives it a devilish rhythm.Mistana is a great novel, bright and amazing. It is a completely original novel born from the author’s personal universe. No shortcuts, no facilities, no manuals or guides. Mistana is Perpinyà’s universe 100%.

    Ramon Rubinat: Mistana

    It’s not easy to know Mistana’s location. It reminds us of a misty Stonehenge but the character is Mediterranean. I really like the anarchist mayor. I like his concerns. Yet, the affaire of the little girl is hair-raising. Scary. Simbert is a saviour that is not saved. He’s a misfit, a giant from a city that arrives in Mistana and his head is spining around. The book is full of polysemic expressions that help to de-emphasize the text. With a very disturbing effect: as if someone tickled you while another is reading your death sentence.




    Colloquium about Imaginary Cities. Girona, April 15th 2015. Festival Mot. About Mistana from minutes: 42, 53, 59.



    NOT, Anton. “Per escriure bé no hi ha res prohibit”. La Mañana. 16-IV-2006. [11 PDF]

    “Ramiro Pinilla y Núria Perpinyà ganan los premios de la Crítica”. La Vanguardia. 2-IV-2006.

    SÀEZ, Anna. “Núria Perpinyà guanya el premi de la Crítica per la claustrofòbica «Mistana»”. Segre. 2-IV-2006.

    JULIÀ, Lluïsa. “Tria personal: Mistana”, Serra d’Or, gener 2006. [10 PDF]

    PINO ESTIVILL, Ester. “Narrativa catalana. Mistana. Núria Perpinyà”. Lateral, 132. Diciembre 2005. [9 PDF]

    DASCA, Maria. “Mistana” “Guia de lectura”. Revista de Catalunya, 210. Novembre 2005. [8 PDF]

    ISERN, Joan Josep. “Una novela hipnòtica i radical”. Avui. 12-X-2005. [7 PDF]

    NADAL SUAU. “Mistana boirosa”. Llegir. 10-X-2005.

    SARRIAS, Cristobal. “Una gran soledat”. Catalunya cristiana. Setembre 2005.

    CORTADELLAS, Xavier. “Bocins de temps”. Presència. 12-VIII-2005. [6 PDF]

    CASTELLS, ADA. “Núria Perpinyà novel.la l’absurd enmig de la boira”. Avui. 23-VII-2005. [5 PDF]

    HERNÀNDEZ, Gaspar. “Deliris i paisatges”. El Punt. 21-VII-2005.

    BOU, Enric. “Para supervivientes”. El Periódico. 14-VII-2005. [4 PDF]

    GUILLAMON, Julià. “Vértigo en la niebla”. Culturas. La Vanguardia. 6-VII-2005.

    BONADA, Lluís. “Amb la religió perspectivista puc veure la boira de nou maneres”. El Temps. 3-VII-2005. [3 PDF]

    OBIOLS, Isabel. “Núria Perpinyà relaciona niebla y locura en la novela “Mistana’”. El Pais. 26-VI-2005.

    PUIGDEVALL, Ponç. “L’estímul de la dificultat”. El País. 23-VI-2005. [2 PDF]

    “Núria Perpinyà canvia d’editorial i s’endinsa en el realisme màgic amb «Mistana»”. El Punt. 19-VI-2005

    VILAWEB. “Amb la boira, contra la boira, sota la boira…”. 15-VI-2005.

    ”La “sombra” del autor en la nueva novela de Núria Perpinyà, «Mistana»”. Segre. 15-VI-2005

    PIÑOL, Rosa Maria. “Núria Perpinyà utiliza la niebla como eje de una novela simbólica”. La Vanguardia. 15-VI-2005.

    FONT, Marc. “Núria Perpinyà, escriptora.”. Canvi 16. 11-VI-2005. [1 PDF]

    BANYERES, Roser. “Núria Perpinyà s’endinsa en la fantasia en la seva tercera novel.la”. Segre. 22-V-2005.



    Catalunya Ràdio. Eva Piquer. Lectures desacomplexades. 2-V-2006.

    Catalunya Ràdio. Emili Teixidor. Juliol 2005.

    Ràdio Hospitalet. Jaume Garcia. Els matins del Cotton. 8-VII-2005.

    Ser Catalunya. Pilar Argudo. Punt de llibre. El balcó. 1-VII-2005.

    Ràdio Terrassa. Oriol Carreras. Prent-ho com vulguis. 23-VI-2005.

    Catalunya Cultura, Jordi Cervera. 21-VI-2005.



    Barcelona TV. Judit Mulet / Emili Manzano. “Saló de lectura”, “Mistana, de Núria Perpinyà”. 12-VII-2007.

    La Manyana TV. Francesc Guillaumet. Juny 2006.

    Lleida TV. Ramon Rubinat. La Divina Comèdia. “Primers auxilis: Mistana”. 7-IV-2006.



    “Mistana (amb el peu dret)”. “Estripsipedaços”. Granollers, 16 juliol 2009

    VILLACH, David. “Perdiendo el tiempo”. http://perdenteltemps.blogspot.com/



    Antonio Galeote, fotògraf: “Núria Perpinyà a Mistana (Lleida)” “Escriptors, amics” (2009).


  7. Comments The Privileged

    11:23 by gate3freel

    10 VigilantesmogudMODERNA w


    Xavier Pla: The vanguard servants

    Few Catalan writers know how to create such powerful and seductive worlds as the ones of Perpinyà. It is admirable the author’s ability to determine a field of study, measure it, theorize it, contradict it and then recreate it until the end.

    Anton Not: The privilege of art

    The Roman satirist Juvenal left formulated a question: “quis custodiet ipsos custody?” which can be translated as: Who keeps an eye on the guards? The concept of the authority, in a broad sense: cultural and social one, it is one of the fundamental topics of the novel The Privileged.

    Ponç Puigdevall: Silent horrors

    Núria Perpinyà’s writing can evoke all the possible qualifiers, but the only ones that can certainly never appear are related to concepts such as repetition, monotony, boredom, predictability and creative comfort. (…) The novel can be read in many different directions: it can be a novel of manners about a daily life of the museum guards; it can be a meditation on the miseries of cultural tourism; it can be a reflection on art seen as a museum of silent horrors and dusty provincial life; it can be a nothing strange radiography about how the cultural life collapses because of political and social power; it can be, after all, that The Privileged is a huge joke about human stupidity.

    Esdras Jaruchik: Laughing at art and at the one who guards it

    Where in Mistana is atmosphere in The Privileged are ideas. Ideas like the troubled relationship between the art and a copy, the role of the museum itself as a store of art and/or as a theme park for the masses, etc. And the merit of Perpinyà lies in the fact that all these ideas are raised but not answered; she is fair, or, what is the same, she is critical to everyone. (…) As it is neither easy nor usual to combine the risk with fun and humour, so present in this work, in The Privileged, she has achieved it.

    Eva Vázquez: A touching imbecility

    Alternating a novel and a play in a styling exercise, incredibly bold and very effective (…), The Privileged offers an x-ray that is unexpectedly reliable, for its grotesque style, of the contemporary society and new tyrannies of the audience, the globalization and the mass culture. (…) Perpinyà elaborates this hilarious altarpiece over the vast domains of human imbecility, such as Flaubert proved by means of his copyists Bouvard and Pécuchet the unfounded illusions of the nineteenth century bourgeoisie in the fullness and progress.

    Do you read or enrich? Thellibres: “Fear of change”
    As I said in my previous post, I have the intention of inserting both, readings of literary classics and the latest news from the publishing world; in this case, I decided on The Privileged by Núria Perpinyà. As the title of this novel suggests, probably all of us, in our way, and to a greater or lesser extent, are a kind of privileged ones; that is to say, we enjoy advantages or exemptions of this or that obligation, by concession of a superior or our own circumstance, and from this status we are afraid and we resist to change.
    It is an interesting book, where the first element that surprises us, for being unusual, is the mixture of narrative and a theatre play. The narrated part performs as a kind of consciousness – the narrator is slowly introducing the action as well as he offers his valuations and offers us the view on the main action. On the other hand, the dramatic part develops the main action in the book. This narrative and dramatic mixture endows the novel dynamism and rhythm, which the author enriches with a touch of black humour and cynicism that is well appreciated. Núria Perpinyà achieves in this story to condense nowadays society and its actors in a provincial museum, in the fictional town of Telamós (which undergoes some radical changes), and with the help of a choral group of protagonists, she describes the conflict and struggles in the workplace, reflects on the art and cultural tourism and how the society in general and its members in particular overcome all the changes, how multiculturalism is set in the present days, etc. That is, I recommend not to stay with the first impression but to read between the lines, or rather, pay a careful attention to all the topics the author touches and wants to show us. Another pleasant discovery in Catalan that I recommend to everyone. I’ve transcribed some quotes from the book The Privileged: “Be that as it may, the rules of the art and the universe do not apply for ordinary people. Not everybody can be able to understand logarithms or the nervous system, neither that a nude sculpture is not a shameless body inviting for erotism, the Venus and the Aphrodites of the painters are symbols of a pure beauty that should not be regarded with curiosity but with admiration.” “But the knowledge engenders sadness and the sadness distorts perception. Marti knows some things because he spends his days reading, but as he realizes he does not know enough, he sinks and wonders whether or not his crippled life has any meaning.” “Life is a mixture of philosophy and everyday life: of bread and mathematics; pumps, formulas and chops of meat.” “If you do not think much about death, how can you waste time thinking about art which is far less important?” “The deception is sweet, the truth burns. The art beautifies the reality because it falsifies it: an idealistic poetry, retouched photographs, added fantasies of great conversationalists. The art pays the price of a lie.”

    Reviews from readers
    An anonymous reader thellibres.blogspot.com (25-VIII-2008)
    The Privileged is a novel that speaks about what is left around the heart of art, of those who live in the quiet mystique of the art pieces, of the voices that live under the silent and beautiful orchestra of the art. An inside story about art, using Unamuno’s term that leads us to human, excessively human, personalities of the guards, or, let’s call them so, of the privileged. A song that surrounds the art without being art, from an excellent novelistic art of the Lleida writer, that mixes, with equal proportion, talent and work, blessed her and blessed are all those who read it.




    CASTELLS, Ada. “Privilegis de risa”. La Vanguardia. 22-VI-2011. [8 PDF]

    CALONGE, Pere. “L’art i la contingència”. Caracters, 42. 31-VIII-2008.

    SAEZ, Anna. “Entrevista: Núria Perpinyà, escriptora”. Segre,  515. 6-IV-2008. [7 PDF]

    JARUCHIK, Esdres. “Rient de l’art i del qui el vetlla”. Benzina. 20-X-2007. [6 PDF]

    GUILLAMON, Julià. “Que cosa succede amb li guardini”. La Vanguardia. 10-X-2007.

    BONADA, Lluís. “El llenguatge d’«Els Privilegiats» és planer perquè els personatges hi són planers”. El Temps. 9-X-2007.

    CORTADELLAS, Xavier. “Del retrat bell a l’hecatombe”. Presència. 5-X-2007.

    PAGÈS, Vicenç. “Un sainet metafòric”. El Periódico. 4-X-2007.

    SANCHEZ, Vanesa.  “Entrevista: Núria Perpinyà. El arte, el reflejo del mundo”. Oxígeno, 73. 4-X-2007.

    NOT, Anton. “El privilegi de l’art”. La Mañana. 16-IX-2007. [5 PDF]

    RAMIS, Llucia. “Perpinyà exhibe todas las culturas en el museo de «Els privilegiats»”. El Mundo. 14-IX-2007.

    VAZQUEZ, Eva. “Una entendridora imbecil.litat”. El Punt. 13-IX-2007. [4 PDF]

    PLA, Xavier. “Els criats avantguardistes”. Avui. 13-IX-2007. [3 PDF]

    FERNANDEZ, Victor. “Nuria Perpinyà fusiona teatro y novela en una reflexión sobre el papel del arte”. La Razón. 12-IX-2007.

    PIÑOL, Rosa Maria. “Nuria Perpinya satiriza en su novela «Els privilegiats» el mundo del arte y los museos”. La Vanguardia. 12-IX-2007.

    ALOS, Ernest, ”Entrevista amb Núria Perpinyà, escritora: “Els museus s’estan convertint en súpers”. El Periódico. 11-IX-2007.

    PUNZANO, Israel. El País, 10-IX-2007.

    CASTELLS, Ada. “Somriure perplex”. Avui. 7-IX-2007.

    [SERRA, Montse]. “El teatre fet novel.la”, Vilaweb, 10 setembre, 2007. [2 PDF]

    LLAVINA, Jordi. “Un museu atapeït de llums i ombres”. El Mundo. 7-IX-2007.

    PUIGDEVALL, Ponç. “Horrors silenciosos. El País. 6-IX-2007. [1 PDF]

    GUILLAUMET, Francesc. “Núria Perpinya analitza el món de l’art a la novel.la «Els Privilegiats». La Mañana. 9-VIII-2007.



    Catalunya Ràdio. Màrius Serra. Lectoràlia. El matí. 31-I-2008.

    Ràdio 4. Rosa de Diego. Dóna pas. 25-X-2007.

    Ràdio austriaca ORF. Josef Manola. Literaturland Katalonien Kulturjournal. 10-X-2007.

    Ràdio 4. Pilar Sampietro. Nautilus. 13-IX-2007.

    Catalunya Ràdio. Txell Bonet. Cabaret Elèctric. 6-IX-2007.

    Catalunya Ràdio. Guzmán, David, Barril, Joan. El Café de la República. 3-IX-2007.



    El muro de libros.com

    David Villach. Perdent el temps. 29-I-2008.

    Albert Balada, “Transgredir, transgressió, transacció” .

    Joan”. “Llegeixes o enriqueixes? Els Privilegiats, Núria Perpinya”. Thellibres.com. 16-XII-2007.


  8. Comments The Calligraphers

    11:20 by gate3freel

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    Sam Abrams: Theatre and literature

    With The Calligraphers, the great novelist and theorist of literature, Núria Perpinyà, has felt a powerful seduction of written and performed theatre. (…) It is a work of temperament and ambition. The text can be read as a reasoned diatribe against the university system, as well as a brave defense of the artistic creativity.

    Ada Castells: Pursuit of excellence.

    The book raises questions about: the crisis of the arts, the subordination of the world of knowledge to the business world, the discrediting of excellence and ridiculous bureaucracy. (…) Núria Perpinyà likes to walk on the edge of genres.

    Ramon Rubinat: A twilight story.

    Witnessing our legacy (which is more than five thousand years old and is going to fade in an elementary a silly nothing) turns our death into an unfair procedure (…). The playwrights make us to face the drama of life: it is not fair and we rebel… in a sterile way, here is the tragedy. Behind a smile, which is a brief disconnection, there is the defeat. We laugh because it’s the last thing we have.

    The actors / characters:

    Imma Colomer: exceptional. A cuneiform way of speaking… what she says, besides being able to feel it, I would say we can also see it. This actress has a sculptural diction.

    Pep Planas was great. The actor perfectly conveys us the inconsistency of a mankind and his speeches.

    Ferran Farré is agile (…) His role is to maintain the balance of the triangle formed by erudition, seduction and transgressive discourse.

    Núria Casado’s function is the one of a microphone; when she approaches to other characters, they are allowed to speak; (…) she is a perfect, moderate character.

    Xavier Pla: A signature and a letter

    The Calligraphers resembles a theatrical trilogy Falling upward by Francesc Serés, in purposes, ambition and results. (…) The glosses on the left and right side of the pages, apart from giving the text an appearance of a medieval manuscript, provide the reader with new images, extras quotes (…) and it is also a funny strategy to dismantle clichés and repeated sentences of the characters.

    Emili Balldelou: Doctor Doctori lupissimus

    The characters remind us of endangered aristocrats of Chekhov: like in The Cherry Orchard, the department of ancient writing disintegrates as a part of a world that already belongs to the past.

    Carme Miró: The Calligraphers

    In the novel A House to compose (2011), the writer from Lleida explored the emotional structures that support the art with a vivid imagination. Núria Perpinyà, a professor of literary theory, plans her own creative plot. She composes architecture, music, lyrics and now, a theatre play in five acts.

    The Calligraphers is a chronicle of the stillness of writing confronted with the vital chaos that occurs in the academic life, and the complex relationship between a teacher and a disciple. (…) The contrariety and the contradiction persistently manifest themselves in the work of Perpinyà.




    CASTELLS, Ada. “Un tros de conversa amb Núria Perpinyà”. Avui, 24-V-2012. [7 PDF]

    MIRÓ, Carme. “Els Cal.lígrafs”. Sonograma Magazine.  [6 PDF]

    CASTELLS, Ada. “Recerca de l’excel.lència”, La Vanguardia, 29-II-2012.

    VÀZQUEZ, Gerard. “Els Cal.lígrafs”. Hamlet, 18. 15-VII-2011.

    CASAMAJÓ, Gemma. “Els Cal.lígrafs”. Ara. Time Out, 30. 19-25 juny 2011.

    ABRAMS, Xavier. “Teatre i literatura”. El Mundo. 9-VI-2011. [5 PDF]

    PLA, Xavier. “La firma i la lletra”. Avui. 6-VI-2011. [4 PDF]

    RUBINAT, Ramon. “«Els cal·lígrafs», de Núria Perpinyà. Impressions d’un espectador tràgicament satisfet”. Arts. Revista del Cercle de Belles Arts, 33. 2010. [3 PDF]

    BALLDELLOU, Emili. “Doctor doctori lupissimus”. Segre. 28-X-2010. [2 PDF]

    BANYERES, Roser. “És una obra atípica, original i actual que crida l’atenció”. Segre. 14-XII-2010. [1 PDF]

    METAUTE, Lorena. “Entrevista: Núria Perpinyà”. Segre. 31-I-2010.



    BARBANY, Pep, “Lluita intel.lectual sense ànima”, Attrezzo. El teatre dins d’un bloc. 14-XI-2010.


  9. Comments To the vertigo

    11:18 by gate3freel

    Vicenç Pagès: “Love and guilt in the heights”

    The mountain of Núria Perpinyà is not magical, but specific and dangerous, achievable and icy; unpredictable as our mistakes, unalterable as the fate. (…) The cameleonism is one of the features that characterize the work of Núria Perpinyà. In each book, she achieves to start from a brand new beginning as for a theme, a background and a point of view.

    Jordi Nopca: “Núria Perpinyà rewrites Romanticism”

    Avalanches. Glaciers. Gorges. To the Vertigo (Empúries) is a novel that flees from the city and settles in the areas of unattainable, harsh and majestic nature that fascinates and terrifies at once. The beauty takes a step to the sublime. The reader enters one of the sceneries that the Romanticism had worked with perseverance from both literature (Friedrich Hölderlin’s correlation between nature and mood, Albrecht von Haller’s poems about mountains), and from painting (Caspar David Friedrich’s serene and disrupting landscapes).

    Ruíz Garzón: Perpinyà is Rutkiewicz of the Catalan literature

    To the Vertigo turns Perpinyà into Reinhold Messner of the Catalan literature. (…) In some chapters, the author’s prose reaches accuracy, distinction and symbolic power as impressive as the K2. (…) The result is imperfect, disproportionate, overwhelmingly beautiful. Núria Perpinyà conquers with To the Vertigo a good literary eight-thousand.

    Núria Juanico: Vertigo of Irena Besikova

    Hold on tight, because To the Vertigo causes so much dizziness that no one is able to stop it. Núria Perpinyà has created a sensational work for the content, as well as for the manner in which all narrative elements link without bias and cradle a romantic love story monopolized by the obsessions. Away from sugary stereotypes, To the Vertigo sets on the darkest side of the romanticism.

    Andrés Luengo: A heartbreak in the heights

    Always with extraordinary reception from the critics, Perpinyà, in each new adventure of a novel writing, changes the genre and subject register. (…) With To the Vertigo she has experimented with a romantic and adventure novel. A true sweet candy, indeed. 

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    MADUEÑO, David. “Fent cim als inferns”. Caràcters. 66. Hivern 2014. [9 PDF]

    COROMINA, Xavier. “L’illa del tresor, Dràcula i la Divina Comèdia”. 7-II-2014. El Punt Avui.

    GUILLAMON, Julià. “Caure amunt”. “Especial Nadal: narrativa catalana”. La Vanguardia. 18-XII-2013. [8 PDF]

    MARTÍ, Maite. “Al vertigen”. Sonograma Magazine29-XII-2013.

    COROMINA, Xavier. “La sirena de l’Himàlaia”. 13-XI-2013. El 9 esportiu. El Punt Avui.

    GUILLAMON, Julià. “Dol al cim”. La Vanguardia. 4-XII-2013. [7 PDF]

    RUIZ GARZON, Ricard. “El cim des de l’abisme”. El País. 17-X-2013.  [6 PDF]

    LUENGO, Andrés. “Un (des)amor de altura”.  Revista PortellaEl Periòdic d’Andorra17-X-2013.

    “”Al vertigen”, última presentació al Centre de la Cultura Catalana”. Més Andorra. 17-X-2013.

    E.J.M. “Núria Perpinyà novel.la el vertigen dels cims i de l’amor”. Bondia Andorra. 17-X-2013.

    “Núria Perpinyà omple el CCC amb la presentació de ‘Al Vertigen’”. Andorra directe. 16-X-2013.

    A.D. “Núria Perpinyà novel.la una història romàntica de altura”. Diari d’Andorra. 17-X-2013.

    JUANICO, Núria. “El vertigen de Irena Besikova”. Núvol. 15-X-2013.

    NOPCA, Jordi. “Núria Perpinyà reescriu el Romanticisme”. Ara. 5-X-2013 [5 PDF]

    CASTELLS, Ada. “L’escriptora lleidatana ha escrit una novel.la que ens enlaira fins a l’alta muntanya”. Time Out. 3-X-2013. [4 PDF]

    PAGÈS JORDÀ, Vicenç. “Amor i culpa a les altures”. El Periódico. 25-IX-2013. [3 PDF]

    ROURA, Elisabeth. “Passió per fer cim”. El Punt Avui. 22-IX-2013. [2 PDF]

    ROURA, Elisabeth. “Volia que el lector visqués por i ofec”. El Punt Avui. 20-IX-2013.

    COSTA, Natàlia. “Núria Perpinyà ret homenatge a l’alpinisme femení en el seu últim llibre ‘Al vertigen’. Europapress.cat. 18-IX-2013.  [1 PDF]

    BALLABRIGA, Juanjo. “El vertigen que produeix l’amor és el pitjor precipici que existeix”. Segre. 17-IX-2013.

    MORA, Anna. “Núria Perpinyà confronta amor y montaña en una novela de vértigo”. La Mañana. 17-IX-2013.

    CUENCA, Miriam. “La meva vida és pura ficció”. Araponent.cat16-IX-2013. 

    GIL, Marta. “El vertigen de Núria Perpinyà: l’escriptura com a suïcidi social”. Núvol. 16-IX-2013.

    “Al vertigen, de Núria Perpinyà. Una història d’amor obsessiu i vertiginós”. Ara. [Prepublicació]. 1-VIII-2013.

    Chris Sharma

    Chris Sharma



    Ràdio Nacional d’Andorra. Arnau Colominas. La Quinta Forca. 2-X-2013.



    TV3. Telenotícies migdia. Anna Figuera. 13-XI-2013. Min. 55

    El Temps. Lluís Bonada. 29-X-2013. [5 PDF]

    Andorra TV. Rosa Alberch. Andorra difusió. 17-X-2013.

    TV Lleida. Mònica Visier. Informatius. 5-XI-2013.

    Canal 33. Anna Guitart. Viallibre. Cap. 73. 13-10-2013. Min. 10

    Lleida TV. Mariví Chacón. Cafeïna. 10-X-2013.

    El Punt Avui. Elisabeth Roura: “Volia que el lector visqués por i ofec”. 20-IX-2013.

    Europa Press. Natàlia Costa. “Núria Perpinyà ret homenatge a l’alpinisme femení en el seu últim llibre ‘Al vertigen’. Europapress.cat. 18-IX-2013.

    Waita TV. Yvan Fernández. Miriam Cuenca. Araponent.cat.  3-X-2013.

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    Mercè Barnadas. Club de Lectura Biblioteca Caldes de Malavella. Biblioteca Caldes de Malavella. 19-IV-2018.

    Albert Mestres. Biblioteca Caldes de Malavella. Bibgirona.cat  06-04-2018.

    Botika. Amb la llum d’una espelma. 30-VI-2014.

    Foix Dalmau bloc: Passió per la muntanya. 8-III-2014.

    David Madueño. Llunàtic. “Dels cims a les afraus”. 26-II-2014.

    JMDempere: Sobrelletres. 12-XII-2013.

    Susana Martíunez, photographer. “No és la por a caure, sinó el desig de saltar”. Voluntats contraposades (15). Novembre 2013.

    Lia. Nosaltres llegim.cat. 

    El club de les mames lectores. 4-X-2013

    Núria Juanico. Racó per llegir.com

    Marta G. Un món de llibres.com

    Robert Martínez Colomer. Culturalia.net. 12-IX-2013


  10. A Good Mistake

    12:12 by gate3freel


    A Good Mistake (1998): Summary
    Nuria Perpinyà’s first novel revolves around two main areas: learning and homosexuality. A young man arrives at a laboratory in London and falls in love with a black scientist. The protagonist, Joan Xammar, must overcome two obstacles: the one of the gender and the race.

    The themes of A Good Mistake are: a relationship (happy and painful) between lovers, teachers and pupils, ethnic sexual and moral prejudices, and a criticism of sick mainstream power.

    Since the plot revolves around unexpected deaths, A Good Mistake is also a surprising thriller beating under the daily routines of a laboratory, questioning the prestige of some doctors.


    Basingstoke canal

    The defense of a mistake as the philosophy of the book

    The title of A Good Mistake looks for a third possible non-incriminating way between Good and Bad. The expression wants to change the traditional perception that condemns mistakes and sins. The author defends them as a way of knowledge. In the novel, there are many hypothetical errors that finally turn into correct choices, such as to fall in love with an unsuitable person. The title comes from the erotic “felix culpa” and reviews the concept of the tragic hero of Aristotle: instead of a virtuous man who making a mistake must endure terrible consequences, we have a man who reflects on his intended mistakes and the ones of others as well. “A good mistake” is not an expression of resignation, or compensation (as “God squeezes but does not choke”), but it is a willful expression. The mistakes do not correct by their own, but there must be an intelligent subject who will reconvert them. To make it explicit, Perpinyà chooses the setting in a genetic engineering lab where the physical defects are repaired.

    Finally, we should consider the title as a self-irony that makes the author for having abandoned her career as a theorist and an intellectual and have opted for writing instead.

    Reversal of expectations

    A Good Mistake links up with the new theories of Aesthetics of Reception and presents the reading as a journey of misunderstandings and induced red herrings. For example, Aleph Banneker is not a poor black but an eminent scientist. Dr. Westend is not a friendly wiseman but a cruel man and impostor. And ferraterian Jill Jarrell although as smart as the others, she is blacker than we imagined.

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    Intertextual literary games

    Despite being the first novel by Perpinyà, she writes it after thirty years of thousands of readings. Accordingly, the references to books are numerous, though hidden, as will happen with the rest of her work. Here are some examples: the expectation on the roommate of the first chapter of A Good Mistake comes from Moby Dick; the black dancer from Poet in New York by García Lorca; the term of anticlassist (that the professors marry their black cooks) from The Doctor and the Devils by Dylan Thomas; the toilet scene converted into a place where Joan becomes aware of his homosexuality evokes the scatological and metaphysical scene from the Ulysses; the allegory of getting lost in the woods is from Descartes. The critical remembrance of Jill is proustian; the name of the boat (Southampton) evokes Shakespeare’s lover; the antimetaphysical anecdote of a soul as a bean and the misanthropic listing are from Francis Crick, the discoverer of DNA; the spirals, besides recalling the sculptor Robert Smithson and the DNA, are an existencialist tribute to the biologist, mathematician and classics scholar D’Arcy Wentworth Thompson. The discussion “getting up from the chair” refers to Jacques le Fataliste; the bad teacher is linked to the teacher that disappoints Serebriakov in Chekhov’s Uncle Vanya, and, among others, Westend, said in Catalan (“vés- te’n”), is associated to the vade retro of act IV of Offenbach’s Tales of Hoffmann when attacking the devil: “Va-te’n! Va-te’n!” Considering that Westend makes a false accusation of anti-Semitism and Offenbach was Jewish, it is needed that someone gets rid of him, while a woman dies on the stage for singing too much…

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    Scientific background

    The scientists are creative and passionate for knowing and discovering new things. They are similar to the artists and the intellectuals. In A Good Mistake there are many scientists like these, but unfortunately there are also others who seek only for success. We are not dealing with mad scientists. Dr. Westend does not belong to the type of a mad scientist, because the realism is too strong. His archetype is the one of Dottore. But, in Commedia dell’Arte, a pedantic and ignorant teacher makes people laugh. A Good Mistake does not.

    The scientific background of the novel is real. The experiments are not a science fiction. The reader can learn what is the work in a laboratory like. Similarly, the readers with scientific knowledge may notice the director’s rarities much before the readers from the field of Arts. The references to scientists and thinkers, starting with the black astronomer and urbanist from the eighteenth century, Benjamin Banneker, are real. The character of Arlaine Rosemeiller is partially based on an unfairly valued Dr. Rosalind Franklin (a contemporary competitor of Watson and Crick in the DNA’s research).

    The book defends genetic engineering, placing it far from the fantasies of the ones who are unaware of it. In A Good mistake, the role of science, besides being thematical, is also symbolic. Through the triple helix of DNA, the author emphasizes the love triangle, and by means of genetic engineering, the reversibility: the mistakes of the nature can be rectified.

    Buy A Good Mistake:

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