{"id":43192,"date":"2024-12-23T19:19:40","date_gmt":"2024-12-23T18:19:40","guid":{"rendered":"https:\/\/www.edder.org\/?p=43192"},"modified":"2025-07-29T13:43:47","modified_gmt":"2025-07-29T11:43:47","slug":"las-rumbas-de-joan-de-sagarra-por-manuel-vazquez-montalban","status":"publish","type":"post","link":"https:\/\/www.edder.org\/?p=43192","title":{"rendered":"\u00abLas rumbas de Joan de Sagarra\u00bb, por Manuel V\u00e1zquez Montalb\u00e1n"},"content":{"rendered":"
<\/div>
<\/span><\/div>
<\/div>

Manuel V\u00e1zquez Montalb\u00e1n<\/p>\n<\/div>

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Anteayer, por Joan de Sagarra<\/span><\/a><\/div>
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H<\/span>ace pocos d\u00edas, un lector del diario barcelon\u00e9s Tele\/eXpres<\/em> resum\u00eda bastante fielmente la actitud de la mayor parte de lectores, con respecto a la secci\u00f3n habitual \u00abEl d\u00eda de siempre\u00bb, que firma Joan de Sagarra: \u00abAl principio \u2014ven\u00eda a decir el lector\u2014 me irritaban, pero ahora confieso que es uno de los rincones del diario que busco con mayor afici\u00f3n\u00bb. Sagarra es, hasta ahora, un escritor de peri\u00f3dicos de los que obligan a los lectores a aprender a leer. Parece un ejercicio perfectamente in\u00fatil, trat\u00e1ndose de un medio de comunicaci\u00f3n de masas, pero la condici\u00f3n previa para degustar a Sagarra es descubrir unas claves, deducir un c\u00f3digo de lectura en el que tiene especial importancia transigir con los talantes del escritor. Talantes variad\u00edsimos y variadizos. Con todos estos problemas, en el contexto de un \"\"periodismo que s\u00f3lo utilizaba la elipsis para hablar de Matesa o de la politiquer\u00eda madrile\u00f1a, la secci\u00f3n de Sagarra parec\u00eda condenada al fracaso. En el principio se determinaron bandos irreconciliables: pro-Sagarra, anti-Sagarra. Se le admiraba y se le odiaba. La mayor parte de los odios suscitados por \u00abEl d\u00eda de siempre\u00bb respond\u00edan al despliegue de mecanismos de autodefensa por parte del lector agredido por un lenguaje inusitado. Las cr\u00f3nicas de Sagarra eran una mezcla de insultante autosuficiencia, cultura y subcultura francesa, cultura y subcultura catalana, mitos y s\u00edmbolos de un universo exclusivamente personal y una posici\u00f3n moral de perdonavidas hist\u00f3rico. Y, sin embargo: se mueve. \u00bfPor qu\u00e9? Porque el estilo de Sagarra, sus continentes expresivos, eran la expresi\u00f3n misma de impotencias personales, coyunturales, comunitarias. El periodista consegu\u00eda una identificaci\u00f3n medio-mensaje condicionada por la angustia de una realidad mediocre y confiada. El origen de \u00abEl d\u00eda de siempre\u00bb fue el prop\u00f3sito de resucitar los \u00abAperitivos\u00bb, que escrib\u00eda el padre de Sagarra (Josep Maria) en la prensa catalana de la preguerra. Sin embargo, las cr\u00f3nicas del hijo inmediatamente se convirtieron en unos \u00abAperitivos\u00bb autodinamitados, como una negaci\u00f3n de s\u00ed mismos. No es que la causticidad cr\u00edtica del padre Sagarra fuera desde\u00f1able, pero era una causticidad servida con un lenguaje cl\u00e1sico en el arte de parar, mandar y templar. En cambio, en las cr\u00f3nicas de Joan de Sagarra, el estilo y el lenguaje son dinamita pura, una continuidad de carteles desgarrados por la misma mano que los engancha. La publicaci\u00f3n de las mejores cr\u00f3nicas de Joan de Sagarra, en el volumen Las rumbas de Joan de Sagarra<\/em>, tiene una doble importancia cultural. Convertir la fugacidad de una secci\u00f3n period\u00edstica fija en un cuerpo testimonial y legislativo de la realidad e irrealidad de una ciudad, un pa\u00eds, una \u00e9poca, y brindarnos la posibilidad de leer una pieza maestra en el g\u00e9nero o subg\u00e9nero de los pr\u00f3logos. El libro de Sagarra va precedido de un pr\u00f3logo bell\u00edsimo de Josep Maria Carandell<\/span><\/a>, una pieza antol\u00f3gica como retrato humano y literario de otro escritor, que perpet\u00faa la tradici\u00f3n de los excelentes glosadores del pa\u00eds, ll\u00e1mense Eugenio D'Ors, Josep Pla o Joan Fuster.<\/p>\n<\/div>

Triunfo,<\/em> 20 de noviembre de 1971<\/p>\n<\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":82,"featured_media":14166,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[93],"tags":[313,792],"class_list":["post-43192","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-letras","tag-sagarra","tag-vazquez-montalban"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/www.edder.org\/upload\/2013\/12\/sagarra_rumbas.jpg","jetpack_shortlink":"https:\/\/wp.me\/p6kHv-beE","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":42997,"url":"https:\/\/www.edder.org\/?p=42997","url_meta":{"origin":43192,"position":0},"title":"Futbolmarianismo y regionalcatolicismo de los siglos XX y XXI","author":"Eder","date":"mi\u00e9rcoles, 21 Ago, 2024","format":false,"excerpt":"","rel":"","context":"En \u00abPrehistoria contempor\u00e1nea\u00bb","block_context":{"text":"Prehistoria contempor\u00e1nea","link":"https:\/\/www.edder.org\/?cat=90"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.edder.org\/upload\/2024\/08\/athletic_begogna.png?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.edder.org\/upload\/2024\/08\/athletic_begogna.png?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.edder.org\/upload\/2024\/08\/athletic_begogna.png?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.edder.org\/upload\/2024\/08\/athletic_begogna.png?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/www.edder.org\/upload\/2024\/08\/athletic_begogna.png?resize=1050%2C600&ssl=1 3x"},"classes":[]},{"id":43123,"url":"https:\/\/www.edder.org\/?p=43123","url_meta":{"origin":43192,"position":1},"title":"El amor (fou) en tiempos neum\u00e1ticos","author":"Eder","date":"lunes, 21 Oct, 2024","format":false,"excerpt":"","rel":"","context":"En \u00abCine\u00bb","block_context":{"text":"Cine","link":"https:\/\/www.edder.org\/?cat=79"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.edder.org\/upload\/2024\/10\/pneu.png?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.edder.org\/upload\/2024\/10\/pneu.png?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.edder.org\/upload\/2024\/10\/pneu.png?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.edder.org\/upload\/2024\/10\/pneu.png?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":2956,"url":"https:\/\/www.edder.org\/?p=2956","url_meta":{"origin":43192,"position":2},"title":"Aurelio Arteta, \u00abTr\u00edptico de la Guerra\u00bb (1937-1938)","author":"Eder","date":"domingo, 3 Mar, 2013","format":false,"excerpt":"","rel":"","context":"En \u00abArtes\u00bb","block_context":{"text":"Artes","link":"https:\/\/www.edder.org\/?cat=85"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.edder.org\/upload\/2013\/03\/04_arteta_triptico.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.edder.org\/upload\/2013\/03\/04_arteta_triptico.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.edder.org\/upload\/2013\/03\/04_arteta_triptico.jpg?resize=525%2C300&ssl=1 1.5x"},"classes":[]},{"id":41764,"url":"https:\/\/www.edder.org\/?p=41764","url_meta":{"origin":43192,"position":3},"title":"Dylan-Baez. 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