A walk through Sinera, itinerary Salvador Espriu
Sinera is one of the great literary myths in the work of Salvador Espriu. Sinera is a symbol of lost paradise, of the happy world of the writer. And Sinera is also what Salvador Espriu called in Arenys de Mar, a town where he felt very emotionally bound, since his parents and ancestors were Arenales. Espriu spent summer in Arenys during the years of childhood and youth and was fascinated by the landscape and the glorious past of the city.
There were many and very diverse corners and spaces that inspired the writer, and that we see reflected in his work. We propose a literary walk through the Sinera that influenced Espriu so much so that you know more closely the Catalan poet, playwright and novelist and you fall in love with the essence of Sinera as he did.
The starting point of the itinerary is the Town Hall of Arenys de Mar. Continuing along the sidewalk on the right, we come to house number 14, residence of Espriu's maternal uncles: his grandmother, María Castelló and Luis, his uncle, both incorporated to the world sinerenc.
The house of the poet and the garden of the five trees
In the current street Obispo Catalán number 27, formerly known as del Peral, we find the summer residence of the Espriu family. The space is closely linked to moments of happiness of the author, also to the death of close relatives and destruction, since during the Civil War was sacked.
It emphasizes the patio of the house, located in the part of back, with five trees and a laundry. This space was mythologized by Espriu and appears in his work with the name of the "garden of the five trees", a corner of refuge and peace for the poet. It will become the ancient agora, a place to talk and reflect. In the Espriuan fiction the work First History of Esther (1948) is represented.
In the number 16 of Obispo Catalán street we find the residence of the Draper sisters, intimate of the Espriu family. Espriu as a child often went to visit them and stayed to eat. In fact, one of the most moving passages in Esther's First Story is introduced with one of the dishes cooked by the Draper sisters.
La Riera and Sala Mercè
We lined the neighborhood of beetle, narrow and winding streets, source of inspiration for Laia. In the Calle del Cerro you can see the back wall of the poet's house, and standing out from it, the vegetation of the garden of the five trees. If we let ourselves be taken by the way of the Hill we left to the Riera, urban and life axis of the population. Espriu sings La Riera, both in the happy moments of partying, as well as in the most tragic, such as the floods.
If we continue Riera up the sidewalk on the right, at number 54-56 was the Sala Mercè, a theater and cinema venue founded by the father and aunt of Salvador Espriu. The current space wants to look like the Sala Mercè and preserves the frame of the building's windows.
The Plaza de la Iglesia, an old parish cemetery, was occupied by the rectory until the Civil War. The church, of Renaissance style and Gothic vault is the space where the funerals of the Espriu family and of himself were celebrated. Of the church of Arenys highlights the main altarpiece, one of the jewels of the Catalan baroque.
The street of the Church
In the street number 43 of the Church we find the F. Marès del Encaje Museum that contains some of the best collections of points in Europe. The lace industry was very important for the population, and Espriu was knowledgeable. In fact, the image of the tips and lacers appear on different occasions to his work.
The Square of the Five Corners
Walking through streets and squares, we come to the intersection of five streets, called the square of Five Corners. Formerly this space was frequented by the performance of blind singers of romances, gypsies with bears and dancing monkeys that have inspired capital Espriuan characters, such as the Most High to Antigone or the bear Nicolás.
The road to the cemetery
Advancing along the road that leads to the cemetery, we are presented with a spectacular view of the town and the port of Arenys. The Hill of Bad Weather and that of the Pieta flank the town and are by Espriu the "strict limits of Sinera". In front of the entrance of the cemetery, in the direction of the mountain we can see the hills of Montalt, mentioned in different Espriuan passages. On the left, to a mountain that touches the sea stands the Torre de los Encantados, a fortification that served as a watchtower for pirates and foreigners. These, by Espriu, are the broad limits of Sinera, everything that goes beyond is a stranger.
Espriu often walked around the cemetery, attracted by the isolation and silence he found. It was for the writer a good place to walk and meditate. Espriu was buried in the cemetery of Arenys by express wish. Your niche number 381 is at the end of the second landing. Together, the writer's deceased parents and brothers rest.
The landscape espriuenc
One of the real elements that Espriu faithfully incorporates into his work is the Arenian landscape. Rounded hills, covered with vineyards, carob trees and pine trees that descend towards the sea. Among the hills, a network of small streams, the rials surrounded by cane fields, fennel, are one of the most genuine elements of local geography and most used in the literature of Espriu.
Salvador Espriu (Santa Coloma de Farners, 1913- Barcelona, 1985), son of a notary and wealthy family, manifested himself as a precocious writer with 15 years. His works Doctor Rip (1931), Laia (1932) and Ariadna in the grotesque labyrinth (1935) made him known as one of the great promises of Catalan literature. He graduated in Law and Ancient History at the University of Barcelona, where he started a strong friendship with the poet Bartomeu Rosselló-Pòrcel.
The Civil War hit him deeply and truncated his brilliant university career and as a literary man. The postwar period turned him into a clerk who devoted himself to literature at lost hours. Obsessed by death, by the destiny of man and by the future of the country, he published, among others, the poetry books of Cementerio en Sinera (1946), El caminante y el muro (1954), Laberinto Final (1955) and the Theatrical piece First Story of Esther (1948).
The tone of social commitment and denunciation before the Franco regime became more evident after the publication of the work La Piel de Toro (1960), which made him the "national poet of Catalonia", moment in which his work It took special echo. Despite not being born in Arenys de Mar, Salvador Espriu felt deeply rooted. With the name of Sinera he turned the population into one of his great literary myths, symbol of the lost paradise, of the happy world.