dilluns, 29 de novembre de 2010

Vá ao teatro, Mourinho vá ao teatro, vá ao teatro, Mourinho vá ao teatro!!!


Avui és el 54 aniversari del casament dels meus pares. L'Angelita i el Daniel se van casar el 29 de novembre de 1956 a la parròquia de Sant Joan Baptista de Campredó. Segons el meu pare, feia molt fred i va haver de pujar per la vora de la via a peu perquè ell vivia a Font de Quinto, i va parar un momentet per treure's la boina i pentinar-se per estar ben guapo quan arribés a l'església i desprès vingués la seua novia (ell sempre ha sigut i encara és molt presumit).
Desprès de tants anys encara estan junts i cuidant-se un a l'altre i estimant-se com el primer dia.
Moltes felicitats, papa i mama, us estimem molt!

diumenge, 28 de novembre de 2010

PER MOLTS ANYS, XAVI!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Avui el Xavi fa anys! Un més que l'any passat!
Xato, per molts anys! I que el d'enguany sigui memorable i el puguis recordar sempre!
Molts besets!!!!!!!!

Gran Nit de Nessie! Ho repetirem el primer cap de setmana de febrer!

Finalment ha arribat i ja ha passat el dia esperat del comiat i retrobament a la vegada!
Els antics professors i un grapat d'antics alumnes de Nessie School of Languages hem anat a sopar al restaurant L'Alberg de La Ràpita i hem estat gaudint d'un sopar magnífic, de la companyia d'uns i d'altres, parlant i posant-nos al dia de com ens van les nostres vides desprès de tants anys i ballant fins altes hores de la matinada. Hem xalat tant, però tant que hem decidit unànimement tornar a repetir-ho el primer cap de setmana de febrer, aquest cop amb partit de futbol inclòs a petició dels "xiquets" que van ser jugadors del nostre equip de futbol sala.
Així que, xics i xiques, aviat ens tornarem a trobar per celebrar que Nessie no solament ha format grans professionals sinò que ha creat un lligam d'amistat que dura i durarà per sempre.
Us estimem molt i estem molt contents de veure-us un altre cop! no canvieu mai!
Si voleu veure totes les fotos, clickeu aquest enllaç:

dissabte, 27 de novembre de 2010

Sopar de comiat de Nessie School

Aquest vespre celebrarem l'emotiu sopar de comiat de Nessie School of languages, la nostra estimada acadèmia d'idiomes a Amposta (1991-2010). Tindrà lloc en un restaurant de la veïna població de la Ràpita. A la Mònica, l'Araceli i a mi , les tres persones que la vàrem tirar endavant, ens acompanyaran molts històrics alumnes històrics de l'acadèmia. És que Nessie va ser molt especial per nosaltres, però també per molts/es alumnes. Vam assolir uns molts bons resultats i, sobretot, vam aconseguir que molta gent se sentís com a casa. Més de 2000 alumnes hi van passar durant les 19 anys que vàrem oferir cursos. Allí vam poder fer moltes complicitats... moltes amistats. Veritablement inoblidables. Avui és dia de nostàlgia ja que diem adéu a molts anys de gaudi i de nodriment acadèmic. Amposta és una ciutat que ens hem estimat i on he col·laborat en tota mena d'actes culturals. Podríem escriure centenars de noms que apreciem de debò, milers d'anècdotes!!! Encara ens queda pendent un partit de futbol amb els antics jugadors-alumnes del formidable equip dels anys 1990. Ens quedarem avui amb un sol nom: Nessie School of languages, centre d'estudi d'idiomes, casa de molts i de moltes!!!
Us estimem a totes i a tots.
(del bloc de l'Emigdi Subirats)

dimecres, 17 de novembre de 2010




"If I did tell she hold this gold of sundizzy tonguelicking juicy".

The racial boundaries established by the coloniser triggered the creation of a series of clichés and stereotypes whose purpose was to undermine the dignity of the native.

The poem combines eroticism with a subtle examination of this dividedness and seems to conclude that, in spite of these socio-cultural and ontological differences, it is possible to fins a realm in which to share common experiences:

- both the speaker and the English girl are trespassing these racial borders,

- the former offering a typical Car fruit,

- and the latter agreeing to eat it.

Here, every word can be interpreted from multiple perspectives, thus it can be understood as a means to illustrate the sexual initiation of an English girl.

The act of eating a Car fruit, so typical in ordinary Car life, turns out to be a mystery for the girl who does not know how she is supposed to eat the mango:

- Her asking for guidance emphasises the cultural disparity between:

· herself (Britain/EUR)

· and the speaker (Car).

- The girl eventually accepts to bite the mango, symbolically analysed as the breaking of the boundaries that separate these two world views.

The closing lines reveal:

- the distance that still exist between the 1st and 3rd Worlds

- and the lack of interest in getting to know more about cultures that are ignored by the W:

· after eating the mango, she asks for a handkerchief so that she can wipe its juice from her sticky hands.

· In the speaker's culture, nobody would wash his hands because that does not form part of their background.

· He wants the girl to lick her fingers, inviting her, thus, to partake of his customs.


" I went to an all black school with an all black name".

The poem can be inscribed in the "protest poetry" tradition, the best means to portray:social injustice,political chicanery,racial violence. It means to reflect on the black experience as a succession of misfortunes and frustrations for their fate is to be subdued to the white will. It means to allude to education and culture in an "all black" context and to black music as the marks of the AA and Acar identity. He draws on lexical repetition to create a surprising ending: black + noun structure, reinforces the ironically frustrating twist at the end of the poem, where he reveals the real situation of the black population.

dimarts, 16 de novembre de 2010




"I am a murderer; I wring words by the rough of their necks".

He deals with language as an instrument of control and manipulation.

The poem is conceived as a long narrative dialogue that takes place in a court of justice, where two speakers discuss the nature of language:

- It begins with the voice of the accused that is summoned to confess all the crimes committed against the purity of language, ironically his crime consists of speaking in a linguistic variety that departs from the standard.

- He feels guilty for something that forms part of his identity and cultural background.

The judge appears as ominous and domineering:

- He begins demarcating who holds the power position and exposing the offences.

- He deprecates all the departures from the rule that might originate in the Car vernacular varieties, and addresses his interlocutor as "Rude Boy Q", a reference to the author's surname.

- He blames the accused of trading with languages that corrupt the essence of English:

· This is ironic because the only "word merchants" were the colonising nation that established their own languages perforce and sought to relegate local tongues to a marginal position.

· For him, the "big models" can only be found in EUR and USA, the best exponents of a respectable and long-standing tradition and lineage. And he mentions several cultural benefactors, most of them only distinguished by their conception of culture as exclusively money-oriented.

- He concludes by defending the valuable task undertaken by Br and A dialectologists, psycho-linguists and politicians in the consolidation of English as the most influential language worldwide (paradoxical because he has insisted on his rejection towards all the varieties of English).

The consistent use of personification enables the author to endow words with human attributes: letters and phonemes can be stabbed, bombed, lynched and violated as if they were human beings.


"We speak because when the rain falls in the mountains the river slowly swells".

It has a strong political component affirming the people's need to:

- raise their voices

- challenge the dictates imposed on them by foreign agents.

Speech means to be capable of:

- contradicting and questioning,

- standing instead of kneeling down.

She takes for granted that: the speaking ability is inherent to the human being, nobody can be forbidden this faculty:

- She compares speech with all those natural phenomena that take place daily, encouraging her fellow citizens to:

· leave behind that conformist attitude

· and seek to regain a voice that had been lost.

- Uttering words after so many years of forced silence is somehow an act of rebellion.

- Language can enable the Car population to depart from the "plan" designed by the empire, establishing a correlation between speaking and dreaming, essential mechanisms to do away with the imperial yoke.

She also rejects the fact that surviving implies going for alms and catching crumbs from the table of the coloniser.

Speaking can also allow to break away from the religious dogmas the coloniser seeks to impose and which only interfere in their own system of beliefs.

Only when the WI have done away with that feeling of fear will the imperial venture and its iconography eventually end. She identifies this day with dawn, symbolising the beginning of a new period of liberation for the WI people. This new free state will bring about the disappearance of all the remnants of colonialism and the subsequent rising of the workers, peasants and leaders.

The poem is sustained upon a series of antitheses that

- reveal the differences between coloniser and colonised.

- focus on the "Other" stressing the pronoun "we", which usually refers to the white, mainstream, civilised population, and "they" to the black, peripheral and savage natives.

dilluns, 15 de novembre de 2010




"First rape a people simmer for centuries".

The poem is conceived as a recipe in which:

- the author lists a series of ingredients required to cook a meal, which turns to be the colonial venture.

- The ingredients are all the dreadful acts committed in the name of the empire.

It opens with images related to rape and the takeover perforce of a foreign country and the sexual abuse perpetrated against women:

- The poet is pointing out that the exposure to violence undergone by the colony inevitably turned it into a cowardly and passive realm in the hands of the imperial power.

- He suggests that, besides raping, it is necessary to "simmer" these people for centuries,

· revealing the extent to which the presence of the colonial force has been prolonged for centuries.

· This verb is a simile that describes literally the act of letting these people boil slowly for ages until they are eventually destroyed.

· Colonialism also depends on the ideological manipulation of the native population, thus the empire sought to brainwash the natives as a means of annihilating their individual and national consciousness, so that the empire could introduce new colonial-oriented parameters.

· The poet draws on terminology related to cooking to highlight the notion that the collective memory of the colonised country was obliterated by the invading forces.

The ending of the poem is full of symbolism for the author presents

- the last stages of colonialism and how the empire, after devastating the land, abandons it before it is entirely consumed.

- a very metaphorical and symbolical language to describe how the colonial territories were swallowed up by the empire.


"The wind writes to me of a storm brewing in the Caribbean".

The treatment of landscape became a crucial motif in Car literature as:

- a source of settings,

- an element that endowed WI people with a sense of identity.

- These landscapes were initially regarded as utopic Gardens of Eden where there was no sign of corruption.

- But this scenario exemplifies the evolution undergone by Car literature in its exploration of landscape:

· Idealisation gives way to pessimism.

· Utopia is overshadowed by apocalypse.

· These images

+ show nature in a convulsed and enraged state,

+ and they focus on the menaces that threaten the Car area.

· The allusion to a monster swallowing the Car is a metaphorical way of addressing the Eur colonial giant, the British empire as the perpetrator of these atrocities.

In the second section of the poem, he describes the aftermath of the giant's aggression.

- There is death and desolation everywhere

- and the land is thronged with corpses and bones that carrion animals are gnawing.

- He is suggesting that the period after the colonial era does not mean the eradication of the pressures and corruption, because:

· what we find is the gradual disappearance of the WI identity in favour of W wealth and opulence.

· Such wealth is only a mirage that rapidly vanishes.

· Eur nations take advantage of this gradual loss of identity to prolong their imperial domination by setting up multinational companies in former colonial territories, which forces the WI countries to abide by the economic postulates dictated by the metropolis.

Faustin Charles uses sounds that reproduce this natural outrage, thus these key words contain very resonant consonants. The use of alliteration reinforces the importance sounds play in his work


"Mosquitoes are the fattest inhabitants".

He presents an animalised vision of human beings:

- He's trying to reveal the flaws of the human condition and of those who advocate imperialism.

- He constructs a veiled and indirect attack against the exploitative practices of the coloniser, who is compared to a mosquito:

· The choice of this animal is crucial to understand the satiric effect of the poem, for he consciously includes a parasite insect that necessarily depends on humans to survive.

· This is one of the foundations of imperialism, to live on the effort of the colonised until their exhaustion makes them unable for labour.

The poem is articulated through the contrast between: the opulence of the coloniser and the deprivation of the colonised:

- Mosquitoes are "the fattest inhabitants of this republic" contrasts with the unbearable starvation endured by the native population.

- Thus the abundance of a few usually results in the shortage of the masses.

- He states that the colonial domination begins when a native child is born, and lasts until the empire abandons the territory.

- The dictatorial control over the black population was regarded as a triumph and a duty that formed part of the white, civilising and evangelising agenda.

Religion, a less perceptible mechanism, becomes a pretext to conceal the barbarities committed in the name of God and Christianity to the extent of dismantling all those local expressions that might endanger its supremacy.

The animal imagery in the last two stanzas refers to the appalling conditions of the local population under the suffocating pressure exerted by the empire. The colonised is considered "bait for worms":

- which illustrates the humiliating position they are forced to adopt.

- This progressive dehumanisation turns the colonised into mere food for worms.

diumenge, 14 de novembre de 2010




"Things harness me here, I long"

It presents a satiric approach to the pointlessness of W civilisation, opening with several allusions to familial ties. The concept of family is articulated upon the close relatives and the "extended family", friends or neighbours who can take care of children:

- She sadly remembers the warmth and affection of her family, which clashes with the coldness and intramural life of English people,which impels her to complain about the way the British are zealous of their privacy, which contrasts with the sense of collective identity that surges in the Car communities.

It points at excessive individualism as one of the traits that distinguishes W life from Car:

- Her communal conscience is unable to understand the reasons that lead people to lock themselves in their houses, hindering the development of a more integrated and cooperative society.

The poem's main idea is that the WI living in Britain eventually leave their past behind, and even their identity, to become part of a reality that is not satisfying at all:

- The poet unmasks the inner contradictions of W civilisation in which economic success usually comes as a result of sacrificing one's own happiness.

- She states that, contrary to her former life in the Car, her money income is regular for the first time, although it is not a synonym of joy, for she does not laugh as much as she did at home.

- Her depressed state of being is reinforced by the weather conditions, which explain why life in this country is intramural.

In the last section, Lucy ironically states that she is a sponge,:

- but what she manages to absorb has nothing to do with either the E culture, language or customs,

- but precisely all the shortcomings of modern lifestyle: noise, pollution, hypocrisy and lack of communication.

The poem is conceived as a dialogue between Lucy and an unknown addressee. And it calls to the "call and response" phenomenon that forms part of the black Car and A-A communities.

dissabte, 13 de novembre de 2010


Aquest apunt va dirigit a totes les dones que pateixen violència de gènere, del tipus que sigui.
Si entreu a la següent adreça:
ho trobareu tot explicat.
De moment us en faig un resum:


- Et truca, t’envia SMS i es posa permanentment en contacte amb tu quan

no esteu junts?

- Et demana que li donis explicacions sobre on vas, amb qui vas, què hi fas?

- Et controla econòmicament? Et pregunta quant gastes i en què?

- Opina sobre la roba que portes i et demana que et canviïs quan no li


Això són estratègies de control.

- No li agrada que tinguis amigues, no vol que vegis la teva família i es

molesta si estàs amb altres persones a soles?

- Algun cop t’ha menyspreat davant d’altres persones?

Aquestes actituds volen provocar l’aïllament.

- Li tens por?

- T’insulta o t’humilia?

- T’amenaça amb treure’s la vida o aconseguir la custòdia dels fi lls i/o fi lles?

- Et reté documentació important com ara les llibretes bancàries, el passaport, els documents del pis, etc.?

- Tens la impressió que has d’endevinar els seus desitjos i complaure’l?

- Et coacciona dient que et retornarà al teu país d’origen?

Són accions intimidatòries.

- T’ha pegat, t’ha donat empentes?

- T’ha obligat alguna vegada a mantenir relacions sexuals?

- Ha llençat o trencat coses que eren especials per a tu?

Aquestes conductes són agressions.

Si sents que la teva parella et controla, t’aïlla, t’intimida i/o t’agredeix estàs patint violència masclista per part de la teva parella i, per tant, estàs en situació de risc.

Definició de violència masclista en l’àmbit de la parella

És qualsevol acció o actitud de la parella o exparella que s’imposa a una

dona per subordinar-la o discriminar-la. Són violència masclista els abusos

sexuals, físics, econòmics i psicològics.

La violència masclista en l’àmbit de la parella

- No té res a veure amb situacions personals (problemes a la feina, tensions

familiars, etc.).

- Quan la violència comença, no s’atura, sinó que s’agreuja, i per sortir-ne es

necessita ajuda.

- No pensis que has fet alguna cosa per provocar aquesta situació.

- Només la persona que exerceix la violència n’és la responsable.

- La violència masclista no és una qüestió privada; tens dret que t’escoltin,

t’ajudin i et protegeixin.

- Demanar ajuda no et compromet a fer accions que no vulguis, però cal que

estiguis informada per si de cas:

1. Demana ajuda als serveis d’atenció a la dona o als serveis socials del teu municipi.

2. Escriu sobre les agressions que has patit i intenta recordar les dates i l’esclat de violència des del principi fi ns al fi nal.

3. Hi ha alguna persona que conegui la teva situació i que pugui ajudar-te? - Demana-li que t’acompanyi a buscar informació i t’ajudi.

4. Busca alguna persona de confiança a qui puguis explicar el que et passa i prepareu un pla per si has de marxar. Deixa una bossa amb el que considereu més necessari a casa seva. Pots crear una contrasenya amb aquesta persona de confi ança per a casos d’urgència.

5. Tingues sempre a l’abast el més imprescindible, com ara les claus de casa, el

mòbil, la targeta sanitària, targetes de crèdit o llibretes bancàries i els documents d’identitat o passaports teus i dels teus fi lls i/o fi lles, el llibre de família i, si és el cas, el permís de residència. Si cal, fes-ne còpies i deixa-les a la bossa.

6. Si tens fi lls i/o fi lles, creeu un senyal que serveixi per avisar-vos que cal sortir de casa.

7. Fes que els teus fills i/o filles memoritzin el 112 com a telèfon de referència en cas d’emergència.

Si ja no convius amb la persona que t’ha maltractat

NO ACCEPTIS QUEDAR AMB ELL A SOLES, el moment de la separació

és d‘alt risc.


nou número de telèfon, etc.); facilita-les tan sols a les persones de molta





"I leave me people, me land, me home"

It presents immigration as one of the most decisive factors in W.I. H.

The poet explores the feelings that precede and follow the departure from the mother country.

The initial lines already reveal the idea of departure and the uncertainties this decision still causes in the poetic voice. She is not capable yet of providing consistent reasons to explain why she is leaving behind her country and also her past.

She refers to "the sun" and "the humming bird" as indissoluble parts of the Carib landscape, emerging in opposition to the British "snow" and "cold".

In spite of her insecurity, it seems that moving westwards makes the speaker feel a moment of euphoria hoping to fulfil all her expectations in the New World. Nevertheless, her wishful tone turns into disappointment when Lord Nelson's statue appears, suggesting that the immigrant will not be allowed to forget or overcome a past of oppression, slavery and cruelty. The impressive dimension of the statue and the insignificance of the speaker point to meaningful parallelisms between the British imperial might and the Caribbean powerlessness.

The speaker seems not to get used to the hostile weather conditions in Great Britain, which heightens the difficulties of becoming integrated in this new society. From a warm sunny country she encounters a cold, damp and snowy Britain. This coldness could also be applied to the people's distant character. She seems to be complaining about the lack of spontaneity among the British, whose mechanical behaviour clashes with the apparent naturalness of the Car people. All this confusion leads her to affirm that she does not really know where she belongs, reinforcing the dislocation of the W.I.

She uses typical W.- I idiomatic structures ("me", "I not") reproducing the way Car speak English. She also uses a different spelling of words ("de"), reinforcing the idea that English is not only restricted to its RP or BBC pronunciation patterns but also to the multiple ways in which it is spoken.


"Me dah dead fi drink some coaknut water"

The poetic voice is that of one immigrant who nostalgically remembers Jamaica and the exuberance of its landscape.

England is the setting where the speaker celebrates the Jamaican environment and folklore to establish a contrast with the context in which she is now living. Beginning with explicit allusions to its gastronomy and typical products such as the breadfruit or coconut water.

She expresses her wishes from a distance that makes it impossible to enjoy Jamaica's mildness of weather again. The W.- I landscape became an element that built up the people's identity.

She keeps suggesting that she misses the spontaneity of Jamaica and its rural background, which clashes with the modernisation and urban growth undergone by England. This also enlarges the gap that exists between the Car and Europ lifestyles. And she states that she misses the presence of other black people with whom to share common experiences, responding to a reality immigrants endure after leaving their country. Black people are downgraded, isolated and reminded of their racial background, which drags them to a life of seclusion and privacy. The Car immigrant makes great efforts to become integrated and to appreciate the beauty of the surrounding environment. However, memories of Jamaica trigger the speaker's desire to return home, perhaps due to the fact that her Eur experience has proved a failure. For her Jamaica, in spite of its poverty, means to overcome the feeling of displacement she goes through daily in England.

She makes use of "Patois", a specific version of English in Jamaica, that faithfully reproduces the rhythmic and speech particularities of this variety, capturing the essence of spoken language.