Xavier Jov\u00e9\u2019s book cover<\/figcaption><\/figure>\nWho is Xavier Jover Massana?<\/strong><\/p>\nGoodness, what a question to begin with! I suppose this book, like everything one writes, is really an attempt to approach some kind of answer\u2014or perhaps, more accurately, a way of bearing witness to the impossibility of ever finding a definitive one about oneself. That said, acknowledging the fragmentary, mutable, and generally unreliable nature of the self, I would describe XJM as a citizen who received a public secondary education and forged his \u201csentimental education\u201d in an era\u2014the late seventies and early eighties\u2014steeped in progressive values. Today, despite so many forces conspiring against it, I do my best to uphold certain humanist and Enlightenment principles that I consider non-negotiable. I do so as a father, as a member of my democratic community, as a writer, and as the head of a public educational centre.<\/p>\n
Do you remember how and why you decided to start such an extensive diary?<\/strong><\/p>\nThe original manuscript of the diary, written during the 2009\u20132010 academic year, wasn\u2019t that long. The project grew considerably during the revision process. I expanded certain entries\u2014always trying to remain faithful to the original text\u2014added the \u201clessons\u201d (highly personal reflections on other diaries woven throughout the main narrative), and incorporated various other materials, including emails and other writings from that same academic year.<\/p>\n
What does literature mean to you?<\/strong><\/p>\nIt is my most enduring and faithful passion\u2014as a reader, scholar, teacher, and creator. A world without literature would be indecipherable, impoverished beyond imagination. That is why I am incensed that today\u2019s educational system does so little to convey this marvellous and ever-renewing universal heritage. Literature is an irreplaceable school of the human condition, offering valuable lessons at every age. For me, whether writing or reading, literature is an inviolable exercise in freedom.<\/p>\n
\u201cLiterature is an irreplaceable school of the human condition, offering valuable lessons at every age\u201d\u00a0<\/strong><\/p><\/blockquote>\n\u201cThere are periods in life when solitude clings to you like a tight-fitting garment you need to keep warm but which also constricts you\u201d. How were those years?<\/strong><\/p>\nThe 2009\u20132010 academic year was a moment of transition for me\u2014a turning point in my life. That\u2019s precisely why I wanted to keep a diary that would record it. It was the year I began living in Barcelona and working in Santa Coloma de Gramenet, the year I finally submitted a doctoral thesis that had been years in the making, the year I embarked on adult education teaching\u2026 and yes, the diary also reflects moments of intense solitude, for I had neither a partner nor a family of my own at the time.<\/p>\n
Why do you describe yourself as \u201ca provincial citizen\u201d? I don\u2019t see it that way at all.<\/strong><\/p>\nIt is, in part, a narrative strategy. The narrator (who in a diary naturally coincides with the author) is someone who has just arrived in the metropolitan area from Tarragona. This allows for reflections on city life and comparisons with other environments. Moreover, from the subtitle onwards, I deliberately reclaim the adjective provincial and the historical or poetic resonances of the word province\u2014a term that, in recent decades, has fallen somewhat out of favour in Catalonia.<\/p>\n
\u201cI reclaim the adjective provincial and the historical or poetic resonances of the word province\u2014a term that, in recent decades, has fallen somewhat out of favour in Catalonia\u201d<\/p><\/blockquote>\n
\u201cOpposite me there\u2019s a red-haired lady who seems to be proofreading some proofs\u201d. You often observe people around you\u2014the pensioner speaking of the Civil War, the Colombian labourers\u2026 Would you describe yourself as a Zola, a Cela, a Baudelaire, a Pla?<\/strong><\/p>\nOh, I would never dare compare myself with such great masters\u2026 What is clear, though, is that observation and writing share a powerful connection. Keeping a diary is above all an exercise in attention\u2014an attentive gaze, a concept I confess I borrowed from Andr\u00e9s Trapiello. Observing closely generates the need to describe, which is at once an objective and deeply subjective practice. Description, I believe, is always a challenge, one worth embracing.<\/p>\n
\u201cI\u2019m trying to calm myself. Our minds manufacture utterly subjective anxieties\u201d. Could you expand on that?<\/strong><\/p>\nThat passage represents the narrator\u2019s lowest emotional point; later, after Easter and the completion of the thesis, he experiences a certain euphoria. In any case, the book carries a strong component of self-observation. I don\u2019t only look outward\u2014there is much introspection here, a clear desire to follow the classical maxim nosce te ipsum<\/em>, employing tools from psychoanalytic practice when useful. Notice that I titled the book diari<\/em>, not dietari<\/em>, because the tone is predominantly intimate and autobiographical, rather than social or moralistic, though those elements are present as well.<\/p>\nYour doctoral thesis is something of a co-protagonist in your diary. What was it about, and how did you relate to it?<\/strong><\/p>\nIndeed, this is significant. Curiously, only now, reading the printed text, do I fully realise that this book is, in a way, the story of the thesis\u2014or even its continuation through different means. After a doctoral journey spanning twenty years (from 1990, after completing my degree, to 2010, defending the thesis), I then spent fifteen more years working on a diary attempting to justify it all. Mad, really. But the field was fascinating. I immersed myself in late-1920s and early-1930s Madrid through an intense episode of reception of German literature from the Weimar Republic\u2014a substantial corpus of works published by the so-called editoriales de avanzada<\/em> (Cenit being the most well-known, though there were several).<\/p>\n\u201cI immersed myself in late-1920s and early-1930s Madrid through an intense episode of reception of German literature from the Weimar Republic\u201d<\/p><\/blockquote>\n
These translations of Weimarian authors\u2014Lion Feuchtwanger, Hermann Kesten, Heinrich Mann, Piscator, Erich Maria Remarque, Ludwig Renn, Anna Seghers, Ernst Toller, among many others\u2014alongside the first Spanish translations of writers such as Hermann Hesse, Joseph Roth, and Stefan Zweig, reflect a progressive reception of German culture, short-lived and soon forgotten. The thesis bridged German studies, Hispanic studies, and cultural history, particularly book history, approached largely through the lens of the sociology of literary reception. Despite the challenges, I greatly enjoyed it.<\/p>\n
Which Catalan publishers interest you?<\/strong><\/p>\nQuite a few, actually. I won\u2019t name them all here\u2014I\u2019d inevitably forget someone. But last September, at the Setmana del Llibre en Catal\u00e0, it was wonderful to see so many small publishers (can we still call them \u201cindependent\u201d?) defending interesting, coherent catalogues and producing books with distinctive and carefully considered typographic personalities. As a reader, bibliophile, and scholar, I am especially drawn to literary series; and today, in Catalan, you can find superbly translated works of world literature from all eras.<\/p>\n
Who is your favourite poet, and why?<\/strong><\/p>\nI find it difficult to be categorical, but there is one author who has always fascinated me and profoundly influenced my youth, during a period when influences shape one profoundly: Gottfried Benn. His anti-sentimental poetics, his defence of artistic form as the supreme generator of meaning, his cynicism suffused with emotion, along with his ideological errors and distinctly uncomfortable life, make him an utterly singular figure.<\/p>\n
You often speak of the \u201cdismantling of public education\u201d. How do you see this issue?<\/strong><\/p>\nAs I mentioned, I was fortunate to attend a state secondary school\u2014the Mart\u00ed i Franqu\u00e8s in Tarragona, which I have always cherished\u2014and to receive a humanities-oriented education, essentially left-wing, of a conceptual calibre that today, from what I hear, it would be like science fiction. I recently spoke about this with a friend of my generation who studied at Puig Castellar in Santa Coloma. He didn\u2019t pursue a teaching career like me; he worked at Nissan. Yet the solid cultural foundation he received\u2014far nobler than the narrow idea of \u201ccompetences\u201d\u2014has stayed with him. The potent cultural (and ideological) stimuli that working-class youth once encountered in these schools have vanished, representing a socio-cultural loss of great magnitude, whose consequences are yet to be fully seen. The cause is not only, as sometimes claimed, \u201csociety\u2019s evolution\u201d (though that is true), but primarily a series of educational laws which, since the introduction of the ESO (an educational framework that has consistently failed), have evolved from quaint eccentricities to pure absurdity\u2014from pseudo-pedagogical whims to a denial of the most basic educational common sense\u2014leaving behind scorched earth that has made us appear ridiculous for decades in all external evaluations, and even worse, a tool of social segregation that is today\u2019s Catalan pedagogical system.<\/p>\n
\u201cThe potent cultural (and ideological) stimuli that working-class youth once encountered in these schools have vanished\u201d<\/p><\/blockquote>\n
Who are your literary models or totems?<\/strong><\/p>\nReflecting on the authors who have dazzled me over the years and narrowing the list to the most decisive influences, my personal canon would be: in prose or drama, Georg B\u00fcchner, Oscar Wilde, Kafka, Lampedusa, Borges, Italo Calvino, Thomas Bernhard; in poetry, Catullus, Garcilaso, Cavafy, Benn, Gabriel Ferrater, Gil de Biedma; in essay or criticism, Voltaire and Jos\u00e9-Carlos Mainer. To keep it concise, I omit other classics who also inspired me, focusing on those who shaped me most in my youth.<\/p>\n
Why Katherine Mansfield?<\/strong><\/p>\nDuring 2009\u20132010, I befriended the excellent translator Marta Pera, who appears in the diary. She spoke of her translation of Katherine Mansfield\u2019s diaries, which lay unpublished in a drawer. Years later, while revising my own diary and inserting the \u201clessons\u201d, her translation finally appeared in print. I found this intertextual interplay between my diary and my subsequent reading of Mansfield rather charming.<\/p>\n
What are you reading at the moment?<\/strong><\/p>\nI have always been a slow reader, never a devourer of books. Currently, I am finishing a couple of volumes: Breve historia de Italia<\/em> (1966, the now-vintage Colecci\u00f3n Austral) and Volver a aprender<\/em> (Plataforma Editorial, 2024), an illuminating essay on education by Andreu Navarra. I\u2019ve also started a few little books I picked up at the Setmana: a Brecht anthology edited by Feliu Formosa (Tr\u00edpode, 2025) and a new translation of Seneca\u2019s On the Happy Life<\/em> (Angle Editorial, 2025).<\/p>\n\u201cThe revision phase, as great poets have said, is every bit as important as inspiration\u201d<\/p><\/blockquote>\n
Do you still write poetry?<\/strong><\/p>\nNot really. Some years ago, the notebooks I always carried to jot down verses or sketches gradually fell out of use. It wasn\u2019t deliberate, nor did I resist. The poetic muse may return. What I do continue is revising older material, which is also a form of writing poetry. The revision phase, as great poets have said, is as crucial as inspiration. One project I hope to tackle eventually is a book of sonnets. We shall see.<\/p>\n
What are you working on now?<\/strong><\/p>\nI have two fairly advanced projects, quite different in nature. First, a book of love poems inspired by Catullus, composed of older material, long in the planning, titled Fragments to Lesbia<\/em>. It is a homage to Catullus\u2014a personal reimagining of his voice in our own time.<\/p>\nSecond, I am finalising a collection of writings on education\u2014mostly short pieces written and published over more than twenty years. Some are pamphlets or libels in a B\u00fcchnerian or Voltairian spirit; others are more discursive essays. Beneath it all, however, the literary impulse predominates over the analytical. Fortunately, excellent scholarship now exists analysing the educational collapse of recent decades far better than I could, yet my modest contribution, Pedagocr\u00e0cia<\/em>, seeks to bear witness as someone who has seen this debacle up close, and who, at least, has the clear conscience of having always tried to resist it.<\/p>\n
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