“I tried to mix the present and the past in a way that was lively and entertaining.”
Journalist and writer Sergio Vila-Sanjuán welcomes us to a hotel in downtown Zaragoza, hours before participating in the Martes de Libros (Book Tuesdays) series organized by the Ibercaja Foundation. Director of the cultural supplement of La Vanguardia, he is visiting the city to present Misterio en el Barrio Gótico (Mystery in the Gothic Quarter), a novel that has won the Fernando Lara Prize and turns the historic heart of Barcelona into a setting for intrigue, urban memory, and veiled criticism of touristification. In this conversation, he speaks candidly about writing, the city, culture, and identity.
Sergio, thank you very much for talking to us. Welcome to Zaragoza for the presentation of your novel Misterio en el Barrio Gótico, winner of this year’s Fernando Lara Prize. What does this award mean to you and how has it influenced the perception of your work?
The Fernando Lara Prize is one of the most prestigious in Spanish literature. It is widely publicized and has an important history for me. Fernando Lara was the son of José Manuel Lara Hernández, the founder of Planeta. I knew him, and he died young in an accident before he turned 40. His father, a brilliant publisher, created the award in his memory. The first winner was Terenci Moix, one of my teachers. So, in addition to the joy of recognition and publicity, there is a sentimental charge that moves me.
The novel transforms Barcelona’s Gothic Quarter into a living stage of intrigue and historical secrets. How did the idea of setting the story in this emblematic neighborhood come about, and what research did you do to capture its secret soul?
The Gothic Quarter is the heart of the city. As a child, I used to go there with my father, who was a historian, and he would tell me stories about the neighborhood. Fifteen years ago, I was appointed a member of the Royal Academy of Fine Arts, which is located in the Requesens Palace. I started going back to the neighborhood regularly and noticed how much it had changed. These walks, my awareness of these changes, and my studies in the Academy’s library led me to think that it was the perfect setting for a novel.
In the novel, the protagonist, Víctor Balmoral, is a journalist nearing retirement who investigates an old disappearance and receives threatening letters. To what extent is this character inspired by your own experience as a cultural journalist?
I have lent him quite a few things, although he does not work for La Vanguardia, but for a fictional newspaper called ‘La Voz de Barcelona’. I lent him some health issues, my way of dressing, my musical tastes, my vision of the city and journalism. But there are differences: he lives alone; I live with my wife and four children. There are similarities and differences.
“I didn’t want to write a historical novel or a pure detective novel, but rather a hybrid.”
The plot combines suspense with themes such as urban memory and the effects of touristification. What message do you want to convey about how the past influences the present in terms of ideas?
Rather than conveying a message, I wanted to raise questions. The novel, first and foremost, seeks to entertain. It’s a mystery story with interesting characters. The setting raises questions such as: is it worth restoring an area so much that it no longer resembles what it once was? Is it legitimate to do so? On the one hand, you have beauty, but also gentrification and loss of identity. I don’t have an answer. In some cases it is worth it, in others it is not.
Has there been a cultural decline in Barcelona from the 1960s to the present day?
No, there has been an evolution. In the 1960s, Barcelona was very creative. It was less controlled by the dictatorship than Madrid. We received a lot of French and Italian culture. It was a good time for architects, photographers, and writers. In 1992, with the Olympics, it was transformed: it was renovated, opened up to the sea, and the type of visitor changed. It went from being a conference city to a global tourist destination. From 1998 onwards, it became one of the major destinations in southern Europe. The historic center became overcrowded, and I reflected that in the novel.
“The originality of the novel lies in that mixture of present and past, of the everyday and the mysterious.”
Real places such as the Royal Academy of Fine Arts and Barcelona Cathedral appear in the novel. How do you balance fiction with historical reality?
All the places are real except for the Sayeric Palace, whose name I changed out of respect. My intention was to combine mystery plots with everyday life and historical episodes. That crossover between past and present was the most delicate part of the work. I didn’t want a purely historical or detective novel, but rather a hybrid formula. I think that’s where the originality lies.
You mentioned Terenci Moix. To what extent did he influence your narrative style?
A great deal. I read him as a teenager. He had an urban sensibility, nostalgic for old Barcelona. His nostalgia was for the 1940s, not mine, but he described that atmosphere very well. He also combined classical culture (Shakespeare, the Renaissance) with pop culture (the Beatles, Hollywood cinema). He was a great example. I don’t copy his style, but he influenced my way of seeing the world.
Barcelona is more cosmopolitan today, but is it also more cosmopolitan culturally?
Yes, it’s very cosmopolitan. It’s the publishing capital of Latin America. A lot of films and music are made there. Before, there was more of a cultural difference with other Spanish cities. Now it’s more balanced, which is positive. Barcelona is still powerful.
“Through the twins Eva and Eugenia, I wanted to portray two female figures who are united but opposed.”
You said that Barcelona is a literary genre. Do you think cities like Barcelona can also be literary genres?
Yes. Today, the literature of cities such as London, Paris, and Barcelona is studied. Twenty years ago, I was a pioneer in systematizing Barcelona literature. I co-wrote ‘Paseos por la Barcelona literaria’ (Walks through Literary Barcelona). Other cities are also literary cities, such as Zaragoza. It has authors such as Ramón J. Sender, Irene Vallejo, Daniel Gascón, and Félix Romeo. There is a lot of material.
Do you think that, as is done with cinema, writers could come to cities like Zaragoza for inspiration?
Yes. It would be good if institutions encouraged this. Writers coming, finding inspiration, writing here. That would be very enriching.
Among the characters in the novel are Mariflor Juvellachs, Mosén Bentanachs, and the twins Eva and Eugenia. Which was the most challenging to create and why?
The twins Eva and Eugenia, because they are not based on anyone real. One is a tour guide, down-to-earth; the other is religious and spiritual. They are opposites but united. I wanted to represent two different ways of being a woman. I’m happy with how they turned out.
The novel includes historical figures such as Jaime I and Federico Marès. Why did you decide to include them?
To mix the past and the present. Marès, for example, has a very curious museum. He was a passionate collector. During the Civil War, he saved heritage. He is a very interesting and little-known figure. I wanted to bring him back.
“Barcelona went from being a conference city to a global tourist destination. And that changed its soul.”
In the novel, the Royal Academy of Fine Arts is going through a financial crisis. Are there parallels with the real cultural situation?
It’s not about the Academy itself, but about culture. After Franco’s death, there was a huge investment in culture for 30 years. Since 2007, and even more so since 2012, culture has lost political weight. Many institutions suffered. That’s what I reflect in the novel. Fortunately, things have improved now.
You have written fiction, essays, and plays. How do you combine these genres?
My main job is as editor-in-chief at La Vanguardia. I write in the mornings, on weekends, and during vacations. I try to make each project different. I’ve written novels, essays, and two plays. One is about bullying in schools and the other is about the publishing world (‘La gente literaria’), which was a successful premiere.
You have said that literature in Spanish and Catalan should be seen as communicating vessels.
Catalonia has two powerful literatures: one in Spanish and one in Catalan. It’s not a question of eliminating one or the other, but of promoting both. They are Romance languages, easy to learn from each other. Bilingualism is enriching. Catalan culture carries weight, and to really know the area, you have to know both.
Finally, what do you hope readers in Zaragoza will discover in your novel?
I have visited Zaragoza many times. I have friends here. I have always felt very welcome. There are many links between Aragon and Barcelona. I hope that readers in Aragon will be interested in the book, and I hope they like it.
