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No, it’s not a novel about Woodstock but about Pablo Picasso’s stay at Horta de Sant Joan (Terra Alta, Catalonia) during the summer of 1909, written by the freelance journalist, drama author, and now novelista Toni Orensanz (Falset, 1970). The description of L’estiu de l’amor [The summer of love] reads like this:

During the summer of 1909, a voluptous earthquake shook the pillars of Horta de Sant Joan. An emotional fever provoked by the intoxicating curves of a young Parisian model, Fernande Olivier, muse and companion of a Picasso looking for inspiration in a village. A physician and a pharmacists converted into alchemists of eros; civil servants, farmers and priests who lose common sense; jealous women, fugitive anarchists, doses of bromide, and real pitched battles are the protagonists of a summer full of love, humor and passion, coinciding with the Setmana Tràgica (more info at the Wikipedia). The correspondence between Fernande Olivier and Getrude Stein and Alice B. Toklas of that time that is kept at Yale University’s Beinecke Library,

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We've just finished the fifth and final season the Reading Club of the Museu Picasso with the reading of L’estiu de l’amor (The summer of love) a novel by Toni Orensanz about the stay of Fernande Olivier and Pablo Picasso at Horta de Sant Joan.

Orensanz’s approach is extremely interesting, not only for Picasso fans like the ones we can find in the club, but also for anybody who might have the slightest interest about the several ways of narrating historic episodes, that is to say, about the sort of questions that a writer can pose when working in a fictional way with a documented fact. One of the facts which Orensanz insists on is the mythical quality of the narrations that are still explained in Horta, about the time when Picasso came with such a pretty girl: or that Fernande came with such an ugly painter. Because that is one of the most lucid choices of the work by Orensanz: that of moving Picasso away from the centre of the narration, and fixing the reader’s attention on Fernande, and on the impact that the pretty and modern lady of Paris would have on Horta de Sant

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For the session of the Reading Club of this month of April, we took a risk with a marvellous, but very demanding, book: La Femme visible, by Salvador Dalí, in the magnificent edition of Vicent Santamaria de Mingo. Demanding, because the texts in La Femme visible, that Dalí originally published in 1930, were his artistic statement as well as his letter of introduction in front of the surrealists of Paris.

As Vicent explained to us in the session, Dalí’s book is a book written from surrealism for surrealists, which explains the extra effort required to aprehend the text, for which the help of the notes and articlesc that accompany Dalí’s volume is greatly appreciated. The book itself is a little jewel, for various reasons: it is a privileged gateway to Dalí’s work and to the theoretical development of his ‘paranoiac-critical’ method. It represents a counter-figure to the personage of Dalí (above all, to the later one) to the extent that it allows us to discover him as a theoretical high-flyer, at the level of Breton or Éluard, capable of quoting with admirable com