Advertise with Googlier.com https://allabor.net/ en https://allabor.net/es/canal/arte-patrimonio-y-excelencia <span>Art, heritage and excellence</span> <span><span>Myriam</span></span> <span><time datetime="2026-10-18T07:07:03+01:00" title="Sunday, October 18, 2026 - 07:07">Sun, 10/18/2026 - 07:07</time> </span> <figure class="align-center mb-3 field field--name-field-image field--type-entity-reference field--label-hidden field__items"><div class="media media--type-image media--view-mode-default"> <img title="Silver jewellery: tree-of-life pendant and chains" alt="Tree-of-life pendant, chains, bracelets and an ID bracelet in silver arranged on black cylindrical display stands" loading="lazy" src="https://allabor.net/arc/n/img/2026/10/joyas-aex-1200.jpeg" width="1200" height="800"> </div> </figure><p>For the first time, a wide selection of historic jewels and contemporary creations by Suárez, one of Spain's leading houses, is displayed through an unprecedented dialogue between high jewellery pieces and some of the masterworks in the museum's collection.</p><div class="align-center media media--type-image media--view-mode-portrait"> <figure class="align-center field__item"> <img loading="lazy" src="https://allabor.net/arc/n/styles/portrait/public/img/2026/10/suarez-1-mbo-800.jpg.webp?itok=w5ZETKtS" width="600" height="900" alt="A visitor looks at a large full-length portrait of a 16th-century noblewoman in an embroidered black gown, hung on a blue gallery wall above a lit jewellery display case" title="Museum gallery with a 16th-century portrait and jewellery cases"> </figure> </div> <p>Far from being a mere retrospective, visitors are invited to reflect on time, beauty and the craftsmanship of those objects that safeguard memory and are passed down from generation to generation.</p><p>The exhibition is a tribute to the work of master jewellers and to all the crafts that have accompanied Suárez's evolution since the opening of its first shop in Bilbao in 1943. Each of the pieces on display reflects the balance between artisanal excellence, respect for the raw material, innovation and knowledge handed down from generation to generation.</p><h3>Sinfonía</h3><p><em>Sinfonía</em> is Suárez's new collection, created as the expression of a new chapter for the House. The collection springs from a reinterpretation of its legacy and projects Suárez's identity into the future through a renewed creative language.</p><h3>Strata: a Sur Mesure creation for the Museo Lázaro Galdiano</h3><p>As a testament to this dialogue between the Museo Lázaro Galdiano and Suárez, the exhibition presents <em>Strata</em>, a unique jewel created to join the museum's collection. A <em>Sur Mesure</em> piece that brings together tradition and contemporaneity and symbolises the shared will to preserve, enrich and transmit the value of beauty.</p><p>Inspired by the art déco aesthetic, the jewel establishes a link with Madrid and with the museum's history through a composition that evokes the geometry of the gardens and ponds of the Retiro Park. Two aquamarines reinterpret the ponds beside the Palacio de Cristal, while a succession of emeralds pays homage to the green of the gardens. The choice of aquamarine also takes on a special meaning, evoking Paula Florido, wife of José Lázaro Galdiano, for whom blue was the favourite colour.</p><h3>A dialogue between two universal languages</h3><p>Suárez's jewels converse with works by artists such as Sofonisba Anguissola, Juan Carreño de Miranda, Claudio Coello, Luis Paret, Federico de Madrazo and Raimundo de Madrazo, forging connections that reveal how jewellery has accompanied the evolution of art and of society through a shared gaze on beauty, symbol and identity.</p><div class="align-center media media--type-image media--view-mode-portrait"> <figure class="align-center field__item"> <img loading="lazy" src="https://allabor.net/arc/n/styles/portrait/public/img/2026/10/suarez-2-mbo-800.jpg.webp?itok=SV0h_8Tw" width="600" height="900" alt="A display case of coral jewellery: a white coral branch with a coral ring, a coral-and-peridot necklace, and a red coral branch with a ring, on red stands (Coralia collection)" title="Coral jewellery from the Coralia collection"> </figure> </div> <p>Each encounter has been conceived to generate an artistic narrative that transcends aesthetic contemplation and places jewellery as a cultural expression capable of interpreting its time and preserving memory.</p><p>The route begins in the museum's Portico, the palace's original entrance, turned into a space of welcome for the visitor and a symbolic threshold between the gardens and the world of the exhibition. A large installation of wood, fabric and light, inspired by the cases that protect and transport works of art, introduces the story of Suárez's evolution. Presiding over this first encounter, the work <em>Pescadora</em>, by Alberto Arrúe, establishes a link with Suárez's origins and with Bilbao, the city where the firm was born. Around it, a selection of historic and newly created jewels is paired with gouaches, jewellery tools and workshop objects, bringing the visitor closer to the world of the craft and to the creative processes that make each piece possible. An ensemble that reveals how tradition and innovation, memory and contemporaneity have coexisted from the outset to shape a unique way of understanding high jewellery.</p><p>The journey continues on the first floor of the Museo Lázaro Galdiano, where the true dialogue between art and jewellery takes place. Each encounter offers new readings and reveals how the jewel, just as in the great portraits in the history of art, can complete an image and endow it with new meaning.</p><p>With this exhibition, the Museo Lázaro Galdiano and Suárez express the encounter between past and present, between craft and creation, between heritage and future.</p> <dl class="field field--name-field-link field--type-link field--label-hidden"> <li class="field__items"><a href="https://allabor.net/myriam-bo">Myriam BO</a> </li> </dl> <div class="field field--name-field-tags field--type-entity-reference field--label-hidden field--tags"> <ul class="links field__items field--tags__items"> <li class="field--tags__item"><a href="https://allabor.net/about-event" hreflang="en">event</a></li> <li class="field--tags__item"><a href="https://allabor.net/about-art" hreflang="en">art</a></li> <li class="field--tags__item"><a href="https://allabor.net/about-culture" hreflang="en">culture</a></li> </ul> </div> Sun, 18 Oct 2026 06:07:03 +0000 Myriam 500 at https://allabor.net https://allabor.net/es/canal/marco-moncloa-una-voz-una-trayectoria-y-una-pasion-por-la-zarzuela <span>Marco Moncloa: a voice, a career and a passion for zarzuela</span> <span><span>anazr</span></span> <span><time datetime="2026-10-15T08:15:19+01:00" title="Thursday, October 15, 2026 - 08:15">Thu, 10/15/2026 - 08:15</time> </span> <figure class="align-center mb-3 field field--name-field-image field--type-entity-reference field--label-hidden field__items"><div class="media media--type-image media--view-mode-default"> <img title="Baritone Marco Moncloa" alt="Portrait of baritone Marco Moncloa smiling, in a tweed blazer, in a television studio with a blue backdrop" loading="lazy" src="https://allabor.net/arc/n/img/2026/10/marco-moncloa-3-1200.jpg" width="1200" height="800"> </div> </figure><p>There are musical genres that are not only heard but felt and lived, and that end up becoming part of our history. For me, zarzuela is one of them. It has the wonderful ability to move me with a <em>romanza</em>, to draw a smile with a witty line of dialogue and to carry me to another era with the first bars of a score. It is tradition, feeling, humour and culture; a genuine treasure of our musical heritage that deserves to be known, enjoyed and passed down from generation to generation.</p><p>And yet, as a devotee, there is something that worries me: zarzuela does not always receive the support, promotion and visibility it deserves from our cultural institutions. Many young people barely know it and have not had the chance to discover everything it can offer them. And, without realising it, they are missing out on an extraordinary theatrical and musical experience.</p><p>Because zarzuela is neither old-fashioned nor dull. Quite the opposite! It is a spectacle full of life, with wonderful melodies, endearing characters, intrigue, irony and dialogue that still make us laugh. It is emotion, music, theatre and humour. Anyone who settles into their seat ready to be swept along can leave the theatre grinning from ear to ear. And that, in times like these, is no small thing.</p><p>To understand its origins we have to travel back to the 17th century, during the reign of Philip IV. The Palacio de la Zarzuela, on the outskirts of Madrid and surrounded by brambles —<em>zarzas</em>— gave its name to the theatrical performances with music that entertained the court. Over the centuries, that courtly entertainment became one of the great hallmarks of our musical culture.</p><p>Among its earliest landmarks we find Lope de Vega, author of <em>La selva sin amor</em> (1629), and Pedro Calderón de la Barca, whose <em>El golfo de las sirenas</em> (1657), with music by Juan Hidalgo, stands as a milestone of those first productions. Later would come unforgettable works such as <em>La verbena de la Paloma</em>, <em>La revoltosa</em>, <em>La del manojo de rosas</em> and <em>Agua, azucarillos y aguardiente</em>, titles that are part of our collective memory.</p><div class="align-center media media--type-image media--view-mode-portrait"> <figure class="align-center field__item"> <img loading="lazy" src="https://allabor.net/arc/n/styles/portrait/public/img/2026/10/marco-moncloa-2-800.jpg.webp?itok=6KngbuVN" width="600" height="900" alt="Baritone Marco Moncloa sings with his hands raised in front of a florist’s shop set, in a performance of La del manojo de rosas" title="Marco Moncloa in La del manojo de rosas"> </figure> </div> <p>Today I have the pleasure of talking with <strong>Marco Moncloa</strong>, a baritone with a long career, linked from a very young age to the world of lyric music and committed to zarzuela.</p><p>Born in Barcelona in 1972, he began his musical training alongside his mother, the <em>maestra</em> Dolores Marco. In 1989 he was engaged by José Tamayo to take part in the <em>Antología de la Zarzuela</em>, a show with which he toured international stages. Since then, his career has spanned zarzuela, opera and musical theatre, with performances at major theatres and festivals.</p><p>The baritone is to zarzuela what the tenor is to opera: a voice that, with its personality and its nuances, can bring unforgettable characters to life and contribute decisively to the emotion of a work. And it is precisely about voices, stages, vocation and the future of our lyric genre that we talk in this interview.</p><h3>What is zarzuela missing?</h3><p><strong>Marco, from your experience, what do you think zarzuela is missing nowadays in order to regain prominence and reach new generations?</strong></p><p>I think one of the great problems is the lack of support and promotion from cultural institutions. Sometimes it seems to be regarded as a “fusty” genre, something old that doesn’t fit today’s tastes. And that’s a shame, because we’re talking about an extraordinary musical and theatrical heritage, one that is part of our identity and has nothing to envy in other great lyric traditions.</p><p>Education is essential to change this perception. From school onwards, children should be introduced to different art forms —organising, for example, an outing each term to enjoy a dance performance, a play and, of course, a zarzuela. We can’t expect young people to love a genre they barely know.</p><p>Besides, one thing doesn’t rule out the other. My son, for instance, has been to see Shakira and enjoys today’s music, but he’s also passionate about zarzuela because he has grown up knowing it. He has even taken part in some of our shows. Young people can enjoy very different styles when they are given the chance to get to know them.</p><p>I remember a zarzuela production at the Rome Opera, with a magnificent cast, a great orchestra, a carefully crafted staging and spectacular costumes. The audience came away impressed. Many spectators couldn’t understand how a genre with such musical and theatrical richness didn’t have a wider reach. Experiences like that show that zarzuela can move audiences beyond our borders too.</p><h3>A vocation born at home</h3><p><strong>Marco, you grew up in a family closely connected to music. How did that environment influence your vocation and your decision to become a baritone?</strong></p><p>There are thirteen of us siblings, from two different fathers, and seven of us are closely tied to this world: there are producers, singers, even an orchestra conductor. My mother, I’d say, gave me an almost Spartan upbringing when it came to my musical training. By the age of fifteen I was already clear that I wanted to belong to this world and that I wanted to be a baritone.</p><p><strong>His mother, María Dolores Marco Seseras, was a pioneering figure in orchestral conducting in Spain, especially associated with zarzuela. Growing up with a mother devoted to music must have deeply shaped your artistic path.</strong></p><p>In my case, I also try to pass that passion on to my children. My daughter, who is eight, studies the viola and ballet, and my son, who is ten, piano and ballet; they are growing up surrounded by music and art. It gives me particular joy to see that my son seems increasingly certain that he wants to follow in our footsteps. I don’t know where that path will take him, but I believe a vocation can’t be imposed: it can be sown in childhood, by sharing what moves us and letting children find their own way.</p><h3>The stage, the best school</h3><p><strong>What advice would you give to young people who are starting out in their artistic careers and dream of making their way in the world of lyric music?</strong></p><p>Above all, that they focus on gaining experience and seize any chance to get on a stage, even if at first it is on a collaborative or charitable basis. It is essential to learn to connect with the audience, to feel them and to know how to convey what you carry inside.</p><p>You have to start from the bottom. However much you may have studied at a school or a conservatoire and been told you are ready, the reality of the stage is another matter. You can’t expect to land a leading role straight away without having walked that path first.</p><p>The stage is the best master’s degree there is: that is where you really learn, mature and discover how to carry yourself as an artist. Before demanding a lead role or a good salary, you have to prove your worth. The only way to gain confidence and grow professionally is to work, to perform and to accumulate experience. In this profession, the learning never ends.</p><div class="align-center media media--type-image media--view-mode-insert"> <figure class="align-center field__item"> <img loading="lazy" srcset="https://allabor.net/arc/n/styles/max_325x325/public/img/2026/10/marco-moncloa-1-1200.jpg.webp?itok=JMe4cNN9 325w, https://allabor.net/arc/n/styles/portrait/public/img/2026/10/marco-moncloa-1-1200.jpg.webp?itok=NiuSKOr0 600w, https://allabor.net/arc/n/styles/max_650x650/public/img/2026/10/marco-moncloa-1-1200.jpg.webp?itok=amcuAHuk 650w, https://allabor.net/arc/n/styles/square/public/img/2026/10/marco-moncloa-1-1200.jpg?itok=YL7RRDLy 900w, https://allabor.net/arc/n/styles/max_2600x2600/public/img/2026/10/marco-moncloa-1-1200.jpg.webp?itok=p5EXksQn 1200w" sizes="(min-width: 1290px) 1290px, 100vw" width="650" height="433" src="https://allabor.net/arc/n/styles/max_650x650/public/img/2026/10/marco-moncloa-1-1200.jpg.webp?itok=amcuAHuk" alt="Zarzuela scene: a soprano dressed in white sings kneeling beside a gilded table while baritone Marco Moncloa, in period costume, stands on an armchair against a deep red curtain" title="Marco Moncloa in a zarzuela scene"> </figure> </div> <h3>Zarzuela on the other side of the Atlantic</h3><p><strong>L’Operamore has a tour of Chile and Argentina planned for July next year. What do you hope for from this experience? Is the passion for zarzuela still alive in Latin America?</strong></p><p>Of course it is! At first, for scheduling reasons, we’ll go for just two weeks, but we hope to be well received so that we can return next year and extend our opera and zarzuela season in Latin America.</p><p>There is an important zarzuela tradition in many Latin American countries. Spanish zarzuela reached the Americas and took root there, evolving into forms of its own as well. Cuba is an extraordinary example: it boasts great composers such as Ernesto Lecuona and Gonzalo Roig, and works as emblematic as <em>María la O</em>, by Lecuona, with a libretto by Gustavo Sánchez Galarraga, which remains a benchmark of Cuban zarzuela.</p><p>It is essential to keep that cultural link alive and to go on bringing our shows to Latin American audiences. It thrills us to share our passion for lyric music with new audiences and to help keep zarzuela alive on both sides of the Atlantic.</p><h3>From palace to palace</h3><p><strong>To finish, let’s return to palaces. Zarzuela owes its name to the Palacio de la Zarzuela, and your surname leads us straight to the Palacio de la Moncloa. It seems it was written in the stars! Is it a surname that weighs on you?</strong></p><p><em>(He laughs.)</em></p><p>My surname is of Spanish origin, although my father was Peruvian. The curious thing is that I think there are more Moncloas in Peru than in Spain. In fact, right now I think we are the only ones who carry this surname here.</p><p>And so, between palaces and surnames, we bring this conversation to a close. Zarzuela was born in the time of Philip IV and today we have Philip VI. Only one little stroke of a king’s number changes — but if only so little were enough for our lyric art to receive the boost it deserves!</p><p>Joking aside, Marco has shown that passion, talent and hard work can keep an artistic project alive even when the road is not easy. But the whole weight should not fall on those who, like him, devote their lives to keeping a company going. Zarzuela needs institutional backing, resources and continuity so that its productions can reach more stages and new generations can discover it.</p><p>Let’s hope the day comes when defending zarzuela is no longer a cause to fight for but something natural. And then, who knows, perhaps we’ll be able to say that we have finally moved from austerity to prosperity. Let’s see if the palaces take note: this time we are not asking for an audience, but for a good future for zarzuela!</p><p>My most heartfelt thanks to Marco Moncloa for this interview, for his warmth and for the wonderful time we shared; what is beyond doubt is that I will go on enjoying and supporting this genre as the devoted lover of zarzuela that I am. Hoping you won’t retire for very many years yet — see you soon!</p> <dl class="field field--name-field-link field--type-link field--label-hidden"> <li class="field__items"><a href="https://marcomoncloa.com/acerca-de">About Marco Moncloa</a> </li> </dl> <div class="field field--name-field-tags field--type-entity-reference field--label-hidden field--tags"> <ul class="links field__items field--tags__items"> <li class="field--tags__item"><a href="https://allabor.net/about-interviews" hreflang="en">interview</a></li> <li class="field--tags__item"><a href="https://allabor.net/about-music" hreflang="en">music</a></li> </ul> </div> Thu, 15 Oct 2026 07:15:19 +0000 anazr 499 at https://allabor.net https://allabor.net/es/canal/el-principito-el-libro-infantil-que-nunca-fue-solo-para-ninos <span>The Little Prince: the children's book that was never only for children</span> <span><span>alexvela</span></span> <span><time datetime="2026-10-13T09:57:20+01:00" title="Tuesday, October 13, 2026 - 09:57">Tue, 10/13/2026 - 09:57</time> </span> <figure class="align-center mb-3 field field--name-field-image field--type-entity-reference field--label-hidden field__items"><div class="media media--type-image media--view-mode-default"> <img title="The Little Prince and his rose — AI-generated image" alt="Illustration of a fair-haired boy in a scarf, seen from behind, sitting on a small asteroid and gazing at a red rose protected by a glass dome, under a starry sky with planets." loading="lazy" src="https://allabor.net/arc/n/img/2026/10/principito-y-rosa-cha-1200.jpg" width="1200" height="800"> </div> </figure><p>Few books have suffered as much from their own success. <em>The Little Prince</em> has become the stuff of mugs, tote bags and greetings cards, and a single line, the one about the essential being invisible to the eye, has come to stand in for the whole thing. The actual book is stranger, funnier and considerably sadder than its merchandising.</p><p>The opening has nothing sweet about it. A pilot crashes in the Sahara with eight days of water and a fault he cannot repair. There, in the middle of nowhere, a fair-haired boy appears and asks him, with no further explanation, to draw a sheep. The conversations of the following days make up the book: the boy explains where he comes from, a tiny asteroid with three volcanoes and a rose, and what he saw on the planets he visited before reaching Earth.</p><p>Those planets are the best part. Each is home to a single adult, trapped inside his own logic: a king issuing orders to subjects he does not have, a vain man who hears only praise, a businessman counting stars so that he can call them his own. Saint-Exupéry does not quite ridicule them; he watches with a mixture of mockery and pity that keeps the satire from turning cruel. The businessman, adding up his figures without ever looking up, is uncomfortably recognisable in any office full of dashboards: counting rather than looking.</p><p>The book also has an element that quoting it tends to erase. The drawings are the author's own. His clumsy, luminous watercolours are part of the story and sometimes contradict it, starting with the first one, the snake that has swallowed an elephant and that every adult mistakes for a hat. It is worth choosing an edition that keeps them, because without them the text loses half its charm.</p><p>The context gets forgotten too. Saint-Exupéry wrote the book in 1942, in exile in New York, with France occupied and his age keeping him out of a cockpit. Read that way, the desert stops being a picturesque setting: it is where a stranded man waits for a rescue that may never come. The fox's famous lesson, that one becomes responsible for whatever one has tamed, then sounds less like a pretty phrase and more like an inventory of everything left behind.</p><p>Not all of it holds up. The round of planets becomes repetitive towards the end, and in two or three passages the moral is spelled out with a clarity the rest of the book never needs. The rose, capricious and demanding, is the character that has aged worst, and is hard to read today without some discomfort.</p><p>What has not worn out is the ending, which turns everything before it bitter and which many adult readers misremember, because as children they did not understand it. That is the key to its staying power: it can be read in an afternoon, at eight years old and at forty, and it is not the same book.</p><h2>About the author</h2><p>Antoine de Saint-Exupéry (Lyon, 1900 – the Mediterranean, 1944) was a pilot before he was a writer, at a time when flying was still dangerous. That experience produced <em>Night Flight</em> and <em>Wind, Sand and Stars</em>. In 1935 he crashed in the Libyan desert and survived for several days, an episode that lies behind <em>The Little Prince</em>, published in New York in 1943. In July 1944 he took off on a reconnaissance mission and vanished over the Mediterranean. The wreckage of his aircraft was not located until more than half a century later.</p><p><em>To continue the series: <a href="https://allabor.net/the-tunnel-ernesto-sabato-review">The Tunnel</a> by Ernesto Sabato, another short novel about the difficulty of understanding one another, and Animal Farm by George Orwell, another deceptively simple fable written for adults.</em></p> <dl class="field field--name-field-link field--type-link field--label-hidden"> <li class="field__items"><a href="https://allabor.net/canal/clasicos-que-merece-la-pena-leer">Classic books worth reading</a> </li> </dl> <div class="field field--name-field-tags field--type-entity-reference field--label-hidden field--tags"> <ul class="links field__items field--tags__items"> <li class="field--tags__item"><a href="https://allabor.net/about-books" hreflang="en">books</a></li> <li class="field--tags__item"><a href="https://allabor.net/about-literary-review" hreflang="en">literary review</a></li> <li class="field--tags__item"><a href="https://allabor.net/about-culture" hreflang="en">culture</a></li> </ul> </div> Tue, 13 Oct 2026 08:57:20 +0000 alexvela 498 at https://allabor.net https://allabor.net/es/canal/john-banville-relanza-los-infinitos <span>John Banville relaunches The Infinities</span> <span><span>Myriam</span></span> <span><time datetime="2026-10-11T10:19:27+01:00" title="Sunday, October 11, 2026 - 10:19">Sun, 10/11/2026 - 10:19</time> </span> <figure class="align-center mb-3 field field--name-field-image field--type-entity-reference field--label-hidden field__items"><div class="media media--type-image media--view-mode-default"> <img title="Misty Irish Gothic manor house — AI-generated image" alt="A stone Gothic-style manor house covered in green and red ivy, with a slate roof and several chimneys, at the end of a wet gravel drive on a misty autumn evening; to the left, a large tree and a moss-covered stone wall." loading="lazy" src="https://allabor.net/arc/n/img/2026/10/misty-ivy-covered-irish-gothic-manor-cha-1200.jpg" width="1200" height="800"> </div> </figure><p>John Banville, winner of the Prince of Asturias Award for Letters, is relaunching <em>The Infinities</em>, his novel first published in 2009. It is a singular exploration of our mortality and our place in the cosmos, blending sensuality and a playful spirit, and echoing everything from Greek tragedy to Shakespeare's comedies by way of Chekhov's dramas, all delivered in the author's sumptuous prose and unique wit.</p><p>This was his first novel after winning the Booker Prize, and one of the most original in Banville's body of work.</p><h2><em>The Infinities</em></h2><p>With a theatrically inspired premise —the action unfolds over a single day in a single setting— Banville sets to work the themes that have characterised his output —the search for existential meaning, melancholy reflection on the passing of time, a fascination with beauty, creativity and desire as the prime movers of human life, tensions within couples, the challenges of relationships between parents and children, professional rivalries...— though from an unprecedented angle: the influence (or the meddling) of the gods in human affairs.</p><p>The writer takes us to a somewhat decaying, gloomy country house in the middle of the Irish countryside, Arden, where several members of the family that owns it, the Godleys, have gathered to bid farewell to the patriarch, Adam, who lies in a coma, awaiting —according to his personal physician— certain death.</p><p>The patriarch of the Godley family, an admired mathematician, lies in bed in a deep coma from which his doctor insists he will not wake. His inner circle has gathered at the family estate, led by his second wife, Úrsula, and his two children, pitted against each other since childhood for their father's favour and mired in their own romantic turmoil. As they all mentally go over the tensions and grievances that divide them, no one suspects that the patriarch, far from being a vegetable, retains a very lucid consciousness. The unexpected arrival of several visitors with unclear intentions will further unsettle the atmosphere; perhaps those newcomers are the gods themselves who, mischievous and playful, watch every act of this family and even step in to steer its course.</p><p>Such a delicate occasion invites each of them to review their personal history and their relationship with the dying man, as well as their own stage in life, marked by romantic unease, grievances and doubts. The intrusion of a series of secondary characters —some expected, some not— with unclear intentions will help to tangle and sour an atmosphere that is already disconcerting and hard to manage. What none of them realise is that certain gods, in particular Hermes, who narrates the story, follow every one of their steps and musings with a cheerful, mischievous mood, and do not hesitate to resort to the most varied subterfuges to take advantage of them or influence their decisions. Nor can they know that the patriarch, beneath the vegetative state he is assumed to be in, not only perceives the movements around him but is plunged into a very deep, reflective lucidity, obsessed to the end with the great questions about the universe that his mathematical formulas revolutionised, and with taking stock of a life heavily marked by the guilt of having neglected his loved ones.</p><hr><div class="columns gap"><div class="w40 align-center"><a href="https://www.amazon.co.uk/dp/B003E1BGUA?tag=bornet-21" target="_blank" rel="sponsored noopener"><img src="https://m.media-amazon.com/images/I/91PucbQZMmL._SL1500_.jpg" width="300" height="475" loading="lazy"></a></div><div class="w60"><h3>&nbsp;</h3><h3>Even the gods meddle in family affairs</h3><p>In <em><strong>The Infinities</strong></em>, John Banville brings a family together in a fading Irish country house to say goodbye to its dying patriarch.&nbsp;</p><p>There are old grievances, difficult relationships, secrets and scores still to be settled. And, as if that weren't enough, <strong>the gods are watching from very close by — and they don't always content themselves with simply watching</strong>.</p><p>A novel about mortality, desire, family and our place in the universe, told with Banville's characteristic wit and sumptuous prose.&nbsp;</p><p class="text-align-center"><a class="button" href="https://www.amazon.co.uk/dp/B003E1BGUA?tag=bornet-21" target="_blank" rel="sponsored noopener">Discover The Infinities by John Banville on Amazon</a></p></div></div><hr><h2>The author</h2><p>John Banville has worked as an editor at <em>The Irish Times</em> and is a regular contributor to <em>The New York Review of Books</em>. With <em>The Book of Evidence</em> (Alfaguara, 2014) —later collected in <em>The Freddie Montgomery Trilogy</em> (Alfaguara, 2020), together with <em>Ghosts</em> and <em>Athena</em>— he was a finalist for the Booker Prize, which he won in 2005 with <em>The Sea</em> (Alfaguara, 2019), also named novel of the year by the Irish Book Award. The writer went on to write his cycle of crime novels, centred on the forensic pathologist Quirke and set in the Dublin of the 1950s and 1960s, under the pseudonym Benjamin Black.</p> <dl class="field field--name-field-link field--type-link field--label-hidden"> <li class="field__items"><a href="https://allabor.net/myriam-bo">Myriam BO</a> </li> </dl> <div class="field field--name-field-tags field--type-entity-reference field--label-hidden field--tags"> <ul class="links field__items field--tags__items"> <li class="field--tags__item"><a href="https://allabor.net/about-books" hreflang="en">books</a></li> <li class="field--tags__item"><a href="https://allabor.net/about-culture" hreflang="en">culture</a></li> </ul> </div> Sun, 11 Oct 2026 09:19:27 +0000 Myriam 497 at https://allabor.net https://allabor.net/es/canal/consultia-business-travel-impulsa-la-gestion-agil-de-viajes-corporativos <span>Consultia Business Travel drives agile corporate travel management</span> <span><span>cluster</span></span> <span><time datetime="2026-10-07T09:12:10+01:00" title="Wednesday, October 7, 2026 - 09:12">Wed, 10/07/2026 - 09:12</time> </span> <figure class="align-center mb-3 field field--name-field-image field--type-entity-reference field--label-hidden field__items"><div class="media media--type-image media--view-mode-default"> <img title="Consultia Business Travel event" alt="Group photo of the attendees — executives and travel managers — at the Consultia Business Travel event, smiling together on a rooftop terrace at dusk with the city skyline behind them." loading="lazy" src="https://allabor.net/arc/n/img/2026/10/consultia-business-travel-meeting-dima-1200.jpg" width="1200" height="800"> </div> </figure><p>Executives and travel managers at large corporations are calling for a single solution that integrates the entire range of mobility, makes real-time data easy to access and cuts the bureaucracy of traditional management.</p><p><a href="https://allabor.net/consultia-business-travel">Consultia Business Travel</a> brought together executives and travel managers from large corporations at the Hotel Riu Plaza España to examine the evolution of business travel and companies' new needs in managing their professional trips.</p><p>Among the main demands raised during the meeting was the need to put an end to market fragmentation through a single tool that brings the entire travel offering together on one screen, with real-time information and without having to turn to different platforms or request reports and invoices manually. Companies also called for greater autonomy and accessibility for their workforces, simpler document management and reliable support in the face of changes, cancellations and unforeseen events.</p><p>Attendees particularly valued solutions capable of unifying the whole travel ecosystem on an agile, intuitive platform, with reliable data, the ability to configure it according to each company's policies and the integration of the various transport options. They also highlighted the importance of combining technology with a proactive, specialised human service.</p><blockquote><p>"The enriching conversations held during this meeting reflect how technology is essential to gaining efficiency, control and management capacity, but on its own it is not enough. Companies need end-to-end solutions backed by a deep knowledge of business travel, capable of evolving alongside the market and offering a constant response to the new challenges of corporate mobility — and that is precisely the philosophy with which we developed Destinux," explains Ignacio González, general manager of Consultia Business Travel.</p></blockquote><h3>An increasingly fragmented mobility landscape</h3><p>These demands come at a time of transformation in the market. The expansion of the NDC (New Distribution Capability) model is reshaping air distribution and requiring management platforms to integrate an ever-wider offering. Consultia has recently added Air Europa's NDC content to Destinux, joining that of Iberia, British Airways, American Airlines, Air France-KLM, Lufthansa, TAP Air Portugal and Vueling.</p><p>In the rail sector, the arrival of new high-speed operators has also broadened the alternatives, but has increased the fragmentation of the offering. Destinux brings together operators such as Renfe, Iryo, OUIGO, Deutsche Bahn, Trenitalia and National Rail, among others, within a single environment.</p><p>The aim is that the growth of the offering should not mean greater complexity for companies, making it easier to control travel policies, spending and the traceability of bookings.</p> <dl class="field field--name-field-link field--type-link field--label-hidden"> <li class="field__items"><a href="https://allabor.net/consultia-business-travel">Consultia Business Travel</a> </li> </dl> <div class="field field--name-field-tags field--type-entity-reference field--label-hidden field--tags"> <ul class="links field__items field--tags__items"> <li class="field--tags__item"><a href="https://allabor.net/about-event" hreflang="en">event</a></li> <li class="field--tags__item"><a href="https://allabor.net/about-press-release" hreflang="en">press release</a></li> <li class="field--tags__item"><a href="https://allabor.net/about-travel" hreflang="en">travel</a></li> </ul> </div> Wed, 07 Oct 2026 08:12:10 +0000 cluster 496 at https://allabor.net https://allabor.net/es/canal/trenes-y-viajes-de-empresa <span>Business travel by train</span> <span><span>cluster</span></span> <span><time datetime="2026-10-06T09:23:09+01:00" title="Tuesday, October 6, 2026 - 09:23">Tue, 10/06/2026 - 09:23</time> </span> <figure class="align-center mb-3 field field--name-field-image field--type-entity-reference field--label-hidden field__items"><div class="media media--type-image media--view-mode-default"> <img title="Business travel by train" alt="A bearded businessman in a grey suit and glasses sits by a train window, using a tablet and smiling; a coffee cup sits on the table and a leather briefcase beside him." loading="lazy" src="https://allabor.net/arc/n/img/2026/10/viaje-empresa-consultia-1200.jpg" width="1600" height="1067"> </div> </figure><p>Having become the first technology operator to integrate Iryo's offering, Consultia Business Travel allows organisations to assess transport modes, prices, timetables and environmental impact in real time within the same purchasing flow, for their corporate travel.</p><p>The map of corporate mobility in Spain is undergoing a structural reconfiguration. The arrival of new high-speed operators and the increase in frequencies on the main peninsular corridors have established rail as the preferred option for business travel. However, the rise in competition has introduced a commercial fragmentation that shapes the day-to-day operations of procurement, finance and human resources departments.</p><p>The coexistence of multiple rail companies, each with its own pricing policies, change conditions and distribution channels, has increased the complexity of decision-making. When ticket searching and purchasing is carried out in a dispersed way across independent portals, organisations face a phenomenon of booking leakage. This practice not only pushes up the final cost of the trip by making like-for-like comparison harder, but also dilutes budget control and complicates the consolidation of administrative data.</p><p>In response to this dispersion, corporate policies are evolving towards centralised booking models. The need to access the entire commercial offering from a single environment answers a twofold strategic requirement: optimising direct spending and strictly meeting sustainability (ESG) objectives. On medium-distance journeys, the time factor is no longer measured solely by the length of the journey, but by the ability to process the booking immediately and assess the carbon footprint associated with the trip.</p><p>This shift is also reflected in companies' mobility habits internationally. According to a report by the Global Business Travel Association (GBTA), rail is gaining ground in business travel: 60% of the professionals surveyed in Europe say they used the train as a means of transport during their business trips in 2025.</p><p>Against this backdrop of transformation in the sector, <a href="https://allabor.net/consultia-business-travel">Consultia Business Travel</a>, the firm specialising in business travel management, has completed the technical and uniform integration of the various high-speed rail brands — such as Renfe (AVE and Avlo), Iryo, OUIGO, Deutsche Bahn, Trenitalia, National Rail and other European operators — into its management platform, Destinux®.</p><blockquote><p>"The arrival of new players in high-speed rail has brought greater competitiveness to the market, but it has also added an unprecedented degree of complexity to the management of corporate bookings. When the offering multiplies, requiring companies or travellers themselves to consult different platforms creates operational inefficiencies and a loss of control over spending. The solution is not to restrict options, but to integrate the entire offering into a single channel. Enriching the availability of all mobility solutions within a single solution allows organisations to make objective decisions, aligned with their budgets and their environmental commitments at the very moment the booking is made," says Ignacio González, general manager at Consultia Business Travel.</p></blockquote><p>This unified integration within the corporate booking engine allows companies to automate the application of their internal policies. With the full catalogue of timetables, classes and fares available in a single interface, travel managers and employees themselves can compare the available alternatives in real time without leaving the company's control environment. Automating the process reduces administrative processing times and ensures the systematic application of the negotiated corporate conditions.</p><p>The unification of ticket purchasing reflects a change in the management of corporate resources. Business mobility is leaving operational fragmentation behind to adopt integrated systems where budget efficiency and the productivity of employees in transit are managed from a single point of control.</p> <dl class="field field--name-field-link field--type-link field--label-hidden"> <li class="field__items"><a href="https://allabor.net/consultia-business-travel">Consultia Business Travel</a> </li> </dl> <div class="field field--name-field-tags field--type-entity-reference field--label-hidden field--tags"> <ul class="links field__items field--tags__items"> <li class="field--tags__item"><a href="https://allabor.net/about-press-release" hreflang="en">press release</a></li> <li class="field--tags__item"><a href="https://allabor.net/about-travel" hreflang="en">travel</a></li> <li class="field--tags__item"><a href="https://allabor.net/about-business" hreflang="en">business</a></li> </ul> </div> Tue, 06 Oct 2026 08:23:09 +0000 cluster 495 at https://allabor.net https://allabor.net/es/consultia-business-travel <span>Consultia Business Travel</span> <span><span>cluster</span></span> <span><time datetime="2026-10-05T08:55:24+01:00" title="Monday, October 5, 2026 - 08:55">Mon, 10/05/2026 - 08:55</time> </span> <div class="layout layout--onecol"> <div class="layout__region layout__region--content"> <div class="block block-layout-builder block-extra-field-blocknodeentrylinks"> <div class="block__content"> </div> </div> <div class="block block-layout-builder block-field-blocknodeentrybody"> <div class="block__content"> <div class="text-content clearfix field field--name-body field--type-text-with-summary field--label-hidden field__items"> <div class="field__item"><p>Consultia Business Travel is a Spanish company specialising in the comprehensive management of business travel. Founded in 2010 with the aim of transforming and digitalising corporate mobility, the company combines expert personal advice with the development of advanced technological solutions. Through Destinux, its own global corporate travel management solution, organisations automate and centralise the entire travel process — from booking and expense management to data analysis and the measurement of environmental impact (ESG) — within a single digital environment, ensuring budgetary efficiency and compliance with internal travel policies, always supported by the company's professionals. In addition, Destinux® is the first SaaS in the Business Travel sector to be certified to the ISO 27001 standard, attesting to the highest standards of security in the management and protection of information.</p><p><a href="https://allabor.net/channel/business-travel" hreflang="en">Business travel</a></p><hr></div> </div> </div> </div> <div class="block block-layout-builder block-field-blocknodeentryfield-link"> <div class="block__content"> <div class="mb-3 field field--name-field-link field--type-link field--label-inline field__items"> <b class="field__label">Link</b><a href="https://www.consultiatravel.es/en/home-en/" rel="nofollow" target="_blank">Consultia Business Travel website</a> </div> </div> </div> <div class="block block-layout-builder block-field-blocknodeentryfield-tags"> <div class="block__content"> <div class="field field--name-field-tags field--type-entity-reference field--label-hidden field--tags"> <ul class="links field__items field--tags__items"> <li class="field--tags__item"><a href="https://allabor.net/about-business" hreflang="en">business</a></li> </ul> </div> </div> </div> </div> </div> Mon, 05 Oct 2026 07:55:24 +0000 cluster 494 at https://allabor.net https://allabor.net/es/canal/un-cafe-con-javier-marias <span>Coffee with Javier Marías</span> <span><span>Myriam</span></span> <span><time datetime="2026-10-04T09:18:25+01:00" title="Sunday, October 4, 2026 - 09:18">Sun, 10/04/2026 - 09:18</time> </span> <figure class="align-center mb-3 field field--name-field-image field--type-entity-reference field--label-hidden field__items"><div class="media media--type-image media--view-mode-default"> <img title="Javier Marías. © El País" alt="Retrato del escritor Javier Marías sentado ante una máquina de escribir, con la mano apoyada en la mejilla y un cigarrillo entre los dedos, frente a una estantería llena de libros." loading="lazy" src="https://allabor.net/arc/n/img/2026/09/5db6649d62ef-javier-marias.jpg" width="1200" height="800"> </div> </figure><p>Four years ago, the Spanish writer Javier Marías died, leaving a literary legacy of sixteen novels —among them <em>The Man of Feeling</em>, <em>A Heart So White</em>, <em>Tomorrow in the Battle Think on Me</em> and <em>The Infatuations</em>— as well as 23 collections of articles and essays, prologues and short pieces scattered across newspapers, magazines and occasional publications. His work has been published in forty-six languages and fifty-nine countries, with nine million copies sold.</p><p>Recently, his publisher has gathered more than sixty texts written between 2001 and 2020, more than a dozen of which had never been published in Spanish. <em>Aquí me paro</em> reveals the many, often unknown, facets of one of the essential names in recent literature.</p><p>Some of these writings had been scattered across periodicals or had appeared in books published in other languages. The author himself had conceived the project of bringing this material together in 2020, a plan left unfinished by his death in September 2022.</p><p>The result is much more than a compilation of scattered pieces: <em>Aquí me paro</em> can be read almost as an intellectual self-portrait. The book is organised into seven broad territories: autobiographical memories; reflection on his own work and the creative process; politics and society; cinema and television series; football; literature and the writers who shaped his world; and tributes to figures he admired. To these is added, as an appendix, the statement with which he rejected, in 2012, the National Narrative Prize awarded to <em>The Infatuations</em>.</p><p>In these pages we meet the most intimate Javier Marías, returning to childhood, family and memory; the novelist who tries to explain —and often declares himself unable to explain— where a novel comes from and how its writing progresses; the reader of Shakespeare, Cervantes, Quevedo, Conrad, Lampedusa and Juan Benet; the passionate viewer capable of thinking about the world through John Ford or <em>The Sopranos</em>; and the football fan who turns a match, a player or a memory of Real Madrid into material for reflecting on time, emotion, loyalty or loss.</p><p>But one of the greatest attractions of <em>Aquí me paro</em> lies in seeing the extraordinary relevance of many of his observations. Written ten, fifteen or more than twenty years ago, many of the texts seem to speak directly to the present.</p><p>In 2011 he wrote about a present in which the duration of things was shrinking "at breakneck speed", to the point that a film, a piece of music or a book seemed to become past from the very moment of its appearance. And in another text he observes an ever more "shouty" and exhibitionist world, saturated with come-ons, information and overexposure, in which the individual's attention and capacity for concentration are necessarily limited. Read from our own present, these pages take on a resonance that is hard to ignore.</p><p><em>Aquí me paro</em> thus confirms that Javier Marías was not only one of the great contemporary Spanish novelists, but also an intellectual deeply attentive to the mechanisms by which we tell and interpret. His thought never separates entirely from literature: even when he talks about politics, football, cinema or everyday life, his gaze turns towards language, memory, time, fiction, individual responsibility and the contradictions of human behaviour.</p><p>For those who know his work, the book offers a reunion with his intelligence, his irony, his independence of judgement and an immediately recognisable prose, as well as access to a hitherto scattered area of his writing. For those who have read his novels, it offers a privileged way into the thinking that accompanies and illuminates them.</p><h2>Honours</h2><p>In 1997 he received the Nelly Sachs Prize; in 1998, the Comunidad de Madrid Prize; in 2000, the Grinzane Cavour and Alberto Moravia prizes; in 2008, the Alessio and José Donoso prizes; in 2010, The America Award; in 2011, the Nonino Prize and the Austrian State Prize for European Literature; in 2012, the Terenci Moix Prize; in 2013, the Formentor Prize; in 2015, the Bottari Lattes Grinzane Prize; and in 2017, the Liber Prize, all of them for his body of work.</p><hr><div class="columns gap"><div class="w40 align-center"><p><a href="https://www.amazon.co.uk/dp/B0H17B4PXQ?tag=bornet-21" target="_blank" rel="sponsored noopener"><img src="https://m.media-amazon.com/images/I/71SHYHXegnL._SL1500_.jpg" width="300" height="474" loading="lazy"></a></p></div><div class="w60"><h3>Javier Marías: a literary voice that still has much to say</h3><p>In <em><strong>Aquí me paro</strong></em>, readers can rediscover Javier Marías through a collection of essays, articles, speeches and reflections, many of which were previously scattered across publications or difficult to find.</p><p>Literature, cinema, politics, football and personal memories come together in this posthumous collection, revealing lesser-known sides of one of Spain's most distinguished contemporary writers.</p><p><strong>A chance to revisit Marías's unmistakable blend of wit, insight and melancholy.</strong> For long-standing admirers, it offers another encounter with a familiar literary voice; for newcomers, an intriguing introduction to the man behind the novels.</p><p><em>This is the Spanish-language edition. The book has not been translated into English.</em></p><p class="text-align-center"><a class="button" href="https://www.amazon.co.uk/dp/B0H17B4PXQ?tag=bornet-21" target="_blank" rel="sponsored noopener">See price and availability on Amazon</a></p></div></div><hr> <dl class="field field--name-field-link field--type-link field--label-hidden"> <li class="field__items"><a href="https://allabor.net/myriam-bo">Myriam BO</a> </li> </dl> <div class="field field--name-field-tags field--type-entity-reference field--label-hidden field--tags"> <ul class="links field__items field--tags__items"> <li class="field--tags__item"><a href="https://allabor.net/about-books" hreflang="en">books</a></li> <li class="field--tags__item"><a href="https://allabor.net/about-culture" hreflang="en">culture</a></li> <li class="field--tags__item"><a href="https://allabor.net/about-literary-review" hreflang="en">literary review</a></li> </ul> </div> Sun, 04 Oct 2026 08:18:25 +0000 Myriam 493 at https://allabor.net https://allabor.net/es/canal/el-tunel-la-confesion-de-un-hombre-que-lo-razona-todo <span>The Tunnel: the confession of a man who reasons everything through</span> <span><span>alexvela</span></span> <span><time datetime="2026-09-30T09:47:14+01:00" title="Wednesday, September 30, 2026 - 09:47">Wed, 09/30/2026 - 09:47</time> </span> <figure class="align-center mb-3 field field--name-field-image field--type-entity-reference field--label-hidden field__items"><div class="media media--type-image media--view-mode-default"> <img title="Ventana al mar" alt="Silueta de un hombre de espaldas asomado a una ventana de piedra que enmarca el mar en calma al atardecer, con un cabo recortándose a la derecha y el sol reflejándose sobre el agua." loading="lazy" src="https://allabor.net/arc/n/img/2026/09/31478482d0cc-silueta-ventana-mar.jpg" width="1200" height="800"> </div> </figure><p>Some novels open with a crime and spend the rest of their pages hunting for the culprit. <em>The Tunnel</em> opens with the culprit introducing himself. In the very first line, the painter Juan Pablo Castel announces that he is the man who killed María Iribarne, and from then on there is no mystery left to solve. All that remains is to listen to him, and that is precisely the problem.</p><p>It all begins at an exhibition in Buenos Aires. Among the visitors, a woman stops in front of a tiny detail in one of his paintings: a small window in the corner of the canvas, with a solitary figure gazing out to sea. Nobody else had noticed it. Castel becomes convinced that this stranger is the only person capable of understanding him, and what begins as hope soon hardens into obsession.</p><p>The novel's great strength is that everything is told from inside that head. Castel is not a raving madman but someone who reasons relentlessly. He analyses every sentence María speaks, every silence and every delay, and builds ever more elaborate and ever more absurd theories on top of them. The logic is flawless; the premises are deranged. The effect is unsettling, because for many pages it is hard to pinpoint exactly where the reasoning goes wrong.</p><p>Published in 1948, the novel breathes the air of existentialism, the philosophical movement that placed the loneliness of the individual and the absurdity of existence at the centre of everything. Its closest relative is <em>The Outsider</em> by Albert Camus, another short novel narrated by a killer who talks about his crime with disconcerting coldness. Fittingly, Camus himself admired <em>The Tunnel</em> and championed its publication in France. But where Camus's narrator is indifferent to everything, Castel is the exact opposite: he cares far too much.</p><p>Read today, the novel feels uncomfortably current. Castel's jealousy, his need to know where María is at every moment and his conviction that she belongs to him match what would now be recognised without hesitation as coercive control. The series <em>You</em>, in which a stalker calmly and politely narrates his fixation on a woman, relies on the same device: hand the voice to the perpetrator and let him condemn himself. Sabato did it seventy years earlier, and without any romantic alibi.</p><p>Not everything works equally well. Around the midpoint, Castel's reasoning starts to repeat itself, and the tension stalls in a loop of suspicion and reproach. There is also the question of María, who never exists beyond the gaze of the man pursuing her. It is a choice consistent with the novel's form, but it leaves a noticeable gap: the reader learns everything about the obsessed man and almost nothing about the woman he is obsessed with.</p><p>Even so, few novels this short leave such a lingering impression. It can be read in an afternoon, almost in one sitting, and by the end its title makes complete sense: the tunnel is the place from which Castel views the world, dark, narrow and with no exit except the one he invents for himself.</p><hr><div class="columns gap"><div class="w40 align-center"><a href="https://www.amazon.co.uk/dp/0141194545?tag=bornet-21" target="_blank" rel="sponsored noopener"><img src="https://m.media-amazon.com/images/I/71IXFU+T4jL._SL1500_.jpg" width="300" height="460" loading="lazy"></a></div><div class="w60"><h5>&nbsp;</h5><h5>An obsession that becomes a tunnel</h5><p>In <em><strong>The Tunnel</strong></em>, Ernesto Sábato takes us inside the mind of Juan Pablo Castel, a solitary, tormented painter who becomes obsessed with María, the only person who seems to have truly understood one of his paintings.</p><p>Short, intense and unsettling, the novel explores <strong>loneliness, jealousy, the failure to communicate and romantic obsession</strong>, leading the reader into the darker reaches of its protagonist's mind. A classic of Argentine literature and an excellent introduction to Sábato's work.</p><p class="text-align-center"><a class="button" href="https://www.amazon.co.uk/dp/0141194545?tag=bornet-21" target="_blank" rel="sponsored noopener">Discover <em>The Tunnel</em> by Ernesto Sábato on Amazon</a></p></div></div><hr><h2>About the author</h2><p>Ernesto Sabato (Rojas, Argentina, 1911 – Santos Lugares, 2011) earned a doctorate in physics and worked at the Curie Laboratory in Paris before abandoning science for literature. He wrote only three novels: <em>The Tunnel</em>, <em>On Heroes and Tombs</em> and <em>Abaddón el exterminador</em>. In 1984 he received the Cervantes Prize, the most prestigious award in Spanish-language literature. That same year, the commission he chaired delivered <em>Nunca más</em> (<em>Never Again</em>), the report documenting the disappearances under Argentina's military dictatorship. <em>The Tunnel</em> has been adapted for the cinema more than once.</p><hr><p><em>To continue the series: </em><a href="https://allabor.net/chronicle-of-a-death-foretold-review"><em>Chronicle of a Death Foretold</em></a><em> by Gabriel García Márquez, another novel that reveals the crime from the start and focuses on how it happened, and The Metamorphosis by Franz Kafka, with another protagonist trapped in a loneliness with no way out.</em></p> <dl class="field field--name-field-link field--type-link field--label-hidden"> <li class="field__items"><a href="https://allabor.net/canal/clasicos-que-merece-la-pena-leer">Classic books worth reading</a> </li> </dl> <div class="field field--name-field-tags field--type-entity-reference field--label-hidden field--tags"> <ul class="links field__items field--tags__items"> <li class="field--tags__item"><a href="https://allabor.net/about-books" hreflang="en">books</a></li> <li class="field--tags__item"><a href="https://allabor.net/about-culture" hreflang="en">culture</a></li> <li class="field--tags__item"><a href="https://allabor.net/about-literary-review" hreflang="en">literary review</a></li> </ul> </div> Wed, 30 Sep 2026 08:47:14 +0000 alexvela 492 at https://allabor.net https://allabor.net/es/canal/feliz-cumpleanos-snoopy <span>Happy Birthday, Snoopy</span> <span><span>Myriam</span></span> <span><time datetime="2026-09-27T08:12:04+01:00" title="Sunday, September 27, 2026 - 08:12">Sun, 09/27/2026 - 08:12</time> </span> <figure class="align-center mb-3 field field--name-field-image field--type-entity-reference field--label-hidden field__items"><div class="media media--type-image media--view-mode-default"> <img title="Charlie Brown y Snoopy" alt="Dibujo a lápiz de colores de Charlie Brown, sonriente y sentado en la hierba apoyado en la caseta roja de Snoopy, con Snoopy durmiendo sobre el tejado, bajo un cielo azul con nubes y sol." loading="lazy" src="https://allabor.net/arc/n/img/2026/09/af5c47ec2cbb-snoopy-charlie-brown-caseta.jpg" width="1200" height="800"> </div> </figure><p>One of the best-loved and most famous comic strips is <em>Peanuts</em>, by Charles M. Schulz.</p><p>The story began on 2 October 1950, when Charlie Brown, Patty and Shermy first appeared in seven newspapers, and two days later Snoopy saw the light of day.</p><p>Its creator turned a childhood dream into one of the most influential comic strips of all time. During that first decade, the universe that millions of readers would later recognise took shape: Lucy, Linus, Schroeder and Sally joined the gang, while unforgettable elements were born, such as the security blanket, Schroeder's piano, the kite-eating tree, Lucy's psychiatric help stand and Snoopy's doghouse.</p><p>By the end of the 1950s, <em>Peanuts</em> had already begun to win over readers inside and outside the United States.</p><h2>Snoopy around the world</h2><p>In the 1960s, <em>Peanuts</em> ceased to be merely a newspaper strip and became an international cultural phenomenon. Its characters were already on television, in the cinema, in the theatre, in advertising and on all kinds of everyday objects. The work began to be translated all over the world, and Charlie Brown and Snoopy appeared on the covers of magazines such as <em>Time</em> and <em>Life</em>. The reach of Schulz's creation extended even into space: NASA adopted Snoopy as the symbol of its safety programme and, in 1969, the Apollo 10 modules were named Charlie Brown and Snoopy. By then, the gang no longer belonged solely to the newspapers: it had become part of popular culture.</p><h2>Charles Monroe Schulz</h2><p>He was born in 1922 and, shortly after his birth, was given the nickname "Sparky", inspired by Spark Plug, a popular racehorse from a comic strip of the time. From a very young age he felt a deep passion for drawing, and his ambition was to earn a living creating comics. His childhood unfolded during the Great Depression, among baseball, ice skating and pencils. He was a brilliant pupil and even skipped a grade. He was the youngest child in his class, which heightened a shyness that would stay with him throughout his life. Many of his insecurities, experiences and emotions were later reflected in Charlie Brown and the rest of the <em>Peanuts</em> characters.</p><p>His parents were decisive in shaping his character. His mother nurtured his artistic vocation by showing him an advertisement for drawing classes, while his father, who worked as a barber, instilled in him a steady, disciplined work ethic. Schulz needed years of effort and had to face numerous rejections before fulfilling his dream and becoming one of the most acclaimed cartoonists in the world.</p><h2>Family, his inspiration</h2><p>In 1951 he married Joyce Halverson. Schulz adopted the daughter she had from a previous relationship, and the couple had five more children. Family experiences and antics served as inspiration for many <em>Peanuts</em> scenes. After the series' first successes, the family moved in 1958 from Minnesota to California, where Schulz would develop much of his career.</p><p>After divorcing, he married Jean Clyde, whom he had met at the ice rink in Santa Rosa. His family life, his friendships, his hobbies and his own insecurities constantly fed the <em>Peanuts</em> universe. That is why the work can also be understood as an emotional autobiography of its creator: behind Charlie Brown, Snoopy, Lucy and Linus there was always a part of Charles M. Schulz.</p><p>The book <em>Peanuts, una historia visual de la legendaria tira cómica</em> is an essential tribute for the whole family, with images, strips and objects featuring the beloved Charlie Brown, Snoopy and their gang.</p><p>This tribute to Schulz and his endearing work reveals little-known sketches. It is a special book for immersing yourself in the artistic evolution of Snoopy, Charlie Brown and their friends while tracing the rich history of <em>Peanuts</em>, from its beginnings in 1950 to today, from California to Japan. Every page of this visual guide is a genuine treasure for collectors.</p><hr><div class="columns gap"><div class="w40 align-center"><a href="https://www.amazon.co.uk/dp/024140942X?tag=allabor-21" target="_blank" rel="sponsored noopener"><img src="https://m.media-amazon.com/images/I/91NsZR946CL._SL1500_.jpg" width="300" height="364" loading="lazy"></a></div><div class="w60"><h5>The Peanuts Book: A Visual History of the Iconic Comic Strip</h5><p>Celebrate more than 70 years of <strong>Charlie Brown, Snoopy and the Peanuts gang</strong> with this richly illustrated visual history of Charles M. Schulz’s iconic comic strip.</p><p>The book brings together rarely seen sketches, influential strips, evolving character artwork and collectors’ memorabilia, tracing <em>Peanuts</em> from its beginnings in 1950 to its worldwide cultural impact. With a foreword by Stephen Colbert, it is a nostalgic and beautifully presented volume for longtime fans, collectors and anyone interested in the history of one of the world’s most recognisable comics.</p><p class="text-align-center"><a class="button" href="https://www.amazon.co.uk/dp/024140942X?tag=allabor-21" target="_blank" rel="sponsored noopener">View The Peanuts Book on Amazon UK</a></p></div></div><hr> <dl class="field field--name-field-link field--type-link field--label-hidden"> <li class="field__items"><a href="https://allabor.net/myriam-bo">Myriam BO</a> </li> </dl> <div class="field field--name-field-tags field--type-entity-reference field--label-hidden field--tags"> <ul class="links field__items field--tags__items"> <li class="field--tags__item"><a href="https://allabor.net/about-books" hreflang="en">books</a></li> <li class="field--tags__item"><a href="https://allabor.net/about-literary-review" hreflang="en">literary review</a></li> <li class="field--tags__item"><a href="https://allabor.net/about-culture" hreflang="en">culture</a></li> </ul> </div> Sun, 27 Sep 2026 07:12:04 +0000 Myriam 491 at https://allabor.net