This book is an illustrated popular science work of an informative nature, which presents the fauna of the Palaeolithic period and European cave art in the form of a bestiary.
This book can therefore be classified within the didactic genre as a text on Biology, more specifically in the field of Palaeontology and Natural History.
This is a first edition published by Libros del Zorro Rojo in 2011. This publishing house was founded in Barcelona in 2004 and its main aim is to publish illustrated books, emphasising the dialogue between image and text in its various works. Consequently, its catalogue includes children’s literature (illustrated books and picture books), as well as books for young adults and adults (literary classics reinterpreted through illustration, books on art, nature and knowledge, and works of critical thinking on complex topics). This book is not available in English.
Publication date: 1998
Country: France
Pages: 80
Reading date: May 2026
Rating: 3/5
Ianna Andréadis (Athens, Greece, 1960–) is an artist, painter, photographer and author of several books. In 1978, she studied painting and lithography at the École Nationale Supérieure des Beaux-Arts in Paris, and subsequently developed an interest in prehistory, taking part in archaeological projects. Her work combines her various fields of study, with a prominent focus on animals, nature and travel, particularly around East Africa. She was awarded the New Horizons Prize at the Bologna Children’s Book Fair in 2006, and also undertook an international photography project to mark the 2004 Athens Olympic Games.
Other books published by her are:
Cactus (2005)
Days/Tonaltin (2005)
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I have always been fascinated by learning about Natural History, about our planet’s past and the wildlife that inhabited it. In this context, cave art has really sparked my imagination. It is a form of art which means many things: the beginnings of human artistic expression, the connection between human beings and their environment and nature, the earliest religious and spiritual symbols… Knowing how fascinated I am by this subject, a very special person gave me this book as a present. We both love bestiaries, although that’s something she’s passed on to me, as I hadn’t paid much attention to them before. So, being able to explore prehistoric wildlife through a book like this is an opportunity that has opened up for me thanks to the fabulous gift of this illustrated volume.
«Imagine these regions teeming with mammoths, rhinoceroses, lions, panthers, bears… As I looked at the paintings inside the ornate caves or the books that are sacred to them, I tried to capture the precise gestures of prehistoric people and to show different interpretations of the same animal. Imagine…«.
Ianna Andréadis
The book contains very little text. Each pair of pages features an illustration of a prehistoric animal – specifically, a cave painting of that animal – along with the animal’s name. The fauna depicted is quite varied: bison, rhinoceroses, horses, goats, deer, wild boars, owls, mammoths, lions, bears, fish, aurochs, etc. At the end of the book, there is also an index listing all the illustrations of each animal alongside the page on which it appears and, interestingly, the geographical location of the cave painting in question (all of which are in Spain and France).
«They did not create those paintings simply for pleasure, nor did they explore those gloomy galleries merely for the sake of adventure. They believed they were entering the realm of the dark forces, a supernatural world where spirit-animals were present within the rock itself; by the stroke of their hand, they summoned them, ready to appear before them. They believed that their drawings enabled them to make contact with these spirits, to draw upon their powers and their benevolence».
Jean Clottes
On the one hand, it was a quick read and a real pleasure if you’re into cave art, the history of humankind and animals. I also thought it was brilliant to know which site or cave each cave painting is found in. However, perhaps because of my fascination with the subject, I found the book a bit too simplistic. I would have liked a section discussing cave art in greater depth, a wider range of wildlife depicted at other sites or in caves beyond Spain and France, and perhaps some description of the relationship between humans and each animal featured, taking into account the artwork, the location, and so on.
«These paintings, remnants of ceremonies and beliefs long since forgotten, continue to speak to us. Through them, we can glimpse the way of thinking, the lives, the joys, the sorrows and the hardships of people who, despite having lived so many millennia ago, were not so different from us».
Jean Clottes
In conclusion, the book is highly original, as I am not aware of any other bestiary featuring prehistoric fauna, and I find it of great interest from a natural history perspective if you enjoy these topics. However, it is, in my opinion, far too short if this is a subject you are fascinated by. Once you’ve finished the book, you’re left wanting more and feeling that it wasn’t quite enough. Perhaps it’s because I’m not used to reading illustrated works, but personally speaking, I would have liked a little more text and detail.
Some reflections:
Can we regard as art images created thousands of years before our current concept of ‘art’ even existed?
What differences do you notice between the way prehistoric humans depicted animals and the way we depict them today?
How does it make you feel to look at images today that were created thousands of years ago?
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This book is a personal and philosophical essay on the experience of living with depression.
This book can therefore be classified within the didactic genre as an essay and further categorised within the field of Psychology.
This is a first edition published by Katz Editores. The publishing house was founded in 2006 and aims to contribute to the spread of knowledge, as well as to challenge many of the ideas shaping contemporary worldviews. They define themselves as a space for diverse dialogue and a forum for critical exchange. As such, they seek to cover texts on politics, sociology, history, cultural studies, law, communication and other disciplines. This book is available in English.
Publication date: 2019
Country: Netherlands
Pages: 141
Reading date: August 2023
Rating: 5/5
About the author of the book, Eva Meijer (Hoorn, Netherlands, 1980–) is a writer, philosopher and artist, recognised for her work exploring the relationships between humans, animals, language and politics. Trained in Fine Arts and Philosophy, Meijer was awarded a PhD cum laude in Philosophy from the University of Amsterdam in 2017. Throughout her career, she has combined academic research with literature, challenging the boundaries traditionally separating human experience from that of other animals. Her book «When Animals Speak: Toward an Interspecies Democracy», published in 2019, was awarded the ASCA Book Award in 2020. She has published nine novels, as well as numerous short stories and poems.
Other books published by her are:
Animal Languages: The secret conversations of the living world (2016)
Bird Cottage (2016)
Don’t Confuse This With Absence: On Political Silences (2022)
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After finishing my Internship as a Mental Health Nursing Resident (EIR)in Zaragoza, I decided to take a sabbatical summer and went on several trips during that time. One of them was a trip to Benidorm with my mum and my brother. I read this book at that time. I can’t remember where I bought it – whether it was online, at a talk, or in a bookshop. The point is that it was a very timely read. I was able to take my mind off the subject of mental health, yet at the same time not forget what’s important, thanks to reading this book, which I fondly remember as one of my favourites from 2023.
«This essay reflects this; it is a brief philosophical exploration of depression in which I draw on my own experiences. Not to lay myself completely bare without omitting a single detail, as Rousseau writes at the beginning of Confessions. I am not interested in sketching a true picture of my life to date or in creating a self-portrait; I use my own life as a lens through which to investigate the structure and meaning of depression. This is only a small part of what I could say about myself (and facts turned into words always diverge from the events on which they are based); but it is nonetheless an important part of my life, and something that has shaped me profoundly. I do not believe that a better understanding of what depression is can cure people. And yet, it has its value. Depression is more than a chemical problem: the issues that trouble people with depression are fundamental to the human condition. Furthermore, they are linked to all sorts of philosophical questions, such as the relationship between body and mind, language, autonomy, power relations and loneliness. This essay also deals with the other side of depression: animals, trees, other people, art; it deals with comfort and hope, and what can give meaning to life«.
Eva Meijer
In this work, Eva Meijer reflects on the experience of living with depression. Her reflection is not merely clinical, but also human, philosophical and poetic. It is not a book intended to assert any kind of absolute truth, but rather a work in which she reveals, in a personal and unique way, her own experience of depression and analyses many of these experiences through the lens of philosophical ideas. Throughout the book, the author engages in dialogue with various philosophers and authors in an attempt to understand her own experience.
«I didn’t feel ill; it seemed to me that I was a bad person, and everything I did was about getting rid of that feeling or pushing it aside. Night after night I would sit on the windowsill listening to music and smoking hand-rolled cigarettes, whilst writing poems, songs and also letters, which I would sometimes burn afterwards. Everything revolved around an abyss: this is how it is, I’m here alone, I do everything wrong; and so on».
«I see some of those thoughts (that I’m a bad person, that it’s all my fault) as largely untrue, and when they come back to me – in moments of tiredness, sadness or loneliness – I’m able to put them on hold. I can realise that, whilst it’s true I’m thinking those things at that moment, the situation is going to change; I’m tired or sad or feeling lonely, and it’s only natural that I should think that way. These thoughts don’t say anything about me; they say something about how my mind works. I usually realise this, but not always. When both life and my thoughts fall apart, become tangled and weave their dark threads around me, that technique no longer works quite so well for me. Then I start sleeping worse, and when I sleep worse I can no longer put things into perspective, and the wrong thoughts take root inside me, turning into feelings and vice versa; then they become covered in mould, which, after smothering joy, smothers logic, blurring it, until everything becomes grey and hazy”.
Eva Meijer
By not separating the definition of the symptoms of depression from, on the other hand, the actual experience of feeling depressed, the author succeeds in crafting poetic descriptions of great depth and meaning, in which the phenomenology of psychological suffering carries significant weight, rather than merely diagnostic or clinical language. Rather than presenting depression simply as sadness, she broadens the analysis to explore how one’s perception of time, the body, everyday life and relationships with others changes. This is something that is hard to find in other, more clinical books on depression.
«Often, when people write or talk about depression, they use strong words. I’ve always been averse to comparing depression to monsters, demons or beasts (especially dogs – after all, what have they done to deserve it?), and also to metaphors involving the colour black. Partly because these images are clichés, and partly because I see depression more as an absence than as a presence. Everything of value gradually fades away, and what remains is a bare rock. Fear and sadness can cause an excess of emotion; depression, on the other hand, strips away positive feelings until everything becomes more inhospitable and empty, leaving the way clear for negative feelings. Whilst fear or sadness often relate to what is worthwhile, depression shows that nothing is worthwhile. Nor is depression black, let alone pitch black. Dark, perhaps, in the sense that a night is dark when light withdraws from the world, so that the surroundings seem more dangerous and one cannot find one’s bearings as well: everything is silent, more so than during the day, and what remains there is harder to see”.
«In depression, moreover, the dimensions of time become intertwined. The future turns into a sort of repetition of the present (with a bit of luck you manage to get through the day, but often it’s a matter of enduring each moment), whilst the past becomes a strange fiction, more distant than usual: you know it was once good, but you find it incomprehensible how; it’s something you merely know but cannot feel. During a bout of depression, you find yourself faced with a new map of your life: everything that has happened up to that point is laid out before you once more, but this time from the perspective of depression. Events are coloured by memories, but the reverse also happens: memories take on the hue of your mood at any given moment. The past is not fixed; it haunts you (and, like any good pursuer, it regularly changes its disguise). Despair takes you back to a previous despair, which reinforces it, just as sadness brings another earlier sadness to the surface. Matters from the past can emerge unexpectedly; and during a bout of depression, it is always the bad things that surface, never the good ones. What you’re left with is an empty ‘now’: you can no longer find your bearings in time”.
Eva Meijer
Nor does the author limit herself to discussing depression, sadness or melancholy; she also tackles issues linked to communication. Topics such as vulnerability, sensitivity and the very nature of language are subjected to careful reflection, interwoven with the book’s central theme. Furthermore, as with the rest of the work, the poetic and complex nature of the themes addressed, in my opinion, does not hinder comprehension, as the language remains accessible and everyday.
«Incidentally, the simple act of talking to others – which is often seen as important or desirable for those struggling with mental health issues – is not always an option. During a bout of depression, we often have to put all our energy just into keeping ourselves going, and talking to friends or family can make this more difficult: it also confronts us with their sadness, their fear, their worries and their disbelief (of these, disbelief is the easiest to deal with). And sometimes talking is literally impossible: we may be at a loss for words. Depression isolates people from the rest of the world; it makes everything feel dead and cold”.
«Language can bridge the gap between us and others, yet it is also what separates us from them: just like our skin. Those who have a wider vocabulary, even if their emotional life is no richer than that of others (music is as rich as language, different languages offer different forms of expression, and many animals have non-verbal forms of communication), do have a richer palette with which to interpret and make sense of that emotional life».
«It also works the other way round: perhaps my sensitivity is the main reason why I get depressed, but it is also the reason why I am able to create the works I do. Although it may be a cliché, my vulnerability is at the same time my greatest weapon. My boundaries are porous; my skin is not a wall. What is outside flows easily in, and what is inside me always finds a way out. For my work, this constant back-and-forth between the world and myself is essential».
«After all, we are nothing but bodies; that is something we all share, including with other animals. That is where our vulnerability lies. Vulnerability is not something we should shake off or cast aside: it also shows us that things are worthwhile, and it can open the door to an encounter with the other – who is completely different but who, as a mortal being, is just as deeply rooted in the world».
Eva Meijer
In addition to everything discussed regarding the physical or perceptual experience of living with depression, the author also recounts her struggles with anorexia at certain points in her life. In these chapters of the book, one can see a link between emotional experience and the body itself, as well as our perception of it.
«It hurts not to exist in a body that does exist. I was always cold, always hungry. It’s a myth that anorexics aren’t hungry. At that time, I carried on studying philosophy and musicology for a year, but I remember very little of it. When I returned to university ten years later, it turned out I’d already passed ten modules. I only remembered that I had to sit a final exam again; I’d forgotten all the good marks I’d got».
«I spent several years like that, floating in a world alongside the real world, governed by strange rules about walking and cycling and, sometimes, eating an apple. My anorexia wasn’t about food or weight: it was an effective way of disappearing. The literal disappearance took place right before everyone’s eyes. Extreme thinness attracts attention and, in the eyes of others, turns you into a sick person, whilst at the same time acting as a mask. A body reduced to skin and bones becomes anonymous in a way: its shape disappears, and the person inhabiting it becomes a patient. But for me, it was about making other things disappear: the effort not to eat reduces almost your entire experience to thinking about food and your body, which makes it an effective way of distracting yourself from other problems».
Eva Meijer
On another note, there is a particular moment in the book that stands out, in which a more political and less intimate dimension emerges, bringing to the fore a critique of the clinical model which has a greater dominance in mental health – an individualistic model.
«Furthermore, there are people for whom the Western, individualistic model of treating depression does not work well. This model is based on a specific type of person – an atomistic consumer – and presents that consumer with an idealised image of themselves, which they can achieve by taking pills. But this ignores the fact that people are more than just consumers, and that they are always in relationships with others. It also ignores cultural differences. That is why, then, it is a good thing to take a critical look at our ideas and images of what is ‘mad’ and what is ‘sane’».
Eva Meijer
In conclusion, and looking back over the above and the book as a whole, it can be said that Eva Meijer not only attempts to describe depression from the inside but also explores the very difficulty of explaining it, for, as the title of the work suggests, language has its limits. This ties in with her reflections on animal ethics found in her other works, as it raises the question: what happens when words are not enough? It is also paradoxical, as the author uses language to show exactly where language fails.
I was also surprised that it was such a short book. The topics it addresses are complex, and I would not have known how to write about them so concisely and beautifully – something I greatly admire in the author. I think it leaves, if any, very few issues that would merit further elaboration; rather, the brevity of the work heightens its intensity and makes for a read that holds the reader’s attention.
As for areas for improvement, I would simply say that the balance between personal experience and theoretical or philosophical reflection is not always consistent. At times they enrich one another, but on other occasions there can be a certain scattering of ideas and a loss of narrative thread. In this respect, I believe that the brevity and fragmentation of the work are among its strengths, but also among its limitations. Formally, it does a good job of conveying an experience that is difficult to express and organise, but on the other hand, some of its insights might benefit from further elaboration, or at least give some readers that impression.
«We are connected to those around us – our colleagues or classmates, family members, friends; each of us is rooted in a social context that we take for granted, even though it can sometimes involve a great deal of friction. You chat with a colleague, joke with your neighbour, text your sister, ring your partner, stroke your cat. All these interactions create a thin layer around you that protects you from loneliness, and by this I do not mean those moments when we feel lonely, but rather the most fundamental existential awareness that, in truth, we are all alone. Depression not only robs you of the need to connect with others (to which one normally responds without a second thought), but it also makes it impossible to reach out to them. When you look around, you see only what separates you from others, not what you share with them».
Eva Meijer
Some reflections:
How does our experience change when we manage to tell others what is happening to us?
How does the way society talks about sadness, suffering or vulnerability influence the way we experience them?
Are there experiences or emotions that cannot be fully expressed in words? Why?
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This book is a popular sciencework aimed at introducing Philosophy to the non-specialist reader and teaching them to think critically about everyday problems.
It can therefore be classified within the didactic genre as a popular sociopolitical text, more specifically on the subject of education.
This is a first edition published by MiráHadas, a Spanish publishing house linked to another called Babidi-Bú. The latter was founded in 2013 and publishes books aimed at children and young people, whilst MiráHadas, founded in 2015, focuses on literature for adults. Both imprints are committed to and facilitate the publication of works by new authors. MiráHadas’s catalogue is quite extensive, with contemporary fiction making up the bulk of it. This book has not been translated into English.
Publication date: 2022
Country: Spain
Pages: 169
Reading date: March 2023
Rating: 4/5
As for the author, Myriam García Rodríguez (Oviedo, Spain, 1981–) is a Spanish philosopher, researcher, lecturer and science communicator. She holds a PhD in Philosophy and a Master’s degree in Social Studies of Science and Technology from the University of Oviedo. Her academic career has focused particularly on the Philosophy of Science, scientific culture and the teaching of Philosophy, with a special interest in the Philosophy for Children programme, as she is the director of the Filonenos Association in Asturias. As well as teaching Philosophy, she carries out important work in popularising and educating people about Philosophy, promoting dialogue and critical thinking amongst children and young people; this commitment to popularising Philosophy is also the inspiration behind this book.
At the beginning of 2022 I discovered a book by Chema Sánchez in a bookshop in Madrid where I worked as a volunteer for some months time ago. That book was El radiofonista pirado. It was my first contact with a text related to the Escuela de Pensamiento Libre. From then on I started to investigate what Filosofía para Niños was. I discovered their educational approach to be very stimulating and interesting. Since then I have only wanted to learn more about the project and the ideas behind it, as well as about the authors who nurture it.
On social media, some time after following the Spanish Association for Philosophy for Children, I saw an announcement about the publication of this book by an author linked to that association. The book’s premise – an introduction to philosophical thought for those unfamiliar with it – really piqued my curiosity, so I decided to buy it and read it as soon as it arrived in the post.
«An interpretation that remains as relevant as ever. Most people do not question the information they receive and prefer to believe the comforting lies that appeal to our most basic emotions, using them to underpin a ‘truth’ that is not really true, but which we want to believe. Fake news has a field day whilst we freely choose to live in a state of perpetual hypnosis».
Myriam García Rodríguez
I found the book an enjoyable and quick read, as the philosophical ideas it explains do not require any prior knowledge and are not written in academic language. As such, it is an accessible and concise popular science book that may be useful for people who are curious about Philosophy or for young people.
The book seeks to move away from teaching Philosophy as a history of authors and theories, and instead presents it as an activity that helps us to ask questions, argue, engage in dialogue and make decisions in our everyday lives.
Through stories, games, riddles and dilemmas, it brings to life a subject that many find daunting because it can sometimes be too theoretical. It is interesting to see how it addresses critical thinking, decision-making and the use of play as a learning method.
«Neil Postman defined ‘disinformation’ as confusing, incomplete or biased information that leads us to believe we know something when in fact it distances us from knowledge. And that is exactly what is happening to us. We live under the spell that information overload casts over our beliefs about reality, the truth and their consequences. Every day we receive a huge amount of information through the media and social media. The speed at which news is published, shared and retweeted makes it increasingly difficult to determine its veracity. Most people use ‘homemade’ filters. We tend to believe what comes from our inner circle, and we are more likely to accept posts that have received the most ‘Likes’. If, on top of that, the information aligns with our own beliefs and opinions, we believe ourselves to be safe from deception. But just because something seems true does not mean it is. So, how can we tell what is true and what is false? We must try to move as far away as possible from intuition and turn to more reliable strategies such as the laws of logical reasoning, distinguishing between better and worse arguments, and good and bad reasons”.
«People often think that play is a purely recreational activity, often trivial, which, at best, entertains us and, at worst, distracts us from our daily tasks and responsibilities. However, play is a much more complex and meaningful activity than is generally realised. Several scientific studies show that play enhances the quality and resilience of our nervous system, aids socialisation and improves our cognitive abilities. Through playing with others, and on their own, children learn to understand themselves better, identifying their strengths and weaknesses. Every game involves a certain degree of difficulty, with challenges and obstacles that must be overcome within a specific time and space. This effort and tension in play stimulate the development of our own aptitudes and skills, and foster creative ways of solving problems. Behind its playful nature, play conceals extraordinary potential for personal growth, which leads to self-esteem and an improved quality of life”.
Myriam García Rodríguez
On the other hand, the book’s greatest strength is also its weakness. I believe that, in its aim to be accessible, concise and practical, it may fall short for those with a background in philosophy. Nevertheless, I think it is worth refreshing one’s understanding of certain concepts.
Furthermore, the fact that the book is commercially categorised as self-help in some shops raises the question of whether applying philosophy to everyday problems actually works, or whether at times it bears too close a resemblance to the discourse of personal development.
On another note, many of the book’s resources – such as riddles, games and questions – work best in a shared reading setting, rather than for an individual reader. This is worth bearing in mind, as it alters the experience of the book.
«Empathy, solidarity, individual responsibility and collective effort are ethical values that will be fundamental in the society that lies ahead. To reflect on all this is to philosophise. As Terence said in the 2nd century BC, ‘nothing human is alien to me’. But not in the sense that I care more or less about it, but in the sense that every action of others influences us, and every action of our own has consequences for the reality of others. This spirit of active engagement, combined with the pursuit of what is good, just and beautiful in the world, and the use of the creative and intellectual powers with which we are endowed, are, in my view, the three most important contributions of philosophy to helping us face the times in which we live. These are heroic times that call on us to take life in our stride. Improving this ability depends largely on practice. It is therefore essential that we all have the opportunity to engage in dialogue on unresolved issues that require deliberation. This will help to develop the skills that enable critical, independent, creative and thoughtful thinking.”resueltas y que requieren deliberación. Ello va a ayudar al desarrollo de habilidades que posibiliten un pensamiento crítico, autónomo, creativo y cuidadoso».
Myriam García Rodríguez
In conclusion, reading this book has not taught me anything I did not already know about Philosophy, as it is a field I have been exploring for some time. However, I can say that I have learnt about – or at least gained an insight into – the difference between teaching Philosophy and teaching how to philosophise. And exploring the idea of using play as a way of teaching how to philosophise has struck me as original and enriching.
Some reflections:
What is your view on what Philosophy is? Do you consider it an important subject?
What does critical thinking mean to you?
Can you recall any playing experiences from your childhood or teenage years that you feel taught you something about life or about yourself?
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This book is model Nieves Álvarez’s account of her recovery from anorexia nervosa.
This book can therefore be classified within the didactic genre as a memoir and further categorised as an autobiography.
This is a single edition published by Editorial RBA Coleccionables S.A. in 2004, a division of the Spanish publishing group RBA, founded in Barcelona in 1981. The RBA Coleccionables division was established in 1991 and specialises in publishing instalment-based collections on a variety of subjects. This book is not available in English.
Publication date: 2001
Country: Spain
Pages: 176
Reading date: September 2025
Rating: 2/5
The author is Nieves Álvarez (Madrid, Spain, 1974–). She is an internationally renowned Spanish model and television presenter. She began her career in the fashion world in the early 1990s, reaching the final of the Elite Look of the Year competition in 1992, which secured her a place on the catwalk for prestigious haute couture houses such as Prada, Armani, Christian Dior and Yves Saint Laurent. Over time, she embarked on a parallel career in television as the presenter of the programme Flash Moda. She has now taken her first steps as an entrepreneur and in the world of cinema.
I stumbled across this book by chance in a second-hand bookshop in Madrid. It caught my eye straight away, as I work in the field of mental health and I’m very interested in reading testimonies from people who are dealing with, or have dealt with, issues of that kind.
I didn’t know who Nieves Álvarez was until I did a bit of research online, and her face immediately seemed familiar from having seen her on television. However, whether she was a celebrity or not, it didn’t matter to me when it came to being drawn to the book’s subject matter.
«But why do women have to be perfect to be taken seriously? Isn’t this just another form of violence against them?».
Nieves Álvarez
The book recounts the true, personal account of the model and television presenter Nieves Álvarez as she battles anorexia nervosa. It is a deeply personal testimony, written in a very accessible style, which makes it easy for the reader to relate to her story.
Throughout the book, the author helps readers understand how an obsession with losing weight can begin and how the condition can sometimes develop, linking it to insecurities, self-esteem issues and social pressure. In her own case, she explores her family’s social environment and how each member reacted to her anorexia, as well as the world of fashion and image.
«I think, moreover, that I wanted to prove I wasn’t ill, as my family claimed, because I naively believed that when teenage girls have a problem, they stop studying or going to school, and I was doing the exact opposite. I never went to bed until I’d learnt the whole test paper by heart, and I never left a single question unmemorised before an exam».
Nieves Álvarez
Another point worth noting is that I believe it could be helpful for people with eating disorders, as the book aims to offer hope and has a clearly motivational tone. Furthermore, it is a short, easy read, written in a very accessible style, which makes it easier to reach a wider audience.
«And they don’t realise they shouldn’t say that, that they don’t have to insist you eat a slice of cake. They have to let you eat your apple, because if they force you to eat the chocolate, you’ll have a really hard time. The worst thing they can do to someone with anorexia is to pressure them about food, but sometimes it’s unavoidable».
Nieves Álvarez
On the other hand, precisely for this reason, it is not a book that goes into great depth. If one is looking for a more scientific or psychological analysis of the experience of anorexia, I think the book may fall short. Furthermore, on certain aspects of the illness, I felt it was a little brief and lacked depth.
Nor does the book provide a comprehensive overview of the social context of the fashion world. The author focuses on her own experience and does not undertake a more sociological analysis.
In conclusion, Nieves Álvarez’s I Overcame Anorexia, whilst offering a relatively simplified account of the experience of suffering from anorexia nervosa, served at the time to highlight the debate surrounding the beauty standards promoted by the fashion industry and to question the influence these standards might exert on young people. It is a book which helped to raise awareness of eating disorders and which, coming from a well-known model, had a significant media impact. It is a book which, ultimately, has not taught me anything I was not already vaguely aware of, but which deserves to be read and recognised simply for its social significance at the time of its publication in the early 2000s.
«It’s true that you can’t eat; there’s something inside you that won’t let you. Anorexia is a religion in which you impose your own commandments and rules and follow them to the letter, because when you’re thin you think you have it all. It’s like being perfect; that’s what being thin is. No one could forbid me anything; I did whatever I wanted. I didn’t want to eat, so I didn’t, but I led the life of a nun. I didn’t have any fun; my pleasure was being alone, with no one to bother me and no food around».
Nieves Álvarez
Some reflections:
Do you think the fashion world has changed and no longer promotes a single standard of beauty?
Do you think beauty standards change depending on the historical period and culture? Can you think of any examples?
Do you know of any other celebrities who have had similar problems? Who?
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This book is a brief guide to dog training and behaviour.
Thus, this book can be classified within the didactic genre in the form of a guide or practical essay and subclassified among those in the field of Ethology.
This is a single edition self-published by the author himself and sold independently on his website https://hablaconellos.com in digital format. This book has not been translated into English. This book is not available in English.
Publication date: 2019
Country: Spain
Pages: 127
Reading date: March 2022
Rating: 5/5
Rafael Cal Estrela is the author of this brief guide to dog behaviour and training. He works as a dog trainer with an emotional and relational approach to animal behaviour and also acts as an ethical educator on dog training and human-dog coexistence on social media. In addition, he teaches several courses on his website. His vocation began with his own personal experience with his dog ‘Oso’, who had emotional problems.
During part of the time I lived in Zaragoza (2021-2024), my partner decided to take a dog training course, as she has always been passionate about animals, especially dogs. The course included both theory and practical sessions, and when she came home, she would talk to me about all kinds of issues related to dog behaviour and training. I had always been interested in Biology and Psychology, but I had never really looked into dogs specifically. She recommended that I follow Rafael Cal, the author of this book and a professional dog trainer, on social media. After seeing his content, I was curious to read the book he was selling on his website, so I bought it and decided to read it at that time.
«Is there any wild animal on the planet that gets its food in a bowl, ready to eat, without having to make any effort to obtain it? No, there isn’t. These facilities for obtaining food only exist in the case of domestic animals. But if these animals were loose in the wild, no one would put food on a plate for them, which would give them a continuous motivation to obtain it«.
Rafael Cal Estrela
Although the book deals with concepts of ethology or animal behaviour, it is not an academic book in terms of how it is written. Rather, it aims to reach a wide audience with formal language that lends seriousness to the subject matter, but is simple and accessible, using practical examples to better understand certain concepts.
«Anger is meant to AFFECT the dog. Just like with people. I don’t want to scare a loved one when I’m angry with them; I want them to understand my anger and be affected by it. We need to be clear about what we want to achieve when we get angry. We should not get angry with our dog with the intention of scaring them. Fear is a negative emotion that causes insecurity and weakens the bond. No one wants to be with someone they fear, and if they do, we have a problem in the relationship. We have to get angry with our dog with the intention of affecting them, of making them understand that we do not like it and that it causes social discomfort in our bond».
Rafael Cal Estrela
The approach is emotional and based on the human-animal bond. It covers various topics ranging from the bond itself, affection, boundaries, behaviour modification, the needs of dogs when out walking, the development of their senses, to the topic of environmental enrichment. It also includes a section explaining dog training commands.
«Let’s put aside thoughts like, ‘I’m spoiling him too much’ or ‘Don’t give him so much attention.’ Nobody thinks that way about their partner; you try to give your all in a relationship. It’s the same with dogs. Don’t think about whether you’re spoiling him too much or not, just love him, love him a lot. If you want to play a game with him that you both enjoy, do it for as long as you want».
Rafael Cal Estrela
What I found most satisfying about the book is that it is very visual, which makes it easy to read, along with language which is easy to understand even if you have never explored these topics in depth. It is overflowing with respect and affection for these animals, which shows how passionate he is about his work, something which I think also enriches the reading experience.
In conclusion, this guide is highly recommended whether you are simply interested in this topic, have just begun studying dog training, want to better understand your dog, or are thinking about getting one.
Some reflections:
Do you think dogs are man’s best friend?
What have you learnt most recently about caring for them?
Do you think it is possible to meet their needs in an urban environment?
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This book is a general guide to mental health for helping people in crisis.
Thus, this book can be classified within the didactic genre in the form of a guide or practical essay and subclassified among those in the field of Psychology.
This is a single edition (4th reprint) launched jointly by Primera Vocal and Biblioteca Social Hnos. Quero. On the one hand, Primera Vocal defines itself as a simple and humble project that aims to make texts accessible to help see connections between mental health and critiques of capitalism. On the other hand, Biblioteca Social Hnos. Quero was founded in 2003 to respond to the collective need for a space in Granada that promotes political education and self-organisation. It is an autonomous and self-managed project. This book is not translated into English.
Publication date: 2016
Country: Spain
Pages: 74
Reading date: February 2023
Rating: 5/5
Javier Erro is the author of this mental health guide for those around people in crisis. He works as a psychologist and researcher. He is also an activist involved in mental health and critical Psychiatry.
Other books published by him are:
Birds in the head. Mental health activism from Spain and Chile (2021)
Discomfort is something else. On the need to broaden our notion of suffering (2025)
Within the list of other books published by the same author, those for which there is already a post in this blog are highlighted.
Click on it to read it!
During the summer of 2022, I travelled to Asturias with my partner and we stayed in Oviedo. On one of our walks around the city, I came across a bookshop, whose name I cannot remember, which was also a social club with a catalogue of books on political, philosophical, social and critical topics. Looking at the shelves, my eyes fell on this book. It was in the critical Psychiatry section, and I thought it might be useful in my clinical practice with patients and their families, as I was doing my Internship as a Mental Health Nurse in Zaragoza (EIR) at the time.
«One aspect to bear in mind is that professionals do not “cure”. They provide resources, tools and information, and can offer support when it comes to expressing emotions. These strategies can alleviate suffering and even reduce it significantly, but it rarely disappears completely. Understanding these limitations can help us to have more realistic expectations and to get involved in a healthier way, both for ourselves and for the person in crisis«.
Javier Erro
The book is written in simple, direct language. It is perfect for those who are less familiar with mental health issues. It can be read by people with these problems, professionals, and those close to someone suffering from mental illness. I believe the book strikes a perfect balance between being critical of issues such as help, boundaries, medication and the therapeutic relationship, and being conciliatory and peaceful, offering a first human approach to these issues.
«One way to understand the role of psychiatric drugs is to think of them as crutches. They do not take away the pain in our leg, nor do they make a broken bone heal faster. However, they allow us to walk when we have a bad leg, and we cannot ask for more or less than that».
Javier Erro
The topics covered are varied, as are the different questions. Some of them are, for example, suicide, self-harm, psychotic symptoms such as delusions, paranoia and hallucinations, depression, mania… These are in a more clinical category, but it does not forget to address issues related to the helping relationship, hospital admissions, the person’s social environment, communication with them… I think that for such a short book, it is quite concise and to the point, dealing with the important issues.
«If someone close to you says they are having a hallucination, or you think they are having one based on what they say or do, the first thing to do is stay calm. The last thing they need is to see someone reacting with fear, aggression, incomprehension or laughter. Nor should you be patronising. We should try to understand them, talk to them if they want to talk, help them calm down and let them know that we are there for them. They may also want to be alone. In this case, we should respect their wishes as long as there is no risk involved».
Javier Erro
The part I liked the most is the one about the social environment of people with mental health issues. The way it deals with the issue of helping relationships, communication, bonds, stigma… is very human and sensitive. It gives this factor a well-deserved weight and importance that is often overlooked. This contextual aspect of the person is essential and vital in recovery and in dealing with crises and breakdowns.
«In any case, it should be borne in mind that the less information the environment has, the less social support there will be, and the less support there is, the more effort will be required of those who do have such information».
«This is not a protocol. In mental health, there can be no protocols. Situations can be extremely complicated, with multiple factors involved that we often do not even know about at first, and that we will probably never know about. But at the same time, starting from a position of ignorance is much better than acting on predetermined ideas, rumours, advice from dubious websites, or professionals with narrow mindsets. To learn, we must communicate, and this can be a good starting point. So, this is a call to lose our fear. If we communicate with the person and help them get through this difficult time, we are not being authoritarian, but understanding. Most likely, their social network will be diminished by what is happening to them, and as a result, their freedom as a person will be reduced. Without the mutual support of those around them, they will only have professional help, and sometimes this is enough, but more often than not, it is not. Beyond the effectiveness of treatments and interventions, in this short text we will try to find a new, healthier and more reasonable way of relating to each other. If our friend thinks that aliens want to abduct him, or that this life is not worth living, we will have to be the first ones there. Against the aliens and, perhaps, against this life».
Javier Erro
The tone of the writing is humble, approachable and self-critical. A book like this is welcome in this field, as it brings to light real dilemmas and the coherence of someone who only seeks to help and accompany others.
«We all have mental health, and it can be better, worse, or on a roller coaster. For many years, our idea of mental health has been reduced to mental health problems. Only considering it when it causes us problems suggests that in other circumstances it is a factor we should not pay attention to and that mental health is a problematic issue in itself. This leads us to not know how to react when these problems are very complex or seem strange to us, forgetting our ability to support each other and also hiding the reality that psychological suffering is much more common than we think (if not universal). Therefore, the first thing we wanted to make clear is that we should not only react to a person’s problems when they are already in crisis, but that the ideal would be to learn to take care of each other on a daily basis».
Javier Erro
In conclusion, this is a highly recommended guide for family members and others close to someone with mental health issues, as well as for the individuals themselves and for trained or trainee professionals. I have lent this book to residents and students, and they have found it very satisfying to read, both as an introduction and as a comprehensive and concise summary. A book that breaks down the stigma surrounding mental health.
Some reflections:
Do you think that a person’s environment is decisive in their recovery? Why?
Who is your greatest support in difficult times?
What do you need from the person who is with you to listen to you better?
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This book is a contemporary autobiographical comic book in Spanish literature.
Thus, this book can be classified within the narrative genre in the form of comic or graphic novel and subclassified among those of an autobiographical nature.
This is the fourth edition published by Edicions Bellaterra, a Spanish publishing house founded in 1973 that specialises in popular works on social sciences. They state that their aim is to publish books which raise awareness of certain sectors of society and their problems in order to stimulate debate and sensitivity. This book is available in English.
Publication date: 2018
Country: Spain
Pages: 125
Reading date: November 2023
Rating: 4.5/5
The author Fernando Balius (Barcelona, Spain, 1961-) and the artist Mario Pellejer Ruiz (Murcia, Spain, 1980-) collaborated on this book. Fernando is a philosopher, former office worker and, in his own words, a precarious worker. He has published several articles in the digital magazine Ctxt and is a teacher specialising in mental health. Mario studied Fine Arts at the University of Granada and has worked on several artistic projects.
I met Fernando Balius in October 2023 in Valladolid. I attended a series of talks organised by Revolución Delirante, and he was one of the speakers. I was impressed by his philosophical yet approachable way of expressing himself. He identified himself as someone who suffered from mental illness and heard voices. He presented his book Traces of Madness, in which he recounted this experience in an autobiographical manner.
I bought his book after the talk and decided to read it the following month. I thought it would be a good read to reconnect with mental health after a sabbatical summer.
«There is no summit I can climb to flash a defiant smile from on high. This is not a story of individual achievement, it is part of a collective construction of meaning».
Fernando Balius
In his work, Fernando recounts his experience with mental suffering, particularly issues such as internal voices, crises, diagnostic labels, different treatments, and the search for meaning in what was happening to him. This experiential narrative does not follow a linear structure, but rather the author shows us different inner states of episodes, events, doubts, questions, setbacks, relationships, etc. Thus, it is not a story of individual overcoming, but rather a narrative of individual experiences situated in a context linked to others.
«Finally, you have to put all that into words. To heal, so that it doesn’t come out in another way. By naming what I have experienced, what I am experiencing and what I feel, I change the way I relate to my voices. I get closer to everything I carry inside me, the things that men and women in white coats will never be able to talk about. It is no longer necessary to hurt yourself to talk about pain. Comparing yourself to others is no longer a means of trying to find out who you are. If I try to take stock (albeit precariously) of my heritage, I think I have understood that this whole long struggle has been nothing more than an accumulation of disobedience, a slow and meticulous training in the art of saying “no”. In the midst of confusion, each refusal (which by definition is something intimate, a personal decision) transcends me and has an impact on my surroundings. Every time I manage to disobey one of my voices, I become a little stronger. Just a little. Enough. I have lost much of my impatience. Resistance is fertile and must be given time. Resignation, on the other hand, offers the immediacy of what is already dead. Challenging one’s own voluntary servitude and killing the judge within is a lofty and exquisite act. It means regaining the control that has so often been taken away. It even puts you in a position to anticipate the emergence of the most aggressive voices. The barriers of the impossible fall…».
«I do not accept any closed paradigm, any categorical interpretation. Nothing that resembles a diagnosis or a sentence. The human mind is too complex to be confined to an instruction manual. I dedicate myself to searching, clearing the way and advancing slowly. There is no map. Or rather, there is, but it is drawn as you walk, and therefore it will always be unfinished».
Fernando Balius
Some of the moments that appear in the book are the first signs of mental distress, confusion, diagnoses, the worst crises, coping strategies, reflections on medication, support from social ties, picking oneself up and finding a way to be in the world and live with these experiences…
Although these are all real experiences, not everything is narrated realistically. The author uses symbolic passages where he plays with images and empty spaces that convey emotional states rather than referring to external events. Thus, blank spaces that draw the reader in contrast with denser, more chaotic pages. Moments of acceleration (mental breakdown, psychotic crises, intense episodes of voices) create a sense of vertigo, while moments of pause feature more visual silence, sparse dialogue and larger vignettes. In this way, the narrative rhythm is rather oscillating, with moments of dizzying emotional evocation, more essayistic moments and moments of calm and silence.
«I left the doctor’s office with a secret, a sentence, and a wad of prescriptions for psychiatric drugs in my pocket. Something about that scene didn’t quite add up. I felt a sense of unease that went beyond the bad news I had just received. The interview with that middle-aged woman with the weary look had ended too abruptly. A heavy metal door had closed behind me. Click! The die was cast. You go in feeling a mixture of fear and confusion, and you come out a madman with all your papers in order».
«Madness can be something almost indefinable, and yet it refers us to a pain, to a place we do not know, but from which one can enter and leave… Mental illness is something else, a firm belief that in some irremediable way — even though it cannot be objectively specified — I am broken and there is nothing I can do about it. Only wait for the end».
Fernando Balius
Among the aspects I liked most about the book were the author’s honesty and how he vulnerably shares his experiences in a relatable way, as well as how he treats «madness» as something complex, seeking to move away from stereotypes. I also liked the visual language that accompanies the text to convey emotional states. Furthermore, unlike other works, it is not limited to being an introspective and individual narrative, but seeks to frame itself within a collective perspective on mental health, giving it therapeutic and educational value. The use of humour also allows for self-criticism, which softens the narrative at certain points.
«Humour sabotages unhealthy ways of relating to the world».
«Sutures allow wounds that would otherwise remain open to be closed, leaving the body exposed and unable to heal. The stitches pierce the flesh with precision so that it does not open. The needle sews both sides of the wound so that it can heal. Isn’t there something beautiful in that? Detecting those points and showing them allows us to avoid falling into the loop. It is because of them… that we move forward».
Fernando Balius
On the other hand, it should be clarified that its subjective value, apart from giving it strength, also constitutes a limitation. This means that it cannot cover or represent all the variants of experiencing psychological suffering. Nor does it claim to do so, and that is what I like about the book. It does not claim to be a manual or to be instructive. Although this is how I interpret it, I believe that, like other works of the same style, for some readers it may convey a certain romanticisation or inspirational character, something like the idea of “the mad hero” or “elevated suffering”. However, in my opinion, I think that the book does not seek to do this and simply tries to be poetic in some aspects.
«However, having been wounded in the processes of social selection cannot become an excuse for being condescending towards oneself. The legitimacy of the victim excludes the possibility of victimhood. I try to ward off that risk by thinking of myself as a survivor. As I deviate from the dominant narratives, I have no choice but to construct alternative stories».
Fernando Balius
In conclusion, Fernando Balius’s Traces of Madness has educational, social and therapeutic value. It is a fragmented, unpretentious narrative about a way of living and coexisting with mental illness. The accompanying illustrations make reading it a very personal and emotional experience. It is a book that allows us to get closer to the world of someone who suffers in this way and to their coping strategies with humanity and honesty. The language of the book allows the author to convey his experiences and reflections, while exploring himself and giving the work an unfinished feel. The emphasis on social bonds and humour is very important, as is the social criticism of the more biological approach to Psychiatry.
«The truly awful thing is not losing your mind, but having no one around when you try to get it back».
Fernando Balius
Some reflections:
Do you think that reading testimonials from people with mental health issues can help you gain a more realistic perspective, rather than just reading clinical books?
Do you think art can help evoke certain states of mind that words alone cannot reach? Has this ever happened to you?
Are you familiar with the term “situated knowledge”? What do you understand by it? Would you consider this book to be an example of it?
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This book is a description of autobiographical events in an almost essayistic form.
Thus, this book can be classified within the didactic genre under the form of memoirs and subclassified among those in the form of autobiography.
This is a fifth edition released by the publishing house KIER S. A. in 1982, which is an Argentinian publishing house specialising in books on Eastern religions, yoga, esotericism, self-help, etc. founded in 1907. This book is available in English.
Publication date: 1948
Country: Germany
Pages: 111
Reading date: November 2018
Rating: 4.5/5
This book was written by the German professor of Philosophy Eugen Herrigel (Germany, 1884-Germany, 1955). He taught Philosophy at the Tohoku Imperial University in Sendai, Japan between 1924 and 1929. During this period he learned Kyūdō (Japanese archery) from Awa Kenzō. When he returned to Europe, he contributed to the spread of Zen through his writings in the form of articles. One of these articles published in 1936 was at the heart of the later, present book which came out in 1948. He taught at the Erlangen University on his return to Germany and, at the outbreak of World War II, he joined the Nazi Party, which caused him to lose many friendships and, after the war, to be forbidden to return to teaching for three years. This aspect of his political life was not mentioned by his widow, who merely focused on sharing his spiritual side after the end of the war. Among his writings, many notes on Zen were found which were posthumously reviewed and edited by Alan Watts before publication. He died at the age of 71.
I had never heard of this book until I came across it by chance. It was during my first nursing internship at the Autonomous University of Madrid. I was doing my first practical training at the José María Llanos Health Centre in Vallecas. At the entrance to the centre there was a small bookshelf with books donated by people, which they also took with them to read. Given my passion for reading, I can’t pass by a shelf of books without stopping for a moment to take a look. Those who know me are aware of this about me and how quickly, fortunately or not, I lose track of time when I enter a bookshop.
I remember that Zen in the Art of Archery was a book I read avidly, mesmerised by its words. It was at a time when, as a reader, I was beginning my interest in the humanistic branch of psychology as a substitute for my earlier interest in Eastern mystical and spiritual readings.
«The right shot at the right moment does not come because you do not let go of yourself. You do not wait for fulfillment, but brace yourself for failure».
Awa Kenzō
The book is an autobiographical text about the author’s experience in the practice of Kyūdō, also known as Japanese archery, a martial art close to the Zen tradition in Japan. The work reflects on this art and its philosophy, on Zen, the nature of learning and awareness, as well as on success and failure. Thus, although it is an autobiographical text, it is close to the essayistic and philosophical.
It is noteworthy that the author not only tells us in first person his internal and technical experience in this art, but also some of his conversations with his teacher Awa Kenzō and observations as a witness of his teaching with the rest of his disciples.
«The more one concentrates on breathing, the more the external stimuli fade into the background… In due course one even grows immune to larger stimuli, and at the same time detachment from them becomes easier and quicker. Care has only to be taken that the body is relaxed whether standing, sitting or lying, and if one then concentrates on breathing one soon feels oneself shut in by impermeable layers of silence. One only knows and feels that one breathes. And, to detach oneself from this feeling and knowing, no fresh decision is required, for the breathing slows down of its own accord, becomes more and more economical in the use of breath, and finally, slipping by degrees into a blurred monotone, escapes one’s attention altogether».
Eugen Herrigel
Eugen Herrigel’s style is clear and easy to read. Some readers may be exasperated by the learning process narrated in detail by the author, but this is necessary to understand the culmination of his practice. Also, in my opinion, the book is too short to get impatient in that part where he talks about a learning process with its personal failures, difficulties and misunderstandings, as well as its achievements and insights.
About his message, I was not sure how faithful to the Zen tradition the author was maintaining in the text. I had previously read in 2016 a book on Zen called Zen Mind, Beginner’s Mind by Shunryu Suzuki and had noticed some differences. So I decided to do some research and found that a certain Yamada Shōji argued that Herrigel’s concept of Zen was not representative of that philosophy, but was, on the contrary, quite atypical. Although I agree with that argument after reading the book and comparing it with others by Zen masters, I can’t help but point out I found the parts where Herrigel refers to breathing for meditation as well as aspects of detachment to be accurate.
«I learned to lose myself so effortlessly in the breathing that I sometimes had the feeling that I myself was not breathing but—strange as this may sound—being breathed».
Eugen Herrigel
In conclusion, it was a satisfying read. Being able to delve into a person’s learning process is always something that interests me. I would not recommend the book to someone who wants to learn about Zen or the Kyūdō itself. I would encourage those interested in learning about works which have helped spread Eastern philosophy, specifically Buddhism, martial arts and Japanese culture in the West during the 20th century to read it.
I am looking forward to trying this martial art in the future, which I knew was taught in Zaragoza, but I didn’t have time in my agenda to do it. Enough that I had some time to start my Aikido practice during those years in the Aragonese capital. Now that I no longer live there, it remains a dream for the future as I said.
«You only feel it because you haven’t really let go of yourself. It is all so simple. You can learn from an ordinary bamboo leaf what ought to happen. It bends lower and lower under the weight of snow. Suddenly the snow slips to the ground without the leaf having stirred. Stay like that at the point of highest tension until the shot falls from you. So, indeed, it is: when the tension is fulfilled, the shot must fall, it must fall from the archer like snow from a bamboo leaf, before he even thinks it».
Awa Kenzō
Some reflections:
Have you ever felt this state of passive alertness while performing a manual activity?
Which martial art would you most like to practice? Why?
Do you see in general in the Eastern world a greater attention to spirituality in everyday life, in particular in manual or physical activities?
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This book is a chronological collection of letters from the Dutch artist Vincent van Gogh to his brother Theo.
Thus, this book can be classified within the didactic genre under the form of memoirs and subclassified among those in the form of letters.
This is a 2020 eighth reprint of the second edition released by Alianza Editorial S.A. in 2012, which is a Spanish publishing house founded in 1966 during the Franco dictatorship in order to promote debate and spread knowledge. This book is published in English too.
Publication date: 1914
Country: Netherlands
Pages: 496
Reading date: December 2021
Rating: 4/5
The author is Vincent Willem van Gogh (Zundert, Netherlands, 1853-Auvers-sur-Oise, France, 1890). He was a Dutch painter and one of the greatest exponents of Post-Impressionism. From an early age he had a keen interest in drawing, although he worked at various jobs before devoting all his energies to his artistic facet at the age of 27. It was only after his death (whether suicide or accident is unclear) that his work was widely acclaimed and his paintings fetched millions at auction. His influence on 20th and 21st century art endures.
I have always heard the name of the painter Vincent van Gogh and admired his most emblematic paintings. However, it was not until 2020 that my interest in him increased enormously. In that year I was able to go to an exhibition in Madrid called Van Gogh Alive and then I watched the film Loving Vincent, which remains among my favourite films forever. I found its soundtrack highly inspiring, especially Lianne La Havas’ version of the song «Starry Starry Night».
My interest in the Dutch painter’s art was already obvious, but I had not yet planned to read his letters. It was then that I met a person who has become more special in my life every day. She is a great lover of Van Gogh’s art and, above all, of the epistolary genre of literature. It was she who urged me to read people’s letters, their biographies and autobiographies in order to gain insight into their works. I have to say that it was a great decision to open myself more to this genre, so I am very grateful for her words.
«I still can find no better definition of the word art than this, “L’art c’est l’homme ajouté à la nature” [art is man added to nature] – nature, reality, truth, but with a significance, a conception, a character, which the artist brings out in it, and to which he gives expression, “qu’il dégage,” which he disentangles, sets free and interprets».
Van Gogh
During his wandering life, Vincent van Gogh, considered one of the greatest painters in history, wrote numerous letters. Most of them were to his brother, with whom he corresponded intensely. Not all the letters were dated, but those which were, were published in chronological order.
In the present book, which brings together the letters to his brother Theo, we learn about the hard and suffering life of the Dutch artist, who created great beauty and genius despite his needs and his illness.
«If we but try to live uprightly, then we shall be all right, even though we shall inevitably experience true sorrow and genuine disappointments, and also probably make real mistakes and do wrong things, but it’s certainly true that it is better to be fervent in spirit, even if one accordingly makes more mistakes, than narrow-minded and overly cautious. It is good to love as much as one can, for therein lies true strength, and he who loves much does much and is capable of much, and that which is done with love is well done».
Van Gogh
In the letters he touches on different subjects. Some are more art-related, sharing his pictorial development, his study of colour, his vision of art and of being an artist, as well as his ideas about the work of other painters he admires. He also tells his brother about his love of reading, especially literary works of French realism and naturalism.
Other letters are mainly concerned with more personal themes and revelations. He speaks of landscapes, nature, farm workers, the stars, the places where he stays and their people…. All with a touching sincerity, impregnated with an existentialism that reflects on his place in the world and the loneliness it generates in him.
«In the springtime a bird in a cage knows very well that there’s something he’d be good for; he feels very clearly that there’s something to be done but he can’t do it; what it is he can’t clearly remember, and he has vague ideas and says to himself, «the others are building their nests and making their little ones and raising the brood«, and he bangs his head against the bars of his cage. And then the cage stays there and the bird is mad with suffering. (…) You know, what makes the prison disappear is every deep, serious attachment. (…) And the prison is sometimes called prejudice, misunderstanding, fatal ignorance of this or that, mistrust, false shame».
Van Gogh
All the beautiful things Vincent talks about in his letters to Theo contrast with his life on the edge of destitution, starving and living on the little money his brother sent him. Some of the letters hint at the painter’s life of poverty, and how this was a factor in his deteriorating health.
«But when my ten francs ran out I tried to bivouac in the open air the last 3 nights, once in an abandoned carriage which was completely white with hoarfrost the next morning, not the best accommodation, once in a pile of faggots; and once, and that was a slight improvement, in a haystack, that had been opened up, where I succeeded in making myself a slightly more comfortable little hideaway, though the drizzle did not exactly add to my enjoyment. Well, and yet it was in these depths of misery that I felt my energy revive and I said to myself, I shall get over it somehow, I shall set to work again with my pencil, which I had cast aside in my deep dejection, and I shall draw again (…)».
«After the crisis I went through when I came here, I can no longer make plans or anything else; I’m definitely better now, but hope, the desire to achieve, is broken and I work from necessity, so as not to suffer so much mentally, to distract myself».
Van Gogh
It is a tragic paradox that Vincent was unable to sell his paintings during his lifetime, but after his death he became a legend and his work a unique pictorial landmark.
It is clear that he would not have been able to paint and realise his passion without the support of his brother Theo. They both loved each other deeply, and the guilt and anguish, as well as Vincent’s deep gratitude and love for him, do not leave the reader of these letters indifferent either.
«I myself realize the necessity to produce even to the extent of being morally crushed and physically drained by it, just because after all I have no other means of ever getting back what we have spent. I cannot help it that my pictures do not sell. The day will come when people will see that they are worth more than the price of the paint and my own living, very meager after all, that is put into them. I have no other desire nor any other interest as to money or finance, than primarily to have no debts. But my dear boy, my debt is so great that when I have paid it, when all the same I hope to succeed in doing, the pains of producing pictures will have taken my whole life from me, and it will seem to me then that I have not lived».
Van Gogh
As I read the letters, I could see how Vincent’s difficulties and health became more and more unstable, and how he revealed even more of his inner world to his brother. In the course of the letters he wrote to him, the painter went from joy and enthusiasm for painting to anguish and psychological suffering. He had to be admitted to psychiatric sanatoriums, which he also discusses in his letters, as well as the medical judgments and his coexistence with other patients.
«And temporarily I wish to remain shut up as much for my own peace of mind as for other people’s. What comforts me a little is that I am beginning to consider madness as a disease like any other and accept the thing as such, whereas during the crises themselves I thought that everything I imagined was real».
«As far as I know the doctor here is inclined to consider what I’ve had as an attack of an epileptic nature».
«Phew – the reaper is finished, I think it will be one that you’ll place in your home – it’s an image of death as the great book of nature speaks to us about it – but what I sought is the ‘almost smiling’. It’s all yellow except for a line of violet hills – a pale, blond yellow. I myself find that funny, that I saw it like that through the iron bars of a cell».
Van Gogh
After reading Dear Theo, I got to know more about the person behind the paintings I already liked so much. It is interesting to delve deeper into the mind and life of Vincent Van Gogh. Thanks to the letters he wrote to his brother Theo, we can learn about his thoughts, his influences, his concerns and above all, his pain and his gaze on eternity. His love for his brother and his love for painting and the vibrant colours of reality is touching. Some of the letters, especially towards the beginning of this collection, were a bit denser for me due to my lack of knowledge of the subject because they speak more of pictorial art than of his inner world as an artist, but it was still a worthwhile read. It has made me more curious about his work and his life circumstances.
It is a recommendable book for all those interested in the history of art, or specifically in the life and person of Vincent.
«In short, I want to reach the point where people say of my work, that man feels deeply and that man feels subtly. Despite my so-called coarseness — you understand — perhaps precisely because of it. It seems pretentious to talk like this now, but that’s why I want to push on. What am I in the eyes of most people? A nonentity or an oddity or a disagreeable person — someone who has and will have no position in society, in short a little lower than the lowest. Very well — assuming that everything is indeed like that, then through my work I’d like to show what there is in the heart of such an oddity, such a nobody. This is my ambition, which is based less on resentment than on love in spite of everything, based more on a feeling of serenity than on passion. Even though I’m often in a mess, inside me there’s still a calm, pure harmony and music. In the poorest little house, in the filthiest corner, I see paintings or drawings. And my mind turns in that direction as if with an irresistible urge».
Van Gogh
Version of «Starry starry night» by Lianne La Havas for the film «Loving Vincent».
Some reflections:
What would you say to Van Gogh if you could have a conversation with him?
Do you identify with any of his work?
What is your favourite painting by the artist and do you think he is the greatest painter in history?
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This self-conclusive book is a tribute to the work of Junji Ito, in commemoration of his 30 years in the profession. It brings together interviews, brief analyses of his works, biographical aspects of the author and his working methods, etc…
This book can therefore be classified within the didactic genre in the form of a memoir and subclassified among those in the form of a tribute.
This is a second edition released by ECC Ediciones in 2021, which is an independent Spanish publisher which has been publishing and distributing comics and mangas in Spanish since 2012. This book is not translated into English.
Publication date: 2017
Country: Japan
Pages: 248
Reading date: February 2022
Rating: 4/5
As it is a commemorative book, a wide range of content related to Junji Ito’s life and work has been integrated in its writing. Therefore, it has not been a tribute book written by a single author but by the joint effort of many people. In the following I will detail what is contained in this tribute to one of the masters of the contemporary horror genre.
It was in 2019 when I was first told about Junji Ito, known as the master of contemporary horror manga. I was introduced to him by one of my best friends during a holiday I spent in Italy in the summer of that year. It caught my attention from the very first moment. The truth is that I hadn’t read any horror literature at that time and I still haven’t delved deeply enough into the genre, but I knew right away that I wanted to read all his works and see all his creations. I found his drawing style extravagant, his vignettes disgusted me as much as they fascinated me.
«I was convinced that I drew fast, but Urasawa told me I was the slowest of all the mangakas (laughs). I thought maybe it was because, in my case, I draw a line with short strokes. Those who handle the pen quickly draw a long line in one go, but I’m incapable of that. I seem to draw as if I were making an engraving with short lines».
Junji Ito
So I started to read several of his manga between 2020 and 2021, which I’ll be reviewing on the blog little by little. Finally, after soaking up his horror genre, I wanted to delve deeper and see if I could find a book which analysed his style and creations.
That’s when I found this book. It is a tribute, a commemoration to the author Junji Ito for the anniversary of his 30 years of profession, which he reached in 2017, the date on which this work is published in Japan. I thank the Spanish publisher ECC Ediciones for bringing it to Spain in an edition translated into Spanish, as it is a complete and interesting tribute to read.
«There were already many extraordinary authors working in the field of vengeful ghosts and the subjugation of evil spirits, so I didn’t really feel like drawing ghosts. I think spectres have the image of being something that «can’t be touched» and I felt I wanted to draw the physical fear of «something anomalous that is definitely there and can be touched». And if my style tends more towards science fiction than psychological horror, I think it’s because I had the image that the psychological was very elevated. Besides, there were also other authors who specialised in the psychological. So, I’m a bit twisted (laughs)».
Junji Ito
Why do I say it is a rather broad, comprehensive tribute? Because of the variety of content shared in the writing of the text. The book has vignettes and art by the author, interviews, testimonies of special collaborators who knew Junji Ito, dialogues between the author and other mangakas and analyses of his horror universe from a literary critical point of view. It also has a description of Junji Ito’s studio and workspace, biographical aspects, the impact of his creations in Japan and internationally, works by the author not included in other publications and detailed comments on the main ones. Of course, the list of his works goes up to 2017, the date of publication of this tribute.
«I think that for a man to engage in unusual behaviour, to do something he wouldn’t normally do, he needs a motive such as the force of love or an attraction that is like a drug. If he were serene, he would certainly not approach something dangerous, and when he does, his story evolves into a horror story. That’s why I draw fascinating people or things that alter the ability of the characters in the book to judge calmly».
Junji Ito
As you can see, it is a great job of writing this book with a very good result in my opinion. I was surprised not to find an English edition for this reason.
After reading it, I can say that there have been aspects of the author that I didn’t know and which have surprised me about his way of being. His stories are very disturbing and his art is highly uncomfortable. However, in interviews he seems like a pretty normal guy. One might expect a different, eccentric, dark personality after seeing or reading his works, but he is not like that, or at least he doesn’t show it. So, being able to go deeper into Junji Ito’s life and reflections as this commemorative book allows has pleased me a lot.
«He is a typical person who is satisfied with his real life. But what he draws is weird. I think he’s a bit, just a bit, crazy. I like people like that. Morohoshi is the same. When you talk about geniuses and strange men, you imagine people who talk and act eccentrically and have a unique appearance, but that’s not the case. Both Ito and Morohoshi are well-mannered, serious and methodical gentlemen. But they are odd. And theirs is a perfect oddity. A perfect weirdness and a sympathetic madness».
«To begin with, horror manga is made up of the «introduction, development, twist and denouement» structure, i.e. the basis of drama, as represented by the works of Kazuo Umezu. In Ito’s works, however, there is an intriguing introduction that draws the reader in, and then the development, twist and denouement are totally unpredictable».
Yôsuke Takahashi y Takashi Nagasaki
On the other hand, enjoying the truly original reflections on fear and horror has made the reading experience of this tribute even more complete. In addition, the analysis of some of his works or characters is highly recommended in order to reread his stories and better understand the horror genre used by the author and the disturbance he seeks in the readers’ minds.
In conclusion, this tribute has helped me to better understand Junji Ito’s work, delving into his life, his way of working and his ideas and comments on his creations. Therefore, I think it is a highly recommended book if you have already read something by the author and would like to understand him better or if you are curious to know more about him.
«For a long time, I have been thinking to myself that my own existence frightens me. I am terrified of the idea of a doppelgänger or of ‘having seen my other self’. I was always terrified when I thought, «What am I? So I felt that there was nothing creepier than a balloon with your own face on it coming to attack you. In the Oshikiri series I also deal with the theme of the «other self», and in the Tomie series, Tomie reproduces herself and «many selves» are born. The Tomies see each other as enemies and, in the end, the idea is that for Tomie «she is her own biggest threat». In Lovesick dead I also deal with the theme of the doppelgänger, a theme which interests me a lot. Lately it doesn’t happen to me any more, but looking in a mirror used to scare me too. Kazuo Umezu drew on this fear in Kagami (The Mirror), and Oscar Wilde, in his novel The Picture of Dorian Gray, also dealt with the theme of the «other self» in the form of the aging self-portrait instead of the real person. So it seems to me that this is a theme that provokes an ancestral fear of man».
Junji Ito
Some reflections:
What relationship do you find between disgust and horror?
What scares you the most: listening to a horror story, watching it (either on video or drawing) or reading it in a textbook?
What do you think of Junji Ito’s talent, is he as revolutionary as he is described or is he more of a fad?
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