As birth is a direct cause of death, we live immersed in a permanent contradiction. pure life
As the bolero recites, “no se sabe ni cuándo ni cómo”, this weekend invented what the moderns have dubbed a plot twist, that is, a twist in the script: either he is a genius or a fool, but seven days before the elections in Galicia, no one could imagine that the PP would be open to a pardon, even if it is from Miss Pepis, for Puigdemong (with the final “ng” using Feijóo’s pronunciation). It’s not just that, Feijóo, continuing with the bolero of “nobody knows when or how” admitted that it will be difficult to prove that Puidemong committed a crime of terrorism.
But then, where are all those demonstrations in the middle of Spain with Bécquer’s rhymes in the style of “Puigdemont in prison” confirming that a poem turns into a verse? Or the words of Cayetana Álvarez de Toledo, spokesperson for the PP but free verse from the right, pushing the masses to the cry of “constitutional Spain is in danger”. All after 155, more than ten thousand policemen sleeping on the famous boat Piolín on September 30, 2017 and two referendums. And, of course, from proposing the outlawing of pro-independence parties half an hour ago.
Yesterday Feijóo, in Ferrol, did not say no. He clarified that “the conditions are not right now”. curious The story is not that Junts accepts the pardon of Senyoreta Pepis (asking for forgiveness by singing “no lo volveré a hacer más” like Sandro Giacobbe in El jardín prohibido), it is that he leaves open a pact with Catalan independence.
What is happening in the PP and in the brain of Alberto Núñez Feijóo? There are two options. The first is that the pseudo-nationalist who governed with an absolute majority in Galicia is coming out and is cooking up an agreement on a slow fire for the not-too-distant future. Feijóo leaves the windows open for air to flow and does not close the doors to agree with Junts per Catalunya.
The second is less poetic and not in a single verse: seeing the tight polls seen a week ago in Galicia, he takes a risk and uses the poetry that people gave birth to in the street while reciting “Para lo que me queda en el convento… “.
And meanwhile, Díaz Ayuso playing the lyre on the balcony of Génova.
