Selection of reviews

All of the episodes and digressions of Letter to the Queen of England demonstrate an intellectual fabric which is quite rare in Catalan literature: a particular mordacity of rigour, with sufficient savoir faire to make the ideas float on the narrative current as do the characters and the events.
Valentí Puig, El País, 3-IV-1997

Pagès Jordà bases his tale on certain universal elements of story-telling – the mighty sword, the three wishes or the letter to the queen - to set in motion a clockwork mechanism which has in the passage of time both its greatest risk and also its most inspired choice.
Màrius Serra, El Temps, 28-IV-1997

At a time when books of a more or less philosophical content seem to interest young people, I am convinced that Letter to the Queen of England, an honest and sincere book, free of stereotypes and opportunistic elements like those that abound in novels for young people, will be received with interest by this age group, our youngsters, who are so much in need of reference points and guidelines that will help them to take a critical stance before the world and before life itself.
Josep Maria Eloy, Escola Catalana, November 1997

In this novel, Vicenç Pagès Jordà carries out a re-reading, very sui generis it could be said, of the myth of Faust, which Goethe converted into a leading figure of world literature and which Oscar Wilde then brilliantly revitalised and invigorated with The Portrait of Dorian Gray.
Josep Ferrer i Costa, Revista de Catalunya, February 1998

The narrative laws which Vicenç Pagès Jordà imposes on himself to construct Letter to the Queen of England involve the systematic application of a rationalising and credible vision, far removed from supernatural fancies, to a stereotyped element of medieval and folkloric literary material, the theme of the three wishes. (...) Vicenç Pagès Jordà enters more transcendental territories, and, in a very clear manner, enquires what is or what could be one of the functions of artistic creation, what tasks can fill the space of time that extends from birth to death.
Ponç Puigdevall, Presència, 20-IV-1997

Lacking the slightest spark of curiosity and condemned to almost cosmic tedium, Joan Ferrer, the central character, reaches the final step of his descent when he meets Greta Garbo. For him, the Swedish actress signifies contact with immortality without secrets: an epic immortality which, thanks to art, is assumed naturally by everyone and which, on the rebound, confronts him with the uselessness of his own immortality, merely biological and sterile, incapable of leaving any imprint of remembrance nor emotion in anyone.
Joan Josep Isern, Avui, 22-V-1997