SER Historia — "Peridis, una vida con historia"

Podcast: SER Historia
Episode Date: January 12, 2026
Host: SER Podcast
Guest: José María Peridis (author, cartoonist, architect)
Special Interviewer: Grandson of Fulgencio Ares

Episode Overview

This episode dives into the personal and historical layers of José María Peridis’ latest novel, El tesoro del Convento caído. The conversation intricately weaves Peridis' childhood memories in the Montaña Palentina, the cultural and architectural value of Spanish Romanesque heritage, and the challenges and triumphs of restoring the Monastery of Santa María la Real. Through the warmth of personal anecdotes and reflective humor, Peridis brings history alive, showing how one’s biography and a nation’s cultural memory can intertwine.

Key Discussion Points and Insights

Personal Memories and the Role of Fulgencio Ares

• The episode begins with a heartfelt excerpt from Peridis’ novel mentioning "Don Fulgencio el Practicante," who, as noted by the interviewer, was the interviewer’s own grandfather. This leads to a touching reflection on the real-life figure behind the story.
  • Quote: "Parece que te dolía menos si la ponía don Fulgencio. Y era una extraordinaria persona que tenía el cariño y la amistad de mis padres."
    — José María Peridis (02:00)
• They discuss the enduring memory and affection surrounding Fulgencio Ares in the village and his key role in Peridis' survival and ongoing journey.

The Landscape and Spirit of Romanesque Art

• Peridis vividly remembers his childhood in the shadow of a ruined monastery, linking his earliest experiences to the landscape and everyday life of the postwar Montaña Palentina—one where Romanesque art is inseparable from its surroundings.
  • Quote: "Es la sobriedad convertida en emoción ese arte rural."
    — Peridis (04:10)
  • Story Details: The monastery’s grounds were full of life—fishing for crayfish, tending vegetable gardens, and childhood adventures—showing heritage as a lived, communal experience.
  • The social function of ruins as places to play and gather—unofficial town squares.

"El tesoro del convento caído": Autobiography and Historical Metaphor

• Peridis describes the novel as a "journey of the hero," using his own life as a framework but including a host of real and imagined companions.
  • Quote: "La novela es un viaje y es un viaje del héroe y el héroe en este caso no le quedaba más remedio que ser el autor, pero hay muchos más héroes y acompañantes..."
    — Peridis (06:00)
• The "convento caído" becomes a metaphor for Spain's historical cycles of ruin and hope, referencing Unamuno and national memory.

Childhood as Guides among the Ruins

• The children, ignorant of formal history, learned by listening to visiting historians and acting as unofficial guides, earning enough for cinema tickets with their efforts.
  • Quote: "Nuestro servicio de cicerones era gratuito, pero interesado, pero lo desarrollábamos. Lo fundamental era encontrar la llave..."
    — Peridis (09:56)
• Vivid stories include playing among tombs, encountering skeletons, and the practical jokes and wisdom passed down in family and community.

Becoming an Architect, Inspired by Lope de Vega

• Peridis recounts leaving for Madrid, choosing a career in architecture, and being inspired (and playfully haunted) by the ghostly presence of Lope de Vega from across his editorial office window.
  • Quote: "Lope en preuniversitario...cuando abría la ventana, yo me dirigía a Lope y repasaba."
    — Peridis (13:13)
• This segment captures the blend of literary imagination and hard work that typifies Peridis’ approach to life and heritage.

The Challenge of Conservation and Restoration

• There was no sense of heritage conservation among children or even adults in the postwar years. Monuments were plundered for parts, ruins left to decay, and the historical value was not widely appreciated.
  • Quote: "¿Había conciencia de conservación? — Cero."
    — Interviewer & Peridis (15:14)
• Upon returning as a young architect, the monastery’s state was critical. Peridis spearheaded the restoration, mobilizing hundreds in the community to form associations and press for preservation.
  • Quote: "Cuando te habla un amigo de la infancia, le tienes que socorrer. Y entonces, pues yo empecé a recorrer despachos y monté una asociación cultural para recuperar el monasterio."
    — Peridis (17:26)
• Their goal: to transform ruins into a living center of culture and education—founding an institute of bachillerato among the old stones.

The Broader Project: Documenting the Romanesque Heritage

• Peridis closes by describing a sweeping project to document the entire Romanesque legacy of the Iberian Peninsula.
  • Quote: "Empezamos sacando escombros y hemos terminado...77 tomos, 40.000 páginas con todos los testimonios románicos de la península ibérica...sembrando en todas las bibliotecas del mundo..."
    — Peridis (21:23)
• This monumental work involved the unemployed, architects, and historians—another testament to collective action for cultural memory.

Memorable Quotes & Moments with Timestamps

• On the memory of don Fulgencio:
  "Parece que te dolía menos si la ponía don Fulgencio..." (02:00)
• On the emotional beauty of rural Romanesque:
  "Es la sobriedad convertida en emoción ese arte rural." (04:10)
• On making the monastery their playground and learning site:
  "Nuestro servicio de cicerones era gratuito, pero interesado..." (09:56)
• On finding inspiration in Lope de Vega's literary presence:
  "Lope en preuniversitario...cuando abría la ventana, yo me dirigía a Lope y repasaba." (13:13)
• On the complete neglect of conservation:
  "¿Había conciencia de conservación? — Cero." (15:14)
• On the birth of the restoration movement:
  "Cuando te habla un amigo de la infancia, le tienes que socorrer..." (17:26)
• On the scale of the Romanesque documentation project:
  "77 tomos, 40.000 páginas con todos los testimonios románicos de la península ibérica..." (21:23)

Important Timestamps

• 00:02–02:37 — Opening novel excerpt & memories of don Fulgencio
• 02:37–05:47 — The landscape, childhood, and the heart of Romanesque
• 05:48–08:20 — The novel’s autobiography, metaphors, and community history
• 08:20–11:45 — Acting as child guides, folklore, accessing the ruins
• 11:45–14:29 — From playful cicerones to architect; Lope de Vega subplot
• 14:29–18:19 — Attitudes to conservation in the 1940s; birth of grassroots action
• 18:20–21:19 — Restoration campaigns, instituting education in the monastery
• 21:19–22:35 — The monumental Romanesque recording project and global legacy

Conclusion

This episode offers a rich tapestry of memory, history, humor, and passion, blending the personal journey of José María Peridis with larger questions about heritage and community. His stories animate Spain’s cultural landscape and demonstrate how individual action, collective solidarity, and a sense of place can revitalize even the most forgotten ruins. As Peridis says, even a "convento caído" can become a beacon—a hope for the future, as well as a testimony to the past.