There are places where history feels very present and where the emotional residue of another age still clings to stone and air. Puig de Maria, rising above the town of Pollença, on the Mediterranean island of Mallorca is one such place. It is not simply an old monastery, but built as a human answer to a dark time.
In 1348, as the Black Death swept across Europe. Suffocating fear was everywhere. Death arrived without logic or mercy, dismantling the illusion of control that underpinned medieval life. It is in this context that Puig de Maria was conceived: not as an architectural ambition, but as a cry to the divine.
The decision to build a sanctuary on a mountain summit high above the town was not accidental. It carried symbolic weight. To ascend is to separate—from contagion, from chaos, from the unbearable proximity of suffering. But it is also to draw nearer to God, to meaning, to the possibility that fear can be held within something larger than itself.
In Sages, Saints and Sinners, I return to a question that refuses to stay buried: what becomes of us when certainty collapses? When the structures we trusted—faith, order, meaning—no longer hold, who do we become? Set against the desolation of the 14th-century plague, a time when vast stretches of Europe fell silent and entire communities vanished, the novel steps into that rupture. It is not only a story of loss, but of what emerges in its wake—of the fragile, defiant ways human beings rediscover courage, meaning, and even love when everything familiar has been stripped away.
Some retreat into despair. Others are in denial. But there is a third path, rarer and more demanding—the transmutation of fear into courage, and anxiety into love.
Puig de Maria stands as a physical manifestation of that third path.
The people who built it were not free of fear. They were defined by it. And yet, instead of allowing fear to contract their world, they expanded it vertically. They climbed. They carried stone up a mountain in the midst of plague, and in doing so, enacted a radical defiance: fear would not have the final word.
There is a discipline in the refusal to be mentally captured by catastrophe.
The monastery that emerged—first a chapel, then a place of ongoing devotion—became more than a sanctuary. It became a container. Within its walls, fear was transformed. Ritual, prayer, and community gave structure to what would otherwise have been overwhelming. The unknown was met not with paralysis, but with presence.
This is the essence of transmutation. Not the removal of darkness, but its reworking into something that can sustain life.
Walking up to Puig de Maria today, the path winds in steady, deliberate curves. It is not a punishing climb, but it demands attention. There is a rhythm to it—step, breath, step—that mirrors something older than the path itself. Pilgrimage is never only about arrival. It is about what is shed along the way.
Halfway up, the town below begins to recede. Perspective shifts. What felt immediate loosens its grip. By the time you reach the summit, something subtle but unmistakable has occurred: distance has been created, not just physically, but internally.
This is the overlooked power of sacred geography. It externalises an inner movement.
At the top, the monastery remains austere. A tower and thick walls. A chapel that holds silence rather than spectacle. There is no excess here, no attempt to impress. It was never meant for comfort in the modern sense. It was meant for clarity.
And clarity, in times of crisis, is everything.
In our own age, fear has taken on different forms, but its structure remains familiar. Uncertainty, fragmentation, and a sense that the ground is less stable than we were led to believe. The temptation is the same as it was in the 14th century: to collapse inward, to narrow, to protect.
But Puig de Maria offers another template.
Climb.
Not away from reality, but toward a broader vantage point. Build—not necessarily in stone, but in practice—structures that can hold anxiety without being defined by it. Create spaces, inner and outer, where fear can be acknowledged, but not enthroned.
The plague did not end because a monastery was built. Suffering was not avoided. But meaning was forged in the midst of it.
And meaning is what allows endurance to become transformation.
In Sages, Saints and Sinners, the figures who endure are not those who escape fear, but those who metabolise it. They refuse its finality. They insist, against all evidence, that love and courage remain alive.
Puig de Maria asks a question that is as relevant now as it was then:
When fear rises, will you descend into it—or will you climb?
Reino Gevers – Host of the LivingToBe podcast
P.S: If you enjoyed this article you might be interested in reading: Sages, Saints and Sinners Get it today on Amazon, Barnes & Noble and where all good books are sold.
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