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to single confe rence. THEREFORE: NOT IN LIEU OF READING WORKS! Marília de Dirceu Tomás Antônio Gonzaga It is the most popular lyric love of literature in Portuguese. According to the author's preface of the book (Lisbon 1957), Rodrigues Lapa, is not the persisten ce of traditional elements of poetry, more or less personally prepared, we will definitely give your style. This is particularly sentimental and contraceptives in the news that brought a literature derrancada in an effort to brood incessant ly antiquity. A sincere love, the age at which a man feels him flee the ardor of youth, and a brutal and unjust imprisonment - were these two experiments that d id strike the lyre Dirceu new accents. We are still convinced that the American climate, more airy and stronger, contributed powerfully to the revelation of thi s style, which already feel distinctly the first rebates of romanticism and ines capable impression of the ideas of time. "Divided in which from the Lit publicat ion of the poem in book form in 1792, were recited, and sung to music serenades and balls all over Brazil. Referring to the lira III, Part III, Manuel Bandeira wrote: "In this lira has forgotten the Poet landscape and life in Europe, the sh epherds, wine, olive oil and white sheep, forgot the mischievous god Cupid, and his poetry reflects the nature beauty and the social environment of Brazil, expr essed in terms of land with a fine taste who had their precursors. "There are th ree factors basic contributing to the individuality of poetic Gonzaga: the roman ce with the girl Maria Dorothea, the unjust imprisonment and brutal, as conspira tor, and the magic of nature and the tropical climate. The book is divided into two parts (there is a third, whose authenticity is disputed by some critics): In Part 1 are the poems written in the era prior to the arrest of the author. It d ominated the compositions of conventional features Arcadian: Pastor Dirceu celeb rates the beauty of Marília in small odes Anacreon. In a few lire, however the c onventions barely disguise the love confession of love: the anxiety of a forty l ove with a teenager, the need to show that there is no one that deserves his bel oved, the projects of a peaceful afterlife, surrounded by children and well main tained by his wife etc. In Part 1 of Lit author denotes preference for the back light, handled with ease. The 2nd part (and third, if authentic), was written in prison on the island of Cobras, and the poems express the loneliness of Dirceu, late of Marilia. Here we find the best poetry of Gonzaga. It is understood here that the characteristics préromânticas are felt more acutely. The feeling of in justice, of loneliness, longing, Marília, fear of the future and the prospect of death break constantly balance classic. The conventions, while still present, d o not support the neoclassical equilibrium. The confessional tone and pessimism foreshadow the romantic emotionalism. In this 2nd part of ITL, there is the use of the verb in the past: the poet lives of souvenirs and memorabilia passed . In Marília de Dirceu, there is a refined neoclassical simplicity: a seemingly stra ightforward diction and spontaneous, filled with graceful images and mythologica l allegories; a nice pace, understated by short verses, by the alternation of de casyllables hexassílabos and by the use of chorus and blank verse. The metric st ructure of the ITL are the versification little varied, and a couple of verses o f four syllables, better said cell metrics, come to redondilha lower, with accen t on the 2nd and 5th syllables; the heroic broken, always in combination, the re dondilha greater, the decasyllables. INNOCENCE Viscount Taunay Outback Santana Paranaíba, 1860. Pereira (Pereira dos Santos Martinho) lives on the farm with Innocence, his daughter 18. His father calls him total obedience, and educated in the old regime away from the world. Chooses for her bridegroom,

Manecao, a man raised in the backwoods rough, violent nature. Maria Conga is a b lack slave of Pereira. Tico is the custody of the girl's innocence, despite bein g fairly faithful mute. One day, Pereira met a guy who walked the roads of the h interland to medicate. There were studies done in college and started Caraça Pha rmacy in Ouro Preto. Called him "doctor" title that does not denigrate. His name was Cirino Ferreira dos Santos (Dr. Cirino). Innocence was ill with "a fever ma d" and "doctor" cured it. The two later fell in love: they were too much care wh at the "doctor" had for her. They loved each other secretly and orange grove was a place of encounters prohibited. They thought that nobody would suspect ... bu t Tico€the dwarf silent, was attentive ... Meanwhile, Pereira rode is suspicious of Dr. Meyer, a butterfly hunter, who appeared there! Suspicious to the point w here the distinguished entomologist became "persona non grata." Dr. Meyer was ai med at finding new specimens to European museums. Concerned with much care and a ttention the beautiful innocence. Joseph Pine (Juque), Dr. Meyer's assistant, ex plained the function of his boss: look for insects. And that for almost two year s ... Garcia, leper, appears on the farm of Mr. Pereira. Want to talk to Dr. Cir ino. The "doctor" tells you that the disease is incurable and contagious. Innoce nce was abused by her father, when he learned of his love with the doctor. Was t hrown against the wall. He resisted and swore not to marry Manecao, the frontier sman violent. But his father - Mr. Pereira - thought the daughter was the "evil eye" because of Dr. Meyer. And found a solution: he would kill the intruder Mane cao or German. Dr. Meyer did not listen to Pereira, mocked his threat. It became a shame: it was offending others. Tico, after witnessing the love between Innoc ence and Cirino, explained to Mr. Pereira everything going ... Manecao began fol lowing in the footsteps of Cirino. Until one day questioned him. He took a pisto l from the waist e. .. Cirino fell to the ground, asking for water and whisperin g the name of Innocence. Dying, Collier demanded Anthony Cesario not to let Inno cence marry Manecao ... Dr. William Meyer Tembel in 1863, presented to the entom ologists of the world its latest discovery: a previously unknown butterfly "Papi lio Innocentia" in honor of Innocence, the girl in the backwoods of Santana do P aranaiba, South Eastern Part Mato Grosso. Innocence, poor thing ... Exactly two years would make that day that his body had been kindly given to land in heavy b ackwoods Santana Parnaíba to sleep the sleep of eternity ... Esau and Jacob Machado de Assis Published in 1904, Esau and Jacob is the penultimate novel by Machado de Assis. The title is taken from the Bible and refers us to Genesis: the story of Rebecca , who favors her son Jacob, to the detriment of another son, Esau, making them i rreconcilable enemies. The enmity of the twins Peter and Paul, from the novel by Machado, has no explicit question, hence the name of romance "Ab Ovo" (from egg ). It is the ambiguity of the novel, narrated in 3rd person, by Councillor Aires . Peter and Paul were "two sides of truth." Twin sons of the Nativity and Saints Augustine, as they grow older, the brothers begin to define their different tem peraments: they are rivals in everything. Paul is impulsive, passionate, Peter i s hidden and conservative - who happens to be the cause of fights between the tw o. As adults, the main cause of their differences becomes a political - Paul is a Republican, Peter, monarchist. We are in full time of the Proclamation of the Republic, when the action follows the novel. To appease the fraternal strife of the worthless advice Aires, friend of the Nativity, or the magnitude of disagree ment and forecasts made by a fortuneteller (Cabocla The Castle), when the twins were still a year. Even in his loves, the twins are competitive. Flora, the girl who both enjoy, and being entertained by one another without settling on any of the two: she is retiring, modest, and his temperament averse parties and joys, this led Counselor Aires to say that she was "inexplicable." Councilman Aires is another great character of the gallery Machado, who reappears as a memoirist in the next and final novel from the author: old retired diplomat, habits discreet and exquisite taste, a lover of learned quotations, often plays the novelist's own thinking. The differences between the brothers still, though, with the death of Flora, have sworn to his grave with a perpetual reconciliation. The death of the girl, however, temporarily joining the twins, later, also the death of the

Nativity creates a truce between them, but soon to launch disputes. Continue to be disagreements, now in full podium after both were elected members of two diff erent parties, absolutely irreconcilable: meets, therefore, the forecast guess: both would be great, but enemies. Esau and Jacob, for the reasons stated, might be called indecision. The characters, even the secondary characters do not have positive stable, cross the work as creatures that give the impression of uncerta inty at first glance. The figure of Flora is not fixed in the memory of the read er without leaving a trace of doubt as to their preference for one of the twins. Ends without coming to separate Peter and Paul, merging them into one, as happe ned in his hallucinations. In form, Esau and Jacob as literary expression,€is a masterpiece by critics little remembered. Machado de Assis reaches only a stylis tic superiority even less than the conquest of Memorial de Aires. Machado's idea s are like coins: they have two faces - and expensive - crown, its value, howeve r, makes them unique SONNET Florbela Espanca Portuguese poet, born in Vila Viçosa (Alentejo). Born the illegitimate daughter of John and Maria Antonia Espanca Conceição Lobo, created to serve (as they said at the time), who died aged just 36 years, "a disease that nobody understood ', but that came on the death certificate designated as neurosis. Listed as daught er of unknown father but was educated by the father and stepmother, Mariana Espa nca in Vila Viçosa, as his blood brother, Apelles Espanca, born in 1897 and regi stered the same way. It should be noted as a curiosity than his father, who alwa ys accompanied her, only 19 years after the death of the poet, at the time of in auguration of the bust, in Évora, and the insistence of a group of florbelian th e tiller. He studied at the school of Évora, but only after his marriage (1913) with Alberto Moutinho completed in 1917, the section of Literature Course High S chool. In October of that year he enrolled at the Faculty of Law, University of Lisbon, which he attended. In the capital, contacted other poets of the time and the group of women writers who then sought to impose itself. Collaborated in ne wspapers and magazines, including the Female Portugal. In 1919, while attending the third year of law, published his first poetry, Book of Miseries. In 1921, di vorced Alberto Moutinho, who lived a few years had separated, and remarried in P orto, with the artillery officer Antonio Guimaraes. This year also divorced his father, to marry the following year, with Henriette Almeida. In 1923 he publishe d the Book of Soror Saudade. In 1925, Florbela married for the third time with t he doctor Mario slab, in Matosinhos. The failed marriages, as well as heartbreak , in general, and the death of his brother, Apelles Espanca (Florbela who was li nked by strong bonds of affection), in an accident with the plane who flew over the river Tagus in 1927, deeply marked the his life and work. In December 1930, aggravated health problems, especially psychological, Florbela died in Matosinho s, was presented as a cause of death officially a "pulmonary edema". The works w ere published posthumously in Blossom Heath (1930), Letters from Florbela Espanc a by Guido Battelli (1930), Juvenile (1930), The Marks of Destiny (1931, short s tories), letters of Florbela Espanca by Azinhal Botelho and José Emidio Amaro (1 949) and Last Year's Diary Of A Poem Followed Untitled, with a foreword by Natál ia Correia (1981). The storybook Dominoes Dominoes Black or Negro, several times announced (1931, 1967) was published in 1982. Florbela's poetry is characterize d by recurring themes of suffering, loneliness, disillusionment, coupled with an immense tenderness and a desire for happiness and fulfillment that can only be achieved in the absolute, the infinite. The passion of their language, remarkabl y personal, focused on their own frustrations and anxieties, is often an erotic sensuality. Simultaneously, the landscape of the Alentejo heath is present in ma ny of their pictures and poems, overflowing the inner turmoil of the poet to nat ure. Florbela Espanca not clearly linked to any literary movement. Is closer to the neo-Romantic poets and certain end-of-century, Portuguese and foreign, that the revolution of the modernists, which was strange. Confessional by nature, sen timental, his poetry, follows the line of Antonio Nobre, a fact acknowledged by the poetess. Moreover, the technique of the sonnet, which made famous, is primar ily influenced by Antero de Quental and, more distantly, Camoes. Poet of EEDS, t

he passion grew exaggeratedly, with distinctly female voice (which some critics find gift-joanismo for women). His poetry, sometimes even sinning for a conventi on, has attracted continuing interest of readers and researchers. It is regarded as the great female figure of the first decades of the twentieth century Portug uese literature. Star of life of Manuel The Star of work life is the meeting of the complete works of Manuel. In this bo ok you can understand all the genius of this poet, who has made his work is time less and capable of being understood and felt in every season. His style and lyr ical at the same time stripped certainly continue to attract thousands of genera tions. In this book are poems that populate the Brazilian imagination that are e ssential for the formation of any player. The book is actually a set of books of the poet Recife.€They are: • Ashes of Time (1917): It can realize that the poet , coming from the Symbolist tradition and Parnassian maintains deep ties with he r and walks, paradoxically, for a break that tradition. • Carnival (1919): Very well received by the new generation of the season and by the critics. It is a bo ok without unity. Pretext that the carnival all fantasies are allowed, according to the poet himself, admitted in a collection of funds drawer, three or four so nnets which are mere pastiches Parnassians, and this alongside the pinpricks of the 'Frogs'. The poem "The Frogs" is a satire on Parnassianism and was read by R onald de Carvalho during the Week of Modern Art, the Municipal Theatre in São Pa ulo in 1922. The poem would be considered a kind of national anthem of the moder nists. • Libertine (1930): With the publication of this book, one can say that p oetry Flag definitely matured in the sense of an aesthetic freedom. Moreover, th e poet has consolidated its existential theme and explored more often the scenes and images of Brazil. Poems that have become classics: "I can not dance", "Pneu mothorax," Poetics "," Evocation of Recife, "" Poem taken from a News Journal, " " Teresa "and" I'm off to Pasargadae. • Morning Star (1936): Flag had 50 years w hen, finding no editor, published without financial resources, 50 copies (paper and printing donated funded by subscripts). Some musicians like James Ovall Gnat ali and Radames, among others, are interested in their texts. In 1945, the poet composed the lyrics for a number of songs at the request of composer Villa-Lobos , who would typically Brazilian compositions to be sung at festive occasions. We re gathered under the name Songs Dedication (Iron Train, "" Berimbau, "" Song, " " Dona Janaina "," Irene on SKY "," Ruia In the Soap "," Macumba Zuze the Father , "" Boca de Forno, "" Sick Boy "and" Inside the Night, "published in other work s. • Cinqüent'Anos of Lira (1940): Publication of an emergency, the first call t hat the poet received from a publisher. Bandeira ran- to the Brazilian Academy o f Letters. • Belo Belo (1948): This title was taken from a poem of Lira Cinqüent 'Anos. In a later edition of 1951, were added a few poems. Malungo • Mafu's (194 8): Book published Spain on the initiative of João Cabral de Melo Neto. Mafu mea ns fair, is a malungo Africanism, meaning companion. In this book, Flag makes ga mes with the first letters of words, it also makes political satire, jokes "like " other poets . • Opus 10 (1952-1955): The words of the title comes from the uni verse of music. The Latin word Opus indicates generally work, composition, and t he number indicates the position of a particular part of a set of composition th e author. Naming a book to your words taken from a universe of music, Flag under scores the importance of music and musicality in his work. • Evening Star (1960) : Reprinted in 1963, with new poems. It is the maturity of the poet is already c omplete at the Flag time this book, where he so returns to the traditional sonne t (reinvented in his poetry) as used in graphics capabilities - perhaps inspired by the contemporary avant-garde - in the assembly of poems like "The Name Itsel f." Wedding dress Nelson Rodrigues The play begins with a car horn, the sound of skidding violently, windows broken , an ambulance siren. The scenario is divided into three planes, which the autho r calls: hallucinations, memory and reality. The sounds heard refer to the tramp ling of Alaíde, which is taken to a hospital. The plan of the reality of staging

the fight against Alaíde death in a coma, on the operating table, and the event s that happen trampling: the movement of the reporters, the complaint from a rea der of a newspaper about the abuse of speed cars, the talk of her husband, Peter , with the doctors, the death of the protagonist, the funeral, the grieving rela tives, and finally the marriage of Peter and Lucy, sister of Alaíde. The plans o f memory and hallucinations present at the beginning of the piece a certain defi nition, going to be playing as the action progresses. These two planes are proje cted outside the subconscious Alaíde, a woman dissatisfied with the condition of women in upper middle class in Rio, causing her an irresistible desire to trans gress: as if trying to accomplish by adopting the rules of a game adverse, she s educes all lovers of her sister, and ends up marrying the last one, Peter. Siste r vows revenge, and after a time when marriage enters that stage of boredom, wit h Peter plot the way most extreme of discarding Alaíde: his murder.€Alaíde in th e days preceding the accident, who was sworn seems suspicious death, and while l anguishing in the operating room, trying to reconstruct in your mind past events , mixing them to their delight, the satisfaction of repressed desires. In his ha llucination, mixed with memory, is the figure of Alaíde Clessi support for the r econstruction of past events and the revelation of his subconscious desires, inc luding the murder of Peter, as retaliation for the macabre that he perpetrated i n accordance with its own sister. In this social universe, the permission of sex ual for women only occurs in one of two ways: either she marries according to re ligious precepts and social or she transgresses all, becoming a prostitute. Wher e Alaíde, she ends up with access to sex in real life and in a subconscious atte mpt on his friendship with Clessi. Disagreeing with the repressive social conven tions of the woman, Alaíde not alive to oppose them, but can manipulate people w ith its seductive power. Near death, his desire for transgression takes shape an d jump to the eyes in scenes and close friend of the prostitute and can even kil l, coldly, the cheating husband. No one pays in this piece: Alaíde is neurotic a nd opportunistic, Peter and Lucy are presumed assassins and hypocritically marry with parental consent to Lucia and expressionless mother of Peter. Alaíde is th e star of Wedding Dress. It is a woman unhappy and dissatisfied with the feminin e condition. Seduces boyfriends sister as an attempt at self-assertion, which ma kes it look better in their own eyes. It's like she tells Lucy, in a tone of def iance: "I'm more woman than you - always was! After conquering Peter, who become s her husband, shows a certain lack of interest and frustration for the married life, while who feels threatened with death by Peter and Lucy. Trampling is a tr agic tension of the last days of the protagonist, and may be either suicide or m urder as chance. In his delirium and memories in the subconscious reconstructs t he injustices that are judged victim and reveals his fascination with the margin al life of Madame Clessi. Lucy, sister of Alaíde, appears in almost the entire p iece as veiled women. It is also a person unhappy, incomplete, who lives torment ed by the feeling of it being passed back by sister . It seems to have won a gre at victory with the death of Alaíde and her marriage to Peter, but the final sce ne suggests that she will not be best in your marriage than Alaíde in his grave. Peter is the dominant element is the handler for women get what they want. Namo ra Lucia initially, let yourself be seduced by Alaíde, who married first, and th en devises a sinister plan to eliminate his wife to return to the arms of her si ster.'s successful industrialist, who represents the good match for marriageable girls who can catch him, even though they lived at the mercy of the male oppres sor. Clessi Madame prostitute is the beginning of the century that people's mind Alaíde, eager to live a world of spicy sensations. She had resided Alaíde's hou se decades ago, and the parents of the protagonist solve burning their belonging s, some of which are saved, including the diary. Clessi represents (for Alaíde) the ideal of liberated woman who attacks the hypocritical society that denies Al aíde, but in which they pass. All poetry Gullar Precursor of Concrete Paulo and author of the Neoconcrete 1959 (which would be t he spearhead of the movement that brought together artists such as Amilcar de Ca stro, Lygia Clark, Ligia Pape and Franz Weissmann) Gullar is an avant-garde who,

after imploding language , wanted to implode the very idea of vanguard in the n ame of political engagement. The turn in the poet's work took two runs of the 60 that have just been reissued in one volume: Culture called into question, and V anguard and underdevelopment (José Olympio publisher). Born in São Luís do Maran hão in 1930, the author of many voices changed in 1951 to Rio de Janeiro - which led to formal experimentation, which began with the wrestling, to the radicalis m of buried Poem (1959): an underground room, built the house of the father of t he artist Hélio Oiticica, where three wooden cubes of different sizes containing the word "Rejuvenate". From there, Gullar takes a turn in his life and his poet ry, joining the Center for Popular Culture of the National Union of Students (UN E-CPC), making the criticism of "internationalism" of the vanguards ("all creati on is born of particular aesthetic ") and, paradoxically, produces some of the m ost innovative books in contemporary Brazilian literature - like the dirty poem, written in Argentina in 1976€marking the end of a period of exile, from 1971, l ed in turn to Moscow, Santiago, Lima and Buenos Aires. INTERVIEW: Cult - Did dif ference say it was an avant-garde? F.G. - I was not alien to a guy who decided t o criticize the leading edge. I took the experience to lead in Brazilian poetry far more than anyone around. I knew what he was talking about. What I put was th e vanguard of an international problem to know, as known, the characteristics of countries. Had been in 1959 in Sao Paulo Biennial, the experience of Tachism [p ictorial school of French origin that uses "spots" - in French, taches - on scre en]: You walked around the Biennale and all booths nationals - were Japanese, Al gerian, Brazilian or French - was the same thing, they were just works "Tachist, only tables with spots, miles of paintings always equal. A monotony, poverty, w ithout any peculiar brand of culture. My defense of the national character of ar t was not a nationalist, because I've never been chauvinistic, but stemmed from the awareness that all creation is born of particular aesthetic, and not the gen eral. Science can be born of the general demand for universal laws and concepts, but the art is born of the particular. Cult - And where is the Brazilian art wi th particular traits? F.G. - The Brazilian art is Siron Franco, John House, Fran z Weissmann, Marcelo Grassman, with its beautiful pictures. It is clear that thi s art will not compete with this world antics of Big Brother or the art on video , which is something that only exists chatíssima and for curators. People will l ook where is the human being, which can often be a small picture or a picture. A year ago I attended a show at Urca for an audience of five people, staged in th e bedroom of a house. Know what was being staged inside? Crime and punishment [a daptation of Dostoevsky's novel], an incredible experience. While the world is g etting globalized and crowded - which goes against human beings, because no one is born to live in cities the size of Sao Paulo or Mexico City and so people wil l be joining and creating smaller tribes - the real art is being made to small g roups of people who still are moved. Cult - This includes poetry? F.G. - The poe t is not it. Poetry, fortunately, have no market and therefore was not swept awa y by this madness. I usually say that poetry is worth nothing, has no value ... market, it only has value for people who love her. Cult - Returning to the issue of the vanguards: You said in an interview for Notebooks Literature IMS your ph ase did not express the neo Brazil. But a subjective poem, visceral, as of the c lose fight is not also a form of expression of reality? F.G. - I was referring s pecifically to neoconcretism, I mean that the character of the abstract, divorce d from social and geographical reality, concrete and Neoconcretism, did not expr ess that moment of turmoil in Brazil. I did not mean it was not an expression of our cultural life, but it was not an expression of our political moment, I was off this reality, so that from the moment I engaged in the CPC, I began to read and learn about the Brazil. I knew much more about French literature, on Cubism or the German romanticism than about Brazil. I was an illiterate in Brazil. Afte r that, my poetry became much closer to social reality. Levantado do Chão José Saramago About his style, Saramago himself defines as a time "the most beautiful of his w riting life." When writing Levantado do Chão (1982), his first publishing succes s, in the form of a conventional text, he says: "Without knowing how, without ha

ving thought about it, I start to write as if telling that story, and telling th at story, tale it without scoring, the same way as we speak, with sounds and pau ses. " And adds: "Abolish the score was not decided by someone who wants to writ e something new. It was a logical result of accepting a kind of narrative that m ingles with the very orality, has to do with this magical tale orally. (... ) Wh at I want is for the reader to listen ... listen what's in the book "(ZERO HOUR, 1998). Levantado do Chão, 1980, a title that symbolizes, this time with perfect ion, the life and literary works of an author who knew the dismay and incomprehe nsion but knew that stubbornness, rising from the ground, where fertile field an d cultivated spiritual Saramago that on this day bore fruit in a perennial. This work of 1980, Saramago raises epic in the lives of workers Alentejo, in three g enerations of pain and suffering,€traveling as a narrator (who is himself as 'th e narrator') between the past century and the fifteenth time this Sunday followi ng bad weather, his son John, his grandchildren Anthony and Gracinda, married to Antonio Espada, character important in the dieresis. The differentiation betwee n Levantado do Chão and tradition of the historical novel is most clear in the n arrator's status and functions of the characters. On the first point, we note th e existence of a narrator who accompanies the action, comments and critiques on omniscience, which uses the aphorism or prophecy leading the reader to incorpora te in the text in an active dialectic between past, present and future, he is a guide and conscience. The characters are the subject of objective analysis to th e exposure status dummy and absurdity in a mixture of realistic and fictional, w hich is presented to the reader reveals the meta-historical fiction. The reconst ruction of the historical novel in Saramago has the character, as already indica ted, another example of subversion. In the traditional ordering of the character s in the historical novel, we could find the star-type, representative of the ev olutions of the historical moment and social and historical figures typical. The se elements are the antithesis of Saramago. The story by Saramago of Portugal th rough various periods since the time of the monarchy in the early twentieth cent ury, the end of the monarchy, republic, dictatorship and return to freedom in th e late twentieth century. Characters 1st Generation: Time's silence. People are cornered by religion, the oppression of the government and operated by the owner s of the land. Life is marked by conformism and see no prospect of change. It is represented by Domingos Mau-time 2nd generation: time for questions. The men be gin to question their situation and see that something can change and that chang e depends on them, their courage to face the landowners, the government and revo lt against the Church. It is represented by John Mau-Time 3rd Generation: Time o f the fight. The men begin to go on strike and fight for changes they want. Duri ng this period, many were arrested and many others die. Manuel Espada is the rev olutionary that mark this season. STRAWBERRIES moldy Caio Fernando Abreu Moldy strawberries, Caio Fernando Abreu (Contos. Editora Brasiliense, São Paulo, 6th edition, 145 pages, 1985). How quick shots of a trailer telling stories in search of a meaning to the world. In the background, music (rock, blues, tango, MPB) assist in the composition of the scene, packed on almost cinematic pace. Im ages explode in words stoned, manifested in pain, sorrows, failures, and disagre ements, hopes, ultimately, millions of mixed feelings, stitched in small webs to form a huge mosaic of emotions that marked an era. And it continues to identify generations and generations that follow after the launch apotheosis of the work . Divided into three parts, moldy strawberries is undoubtedly the best known com position of Caio Fernando Abreu. The first part, entitled "The Mold", chronicles the decline of values, of love, loneliness, human frailty, the drunkenness, dru g abuse, despair, lack of love, pain in the most cold and raw. Written in a prec ise, almost surgical, Caius will be performing a series of anonymous characters that the end is personified in one person: the author? Or perhaps even any of us . The bitter taste of defeat, smelling of mold, vomit, cheap vodka, cigarettes. A sentimental melancholy melody in the background. Darkness and misunderstanding s. The taste of solitude carved delusions of the soul. Stuck in a maze of dark a nd twisted so masterful. The feeling is identical to the output of a roller coas

ter. "The Strawberries". Here, a peace so reassuring magic invades the soul of t he characters. As if the existence of a happy ending was possible, brief, or as if life were less harsh. The slightly sour sweet strawberries melting on the ton gue, showing a beautiful sunny day after a storm. But the sweet acidity gives ro om for turning pieces of magic in sorrow and loneliness. While the tooth hurts t he bright red strawberries, mouth remains the sour taste of prejudice, fear of l ost dreams, utopias turned into bank accounts. Sickness natural abuses. Of delir ium caused by excessive cocaine Stories involving Ba (Giramundo) hippies without destinations, crazy, communist yupes rampant, compulsive, sergeants, prejudice, stupidity, lack of love. Dream of a generation rotting in common latrine. Lives in rotting stinking latrines common. The peace so close and so distant that the rapid movements of our eyes can not capture. Nor could. "Strawberries moldy." T he third part.€With eyes closed, I hear "Let me take you down, 'cause I'm going to Strawberry Fields. Nothing is real and nothing to get hungabout. Strawberry F ields forever. "As if I were in a parallel universe, a refuge, a shelter, a home away, but inside the urban chaos. A kind of shelter for hiding the toxic rain, or the follies of the heart. While images explode before our tired eyes in the b ackground, the sound of the Beatles will increase slightly, increasing ... Fall leaves us with open mouth, the book in their hands and the thought away, thinkin g: What if life were different? To read and reread whenever the missing - or pai n - speak louder. Moldy strawberries, as a foreigner in his homeland, or sunflow ers gracing the pastures in the winter in Russia, or a Holy War ... The smell an d taste of the mold exceeds the entire poetic symbolism of the strawberry. Ponce Vicencio Conceição Evaristo Example of romance african american, speaking of black identity, Ponce Vicencio, Conceição Evaristo, goes against the argument that the records of descendants o f slaves would be restricted to the short story and poetry. Apart from making a healthy counterpoint to the white abolitionist of the nineteenth century and the modernist negrismo a Jorge Amado, José Lins do Rego one or Josué Montello, Ponc e Vicencio refers to Isaiah Caminha, Lima Barreto, in a smaller scale, Brás Cuba s Machado de Assis, and, of course, the memorial of Carolina Maria de Jesus and Woe to you, Francisca Souza da Silva, among others. Throughout the novel we see the prose full of poetic language. The book tells us little events of daily life , but his gaze beyond the automatic with addict who look at things from DIAA-day to look through the poetry of life essence. The text of Ponce Vicencio also sta nds out for the territory from which exudes a feminine look and another one spec ific discourse. This place is marked by ethnicity that comes the voice and the v oices, echoes of the dragging chains. It is seen that the novel tells a fellow e thnic with the marks of exclusion entered the skin, go to our past as a counterp oint to the story of winners and their myths of racial democracy and warmth. But it also speaks a gendered subject, touched by the condition of being female and black in a country that makes her looks and the victim of harm born of prejudic e. That being constructed by relations of gender is inscribed indelibly on the n ovel by Conceição Evaristo, who, without discarding the historical necessity of the testimony, is higher to make it enduring fiction. The story of Ponce Vicenci o, told in the novel, describes the paths, the wanderings, trademarks, dreams an d discontents of the protagonist. The author traces the trajectory of the charac ter from childhood to adulthood, examining its affects and disaffected and his i nvolvement with family and friends. Discusses the identity of Ponce, focusing on the legacy his grandfather's identity and establishes a dialogue between past a nd present, between memory and experience, between the real and imagined. Descen dant of African slaves, Ponce arises from the outset bereft of family name, as t he "Vicencio" that all its use as a surname, comes from the former owner of the land and it was as sharp blade torturing his body. This mark of inferiority, whi ch denounces the lack of slaves among the remnants of the minimum requirements f or citizenship, extends the circuit of empty and painful defeats, in which both the girl and the woman are being estranged from loved ones and all that might me an rooting identity. And after losing seven children who also produced, Ponce fa lls into lethargy that is lost itself. Ponce goes in search of better days in th

e city, but ends up in a slum deterritorialized, vegetating on the side of a hus band who does not understand. His slave descendants will confirm in the difficul t life he leads, in dreams erased by discrimination and marginalization that bot h she, as others of his family suffer. Their social and cultural remains, theref ore, is governed by the African past. Its trajectory of rural to urban represent s their diasporic condition. The passage in which the girl makes the train ride to the city confirms this: The inspired heart of Ponce dictated future successes for the life of the girl. The belief was the only good that she had brought to face a trip lasting three days and three nights. Despite the discomfort, hunger, bread made from cornmeal that still just the first day, drain the coffee stored in the bottle, chunks of brown sugar just lick, suck without even so they would last until the end of the ride, she brought hope as a ticket. There would, yea, to chart their destiny. Also the brother of Ponce, Luanda,€goes to town in sear ch of dreams and find his sister who had long party and raise money. His trip al so marks the diaspora of those who deterritorialized perpetuate the stories of t he slave ship. Luanda arrives without threshing or edge. He had lost the way the address of her sister. He arrived on a rainy day and cold. She wore very hungry too. Another character who takes the train in search of slave children was the mother of the Luanda Ponce and Maria Vicencio. In a chapter of the book, the nar rator tells us that she knew that, however reluctant that one day the city also would be part of your journey. Did not feel any desire for adventure travel. If your life was the land where she lived, what would you do away from there? And t he journey of Mary Vicencio is similar to the children: When the train, after en dless days and nights, stopped at the station, Maria Vicencio stretched his legs with difficulty. Every time the trip had been shortened with the backpack on he r lap, praying their prayers. Bladder felt heavy, I had the urge to urinate, but fear would not allow her to get up and go to the bathtub train or even villages where machine stop.

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