Selva, Rios y Macumba (Spanish Edition)

Selva, Ríos y Macumba (Spanish Edition) - Kindle edition by Hernan Jaramillo. Download it once and read it on your Kindle device, PC, phones or tablets.
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I raise my eyebrows at the name, and he explains that he also used to have a cat named Floyd. But Floyd had disappeared, allegedly stolen from the ledge of his garden wall. Indeed, O Pasquim managed to be so successful under the dictatorship because of the way its writers used jokes. The dictatorship did not harshly censor O Pasquim when it was first published.

That is, they thought that up until the newspaper began selling hundreds of thousands of copies per week. By then, it was too late. With a huge following, the paper printed explicitly about sex, evading the strict moralism of the dictatorship. The actress Leila Diniz, for example, in her interview with O Pasquim in November , revealed her sexual exploits and described how she lost her virginity. On the level of politics, there were limits to what the paper could do — no one could print cartoons of anyone in the military, for example — but irony and double entendre filled the pages of the magazine, allowing for criticism of the regime.

But these choices did have consequences. Then, in November of , the military itself tried to shut the paper down. A captain, who had led an investigation against O Pasquim , wanted to know if the magazine was receiving money from Moscow. Richard says that this group arrest was actually meant to prevent the paper from being printed. People like Glauber Rocha, big names, like Caetano Veloso, all pitched in. The contributors managed to put together a full issue of O Pasquim — and then keep the paper going for over two months — as though no one had been arrested at all.

In FEATURE

The actual writers of the paper were released in January Having survived the mass arrest, O Pasquim still had to deal with local censors. Here, the journalists used humor in a strange and unprecedented way. The staff at the paper befriended their censors in order to get content published. According to Ziraldo, a total of six censors dealt with the paper in this period but two are particularly notable: But the editors of Pasquim were nervous when they were assigned Juarez Paz Pinto. Clearly, that is not the case with a top general.

Instead of asking Pasquim to come to an official military or government office for him to sign off on the paper, he asked them to come to an apartment in Copacabana. Jaguar recounts similar juicy details about the general in an interview with Jornal da ABI. Juarez Paz Pinto would even tell the women he was seeing that they had to wait to come in until after he finished censoring the paper. Ironically, that censorship would often block content on moral grounds. There was an American anthropologist here in Brazil named Angela Gilliam. She was doing research about the movimento negro [the black rights movement in Brazil] and racism under the dictatorship.

We thought she was interesting, and we interviewed her. We talked about racism, but racism was a forbidden word. But it was such a good interview that we decided to publish it anyway. They decided that the problem was having one censor, who would end up being chums with the Pasquim people, so they assigned three different women to take care of the paper. These three women were in charge and let the Angela Gilliam interview go to print. It would go by mail. It would take however long they wanted for the paper to be censored, and then it would have to come back by mail again.

So we lost a lot of our up-to-date content. It really hit the paper. It was the first crisis that O Pasquim had. We would do everything three or four weeks in advance. And we would have to prepare enough content for three papers with the hopes that enough for one would pass through the censor. I would have to do three interviews, or an interview that was three times as long. The paper was 40 pages long, and we would send pages to the censor.

They started censoring everything. If you insinuated a blacklisted word, it would get censored. Humor was still a strategy in dealing with these new censors, but not in the same sense as before. Not only did they mock the system from afar, but they overwhelmed the censors with material. Some of the famous writers and cartoonists left the paper because of interpersonal conflicts, but Richard asserts that the exodus also had to do with the new political pressure.

Later, Richard does mention jail, detention, and people being arrested — specifically, he recounts his own arrest. I sit on his couch, flipping through the complete collection of Pasquim while petting Pink, who is curled up next to me. Richard is on his computer, pulling up digitized images of the paper. He comes across one that brings up a memory and calls me over. Originally, the plan was to print photos of the band to accompany the interview, but the film got damaged. Richard, who at this point was the interview editor, decided to accompany the interview with a series of photos of members of the government cabinet, each with a speech bubble containing a lyric from the song.

Printing song lyrics alongside unrelated images was actually a typical joke in Pasquim. That episode resulted in his arrest. Arrest happened frequently enough that Richard kept a small suitcase packed next to the door in his house. Usually, as with the Delfim Netto incident, the military held him for one day or less. Richard had a tendency to get out of these situations by citing his age, saying that he was just a kid in the paper, someone with no say in the content.

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But that did not always work. They interrogated him all day and night in an unknown location. No one knew where Richard was for 24 hours, but Dona Nelma discovered his location by the second day and worked to get him out. On day three, Richard was released without having been tortured. A kind of omnipresent fear and paranoia hung over the years of dictatorship, one that was not limited to the writers of O Pasquim. He remembers once thinking that a man who lived a few floors beneath him in his building in Santa Teresa was crazy. At the time, militant resistance organizations would work to uncover the identities of secret army agents and make that information public.

They reported that the person who had rented the apartment adjacent to the disappeared man was a secret army agent from CENIMAR, the Navy intelligence organization. When the dictatorship began loosening the grip of censorship in to begin the extended process of opening Brazil up to democracy, the newsroom at O Pasquim breathed a collective sigh of relief.

O Pasquim would not be censored at all before it went to print. That sigh of relief, however, was soon cut short. O Pasquim still did not have the freedom to publish openly. It was really scathing. If the paper made a misstep, the state would charge the paper exorbitant sums and the issue would be confiscated before it hit newsstands, which was a big hit to independent publications. O Pasquim was financially forced into self-censorship.

O Pasquim managed to speak its mind despite a new, subtler form of censorship. During this phase, the newspaper managed to be the outspoken proponent for the amnesty law that would protect political prisoners and allow exiled Brazilians back in the country. O Pasquim grew increasingly direct and explicit in its political opinions in and , when censorship loosened further. As political exiles returned to Brazil from abroad, some would begin writing for the paper, bringing new ideas to Brazilian media — the publication became a vocal proponent for the environmental movement, for example — and everyone, at the very least, would want to do an interview with O Pasquim.


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They wanted to keep the power. O Pasquim was starting to sell a lot again, finally back on its feet after all those years. But we had become really outspoken politically. What happened is that this terrorist group started bombing newsstands that would sell Pasquim. And that really hit Pasquim. There was another slump in sales and the newspaper never recovered. Some crazy brave bookstores would sell it under the counter. Later, everything got a bit more under control. But by then Pasquim had lost its audience.

It was a wreck. Richard worked at Pasquim until Even then, leaving the paper was not easy. They were the best, the top journalists, and there I was as an year-old, working with them as an equal. And I worked there for 14 years. He was part of the team that started MAD Magazine in Brazil, using his knowledge of the US and Brazil to translate humor from one cultural context to the next. The walls have framed prints of O Pasquim cartoons.

Reflecting back on the magazine as a whole, Richard reminisces on the craziest and most memorable interviews. It was this interview that gave the politician — who would later become president of Brazil — national attention. But Richard recognizes that O Pasquim was far from perfect. While it supported many social movements, like the struggle for racial justice, it was dominated by men and skeptical of feminism.


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In terms of the feminist movement: The magazine folded completely in , but a group of its original writers always dreamed of bringing the magazine back. In , Ziraldo brought Richard and some other writers together to start a color magazine in glossy paper called Bundas , which lasted three years. When it failed, former O Pasquim writers gave the comeback yet another shot with a paper called OPasquim That lasted through Something about the new iterations of O Pasquim simply did not stick. Richard and I talk about current politics. Over the course of the day, he had mentioned Brazilian candidate Jair Bolsonaro, who has openly expressed his support for the Brazilian dictatorship in congress, the coordinators of the rightwing group Movimento Brasil Livre Free Brazil Movement that received training from the Koch brothers, and other stories of the far right on the rise in Brazil.

If there is a thread that runs through his life, it is an insatiable love of jokes and consistent irreverence towards authority, even the authority of the newspaper that was so formative in his life. With that comment — or was it a suggestion? How does personal memory surface in our minds? Material objects, and photos in particular, have a way of pulling the past to the present. Those photos mark the unique intersection of space and time, carrying forward an event that was witnessed.

For his upcoming films, documentary filmmaker Silvio Tendler has been exploring and cataloguing his personal archive. He invited Artememoria to join him in the room stacked with boxes of photos, negatives, and documents. His career began in Brazil in the s through the Movimento Cineclubista , a nonprofit association meant to inspire discussion and reflection about film, and he has since traveled widely and collaborated internationally on Chilean, French, and German films. His documentaries are wide-ranging in historical topic but often focus on defeated leaders of the left.

All of his films are publically available on his production website, Caliban. Ele convidou Artememoria para se juntar a ele em uma sala empilhada com caixas de fotos, negativos e documentos. Consider, for a moment, the following five ways of coming into contact with an event in the world.

Three days before the Rio Olympics began, I stood on a ledge overlooking a demolition site. We went outside to bear witness to the destruction. I saw a bulldozer climb over rubble and paw at the house until it crumbled. Carlos Augusto Pereira , who had built the house by hand for his family, was there too.

He shouted his frustration, anger, and pain into a swarm of cable news cameras. He had put a Brazilian flag on the top of his house before the demolition. I was sitting at my dining room table and heard representatives vote yes to oust the president. Many dedicated their votes to God and country. Less than a year later, and once again on live TV, I would see Dilma Rousseff officially removed from the Brazilian presidency.

It was nearly 3 A. I read the exact messages that disappeared prisoners wrote on the walls, preserved in cold concrete. I saw the precise size of the coffin-like holes where living people were kept for years. As I circled it, I thought about how that same nondescript exterior had for many years disguised the events that took place inside. The past violence was palpable, like a ghost haunting the walls.

Even though I was not alive then, I managed to remember, in a way. I discovered the massive number of extra-judicial kidnappings that human rights groups estimate to have occurred at the hands of the military regime in Argentina: I devoured the gritty noir mystery, exploring a Rio de Janeiro I had never seen.

In the final pages I encountered the most frustrating ending possible. In his place, the police arbitrarily choose to arrest the people who found the body, two low-income local residents, without compelling evidence. Well, the book answered, what it would mean to live under a military government that considers artists and poor people the two greatest threats to society? These five vignettes recount the different ways that I have encountered political events over the past two years, ranging from emotionally charged firsthand witnessing to the distanced reading of a second-hand account.

And that raises an interesting question: Many people would say no, scholars in fields like media studies included. A less compelling form of witnessing — but a kind of witnessing nonetheless — is the live broadcast: The torture and imprisonment took place decades before, but it stays somehow in the bones of those buildings. Peters shows how space and time carry witnessing — and so, in his argument, written accounts do not allow us to bear witness, separate as they are from an event. Peters offers a very useful framework for witnessing, captured in the table above.

His concept gets to the core of the emotional experience of presence and liveness ; it gestures towards why we lend witness testimony so much authority in the first place. And it expands on the legal definition of witnessing — which only includes being there in space and time — to reveal the range of ways people encounter events. He takes that argument one step further, saying that facts, especially when communicated with that liveness of witnessing, gives an audience a political imperative that fiction will never demand.

The communication of events, particularly those related to state violence and oppression, have never functioned in so clear and undoctored a way, not in Latin America and certainly not in the US. The video is available here — keep in mind that the content is graphic. Starting in , concerns of unreliability in US media institutions that enshrine testimony have both intensified and entered into public discourse.

The Trump administration currently seeks to dismiss what it labels as the media of the liberal elite and as a result discredits information garnered from real sources — and sources, after all, are witnesses. These are just brief examples of how the US prevents access to testimony, be it live, transmitted, or historically situated. Silencing is not just the demand that someone not speak. Philosopher Rae Langton argues in her essay on pornography , the theories of which apply to political power and the US government that other, less explicit mechanisms of silencing exist.

Democratic systems chip away at witness testimony by twisting the meanings of words and spreading inaccurate histories. Ranking, legitimating, and depriving groups of people certain rights and powers can effectively shape the context under which testimony occurs and is communicated. But the manipulation of witnessing across institutions takes place on a wider and more egregious scale under authoritarian regimes, when witnessing of all types becomes marginal.

Consider the term itself. To disappear , as a transitive verb, captures the total silencing effect of these hidden kidnappings. When a government disappears prisoners, testimony to state violence becomes increasingly difficult — either because the prisoner never resurfaces or because the state can argue the person was never a prisoner in the first place. And since the Brazilian regime did not use prisons but rather buildings that in official discourse served other roles, the very spaces where this violence occurred were made absent and invisible.

Silencing the witness was not a side project under the dictatorship. That was the priority. Alongside the extrajudicial arrests and destruction of spaces tied to violence, the state censored media. In the presence of such immense self-censorship within established media, many journalists created new, small-scale, independent media organizations that reported verifiable fact and criticized the regime.

But the dictatorship threatened even those new forms of communication when it formalized and institutionalized censorship with the AI-5 in Though the independent press acted to resist and represent authoritarianism even during the harshest years of oppression, witnessing across space and time was pushed to the margins. My original question about fiction and witnessing might now seem more urgent and relevant.

Fiction might indeed carry the attitude of the witness in an authoritarian context: In the early s, a Brazilian genre of documentary fiction called the romance-reportagem became a popular way of bearing witness. Novels were some of the least censored forms of media, compared with music, theater, and journalism, and so authors would investigate and write about real state crimes under the guise of fiction.

Fiction absorbed components of journalism because of the repression of public discourse. Like the romance-reportagem , socially committed literary fiction also represented the violence and injustice of the authoritarian period. But rather than blending fiction into a journalistic investigation, which, according to literary theorist Amelia Simpson, weakened these and created a journalistically unsound and moralizing final product, some of the finest and enduring literary novels from the period balanced literary concerns and political witnessing. Rubem Fonseca did not begin his life as a novelist.

His first job, actually, was as a police officer in Rio de Janeiro. He mostly worked on the administrative side of things, not on the street, and ended up leaving the police force to dedicate himself to writing in , when he was 33 years old. He began to attempt the careful balancing act between literature and witnessing in with his first novel, The Morel Case. Through story frames — a story within a story — Fonseca brings his readers to the crux of the case of the fictional witness.

He lives in a bohemian neighborhood of Rio de Janeiro, Santa Teresa, in the early s. This Rio is harsh, dark, and dystopic. What Morel considers a happy polyamorous household — the ideal of a modern family, he calls it — must be read with scrutiny given the clear power differences between the different residents. Some choose to live there because they have no other choice, while others opt in, and Morel, the owner of the space and the only man in the house, dominates.

And any illusions readers may have had about the twisted reality of the situation crumble when one of the residents, Joana, is found murdered — possibly by Morel. Fonseca infuses the setting, the premise, and the relationships in The Morel Case with violence. Fonseca poses an alternative and highly critical narrative of Brazil under the dictatorship. That narrative intensifies in the excruciating final pages when Morel is released from prison and the police arrest two presumably innocent, low-income people instead. But Paul Morel is a fictional character, even within the novel. The Morel Case actually begins with a character named Paulo Morais, who is in jail.

Morais, in a switch from painting to prose, writes a novel in which the main character is Paul Morel, and the plot is what I just described. This is a criminal investigation grounded in textual interpretation. Fallopius rediscovers it, recommending the use of a linen sack to prevent venereal infections. Fonseca bolds Metamorphoses in the original and indents all of these citation-interruptions. Other textual inserts are far more relevant to the content at hand, like the repeated line:.

There are probably around two of these citations per page. And no matter how closely they relate to the text, they compel us to remember that what we are reading is a novel within a novel, not a straight narrative. The meta-content here is more than an interesting literary technique. It is also a comment on the very relationship between fiction and witnessing.

In a world with no access to witnessing, interpretation determines consequences. The final result is extremely dark. So where does this novel fit into the five opening vignettes of my various experiences of witnessing politics? Is Fonseca a witness to the violence, inequality, and injustice of the early s in Brazil? Is he instead an analyst of witnessing itself, given how he exposes the fictions and silences that a dictatorship rests on?

Wit, Whim, and Whiskey

Or is witnessing, grounded as it is in communication and therefore interpretation, always a literary concern? Practices of Cultural Regulation , ed. How might the early work of these writers reflect Brazilian society in the s? In the s, he would release two more novels and another volume of short fiction. Perhaps this mismatched beginning is the most marked difference between the two bodies of work.

Beyond that, the parallels are numerous, in part due to the very fact that both authors became critically relevant at the end of the military dictatorship. The uptake was different, but the final result, the same. By , the author of O sobreviviente had published ten short story collections and five novels. While both characters crumble under mutual accusations of frivolity and political cowardice, the writer in the novel begins to reveal, emphatically, the only kind of fiction that is possible in a country broken apart by the dictatorship: The book consists of twelve stories, most of them made up of fragments in which various narrators and characters find it enormously difficult to express themselves, unable to articulate even their own inadequacy.

The title story, which consists of a collage of different speeches , thematizes these same challenges of communication and the rage of artists confronting the limitations of their craft. This is an author who never hides the underlying structure of his writing. He instead emphasizes it, leaving the artifice of the text all the more exposed. The goal seems to be to share with the reader something constructive: In this way, according to literary critic Regina Dalcastagne, reader and author approach one another, making even more compelling the political effects of the work: Often hallucinatory and almost always dream-like, the plot reveals the fragility of life in a society in which nothing is truly established or fixed, not even literature itself.

This is captured in the following section:. But the automobile industry and the highways were directly responsible for severing the Brazilian from traditions and cultural roots. Because of Juscelino Kubitschek, the Brazilian became, above all, a Motorist. And the Brazilian from the Northeast, the nordestino , was no longer strong, as the great Euclides da Cunha wanted, but instead rootless.

Police commissioner extremely irritated: There is nothing epic or grandiose in these stories: The characters are afraid and self-absorbed, going about their lives with their heads down.

In the former, the nameless narrator-character roams through Rio de Janeiro, getting lost amidst drug traffickers, prostitutes, and all types of tricksters and hustlers, detached from any stability, social or psychological. Bandoleiros depicts the same emotional disarray, but this time among the elite. Prostitution, as it always does for Noll, replaces any kind of feeling, mediating the relationships between the narrator and other characters, how they attract and repel each other. Both books carry symbols of the era, now components of the Brazilian national imaginary, as though objects, music, and illnesses could serve to locate the characters in time: Those protagonists who must articulate this history are the weak, the part of society that truly represents Brazil.

Incidentally, it is not just his characters that remain nameless. He chooses to lack a name and even seems to protect himself with that de-identification:. No, not my name. I live on the streets at a time when telling someone your name is cause for suspicion. The entire book seems to be a long series of removals: Not in the company of a kid drug dealer, not with the man who pays him for sexual services. One could say that the removal of the name in the first line of the novel is simply preparation for all the other absences that follow: I might have already been buried.

He who has no name risks never achieving anything at all. And if personal safety is one of the central pillars of civilization, then here we find a contradiction: The conclusion is simple: The presence of a name may be rare, but the body seems to exist in nearly every space. It is instead what we find leftover from the narrators and characters of these books.

Recently kicked out of boarding school, a teenager has to figure out how to get by , while his father there is no mother , outside of the meeting in which he hoped to recover some remnant of their relationship, comes up against dictatorship forces. Here, too, there are no names. Sex here is often an affectionless negotiation between beaten-down creatures.

At best, it allows one body to feed on another, even if both are empty shells. Clearly, Noll works with bodies that lack names and, even more so, love. We should also note that gay relationships are very present here. Beyond carrying the same impossibility for affection that we see in the heterosexual couples, homoerotic love is also subject to the systematic persecution of LGBT groups under the military dictatorship, making those relationships even more marginalized. Here, affection actually incites violence:.

And suddenly the realization comes: She walks in the direction of the bathroom. It must be the same for her. Yes, if we had a revolution, it was a sexual one. In passing, it is worth noting that sex here is not heroic or affirming as it is often described in memoirs from the same period. Given the lack of physical or emotional closeness in these books, we can see that the characters lead profoundly solitary lives. In this context, the big city serves as the perfect setting into which narrators and characters disappear, as with the disappearance of names that already took place.

According to critic Silviano Santiago, this book serves precisely to indicate what remains of the observer and his realizations: Those who stay always end up alone:. I felt so alone. Eva was murdered by the driver when he caught her in the act with the shady gambler, Diana was transferred to the police beat in the newspaper and found herself professionally. Since then she became definitively apolitical and began writing love letters to Miro and saying that the world should be viewed in the way we see a police report, in a coldly descriptive way; journalistic style, as with any other attempt to perceive the world, she said, must be armed with a certain kind of skill and not with feeling.

Sometimes, they readily hand themselves over to oppressive forces:. A big patrol car soon pulled up, the cops came over and asked for my ID. I got up and went with the cops, got into the back of the patrol car, without hope or any illusion about what would happen, surrendering like a bull in a bullfight, let them take me, slaughter me, throw me to the Death Squad. In other passages, though, these encounters are very different.

And it is in the same tangled mass of buildings, streets, and beaches of Rio de Janeiro where the father dies at the hands of the repressive apparatus of the State. These clashes obviously create a context of extreme violence that, organized along the new social order that Brazil began forming, could only exist in urban settings, as literary critic and theorist Tania Pellegrini explains:.

The growing industrialization during the period ultimately bolsters fiction depicting urban centers, their swell and decay, and so highlights the resulting social and existential problems, including the rise of violence. Pereira would only consider slightly later:. An important pillar of legal authority in the Democratic Era is the police. In Brazil, despite the transition into democracy, the Police most frequently act to defend the status quo of the State rather than the interest of its citizens, broadly defined.

Social pressure for change sometimes results in conservative responses from the political establishment, which include police repression of the opposition. Most often, police violence is not ordered but rather tolerated by those in power, when it serves their interests. In this way, the police sustain illegal authoritarianism both directly and indirectly, by practicing violent repression of opposition movements when political authorities demand it, but also by exploiting their autonomy to act against poor and marginalized people and any other group perceived as rebellious.

Of course, it is intertwined with city space. Driver revs the engine and unconsciously strokes the clutch. All the others, nearby, make the same gesture, in unison. Driver gazes out into the vast night in the direction of Teenage Whore. The driver, at that exact moment, sees a star and asks himself if it could be Mira the Wonderful. Driver shifts into first and pulls away, heading towards that star, unaware that it could also be the Demon Star, Beta Persei. The airport terminal was full of people waving strips of paper and placards.

For characters left with nothing but their bodies and, as we saw, some lost ownership even over that , the metropolis is, one way or another, where the government is most active and effective:. The state of exception, which is what the sovereign each and every time decides, takes place precisely when naked life — which normally appears rejoined to the multifarious forms of social life — is explicitly put into question and revoked as the ultimate foundation of political power.

The ultimate subject that needs to be at once turned into the exception and included in the city is naked life. The cited examples make clear that the characters at hand both the oppressors and the oppressed are minor, trivial figures without significant goals. The narrators are similarly deplorable in their inarticulate communication and total lack of interest in seeing or describing in a daring way. We should remember that these figures fight to perceive only once they are in hiding or even disappearing entirely. It is this kind of person that political scientist Pilar Calveiro identifies as essential to the existence of the spaces of repression that the dictatorship created:.

The majority of the men who made the concentration camp mechanism function seem to have the profile of a mediocre and cruel bureaucrat, capable of carrying out any order given his subordinate position and eager to take personal advantage of the situation. A swarm of mediocre men, of perfectly submissive non-subjects, of simple know-it-alls full of contradictions, fascinated by power and ready to use it, whenever possible, for personal gain. As these books were published at a time when a debate was just starting about the possibility of putting on trial the members of the State who practiced this violence — a process that the Amnesty Law would then impede as it does to this day!

Now, maybe it is possible to synthesize all of these various elements and see how they form a sort of portrait of Brazilian society at the end of the military dictatorship. These are weak characters and narrators, decidedly weak, unable to rebuild what the most intense years of dictatorial oppression, the anos de chumbo , had torn apart:.

All the dialogue is fake, all the books are fake. As fake as this laugh he imitates his own hysterical laugh from earlier. You only hear that kind of laugh on a stage. I touched my scar and realized I desired him. He had an elegance about him. Confrontations with authority, as we saw, seem forever doomed to violence and to the subjugation of people in the name of institutions.

Incidentally, the survival of those same institutions is what maintains the Amnesty Law and allows the state violence committed under the dictatorship to go unpunished. In fact, before leaving power, the military worked to guarantee:. Weak narrators and characters, tense settings, and uncontrollable authority that acts with impunity. But not only theirs. Indeed, this is Brazil as it left the dictatorship: O ritmo foi diferente, mas o resultado final, o mesmo.

O objetivo parece ser o de partilhar com o leitor algo construtivo: Advogado fazendo-se de desentendido: Com Juscelino Kubitschek o brasileiro tornou-se antes de tudo um Motorista. Bandoleiros mostra o mesmo desarranjo afetivo, mas agora na classe alta. E que quando odeia, odeia — e diz: E de repente vem o estalo: E com ela deve ser o mesmo. A gente bebe, trepa, vai embora e nunca mais. Como se uma professora dissesse na hora do recreio: Que logo acaba e quer-se mais, sim, muito mais e isso movimenta o mundo.

Os que ficam acabam sempre sozinhos:. De vez em quando se entregam aos agentes repressivos com muita facilidade:. A sacada do aeroporto estava cheia de gente agitando faixas e cartazes. Prestes o acompanhava batucando na maletinha James Bond cheia de documentos do Partido. Lembrei-me abruptamente de que eu tinha sido presa em e que eu estivera por um fio da morte. Apalpei a minha cicatriz e senti que eu desejava o homem. Eu me senti ferida. Narradores e personagens fracos, ambiente tenso e autoridade impune e descontrolada agindo sobre eles.

When someone witnesses an accident, someone who happened to be there at the time of the incident or who lived in the area and unwittingly stumbled upon it, that witness has a purpose and their testimony does not just serve legal or journalistic ends but rather something else, some other thing that I could never put my finger on — and it was right in the middle of this muddled and unfinished thought that I decided to search for the woman the journalists had interviewed back then.

On the night of the operation, when the doctor called me, the intercom ringing at 5 a. That person came running up the stairs with me after the nurse called from the surgery room to say that the doctor wanted to see me. I ran up the stairs to the fourth floor, and that other person was with me. A witness, to continue my muddled and unfinished thought, who smiled at me in the middle of it all. He was wearing a navy blue suit and a very thin red tie. Set up a giveaway. There's a problem loading this menu right now. Get fast, free shipping with Amazon Prime.

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