By Antonio Callado
About the author:
Antônio Callado (26 January 1917, Niterói, Rio de Janeiro, Brazil – 28 January 1997, Rio de Janeiro) was once a Brazilian journalist, playwright, and novelist. Born in Niterói, Rio de Janeiro, Callado studied legislations, then labored as a journalist in London for the BBC's Brazilian provider from 1941 to 1947. Callado started writing fiction within the Nineteen Fifties. His first novel, A assunção de Salviano (The Assumption of Salviano), was once released in 1954, and his final, O homem cordial e outras histórias (Men of Feeling and different Stories), got here out in 1993. Quarup (1967) is thought of as his most famed paintings. Callado has got literary prizes that come with the Golfinho de Ouro, the Prêmio Brasília, and the Goethe Prize for fiction for Sempreviva (1981).
Sobre o livro:
A madona de cedro, segundo romance de Antonio Callado, publicado em 1957, foi passo decisivo na construção do universo ficcional do autor. Podem-se ver nele as bases da linguagem e do universo romanesco que seriam marca registrada de Callado, e que atingiriam seu auge em Quarup e Sempreviva. O romance é uma batalha psicológica dentro de Delfino, que precisa lidar com as implicações morais de seu ato: remorso, culpa, expiação. Sem perder o power de um bom policial, o romance de Callado segue dinâmico. A volta de Adriano, a encarnação do príncipe das trevas, força Delfino a enfrentar de modo definitivo seu drama.
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Additional resources for A Madona de Cedro
Seeing the stars when he is alone at night, in this same scene, involves an imaginative geographical obliteration of his surroundings, 'there seemed to be on the shaded hemisphere of the globe no sentient being save himself. 'Seemed', of course, for the second time in the paragraph, and the typical wary surmise takes a further turn, 'he could fancy them all gone round to the sunny side' (Chap. 2). This psychic stirrring, these sharp personal moves of the mind followed step-by-step as they gather momentum, are just what is missing and needed in the professional portraits and what energizes the centres of consciousness and their novels.
She exclaimed, her tears running down as she killed the birds tenderly. 'And not a twinge of bodily pain about me. I be not mangled, and I be not bleeding; and I have two hands to feed and clothe me'. (Chap. 41) 54 Thomas Hardy: Imagining Imagination She is to prove that will to survive with those two strong hands, when she is forced by poverty to go back to Alec, kill less tenderly, and be hanged. Before the novel ends, with her end, she is imagined in one further flight of imagination. Like Henchard, but at the end not the beginning of her tragedy, she imagines the ultimately desirable but impossible — freedom and the unconditional.
3) Intelligent enough to acknowledge imagination's unreliability, she still persists in shaping aspects and vision, telling a story about the future in a strong crude desire constructed by, and constructing, the stereotypes of her culture: A young and clever man was coming into that lonely heath from, of all contrasting places in the world, Paris. It was like a man coming from heaven. (Bk 2, Chap. I) 38 Thomas Hardy: Imagining Imagination This figuration in the free indirect style is crude, but the narrator's image of her creativity is sometimes more vivid and complex, suggesting positives and negatives.
A Madona de Cedro by Antonio Callado