{"id":82,"date":"2020-05-14T13:54:54","date_gmt":"2020-05-14T16:54:54","guid":{"rendered":"https:\/\/www.ufrgs.br\/mariopeixoto\/?page_id=82"},"modified":"2020-05-25T14:53:37","modified_gmt":"2020-05-25T17:53:37","slug":"literary-work","status":"publish","type":"page","link":"https:\/\/www.ufrgs.br\/mariopeixoto\/en\/literary-work\/","title":{"rendered":"Literary Work"},"content":{"rendered":"

M\u00e1rio Peixoto begins to write and publish around the same period in which\u00a0<\/span>Limite<\/strong>\u00a0has been planed and filmed. In 1931, he releases a collection of poems called\u00a0<\/span>Mund\u00e9u<\/strong>\u00a0(reedited in 1996) which is characterized by a strong modernist accent. M\u00e1rio de Andrade writes the foreword: \u201cThe poems of M\u00e1rio Peixoto are especially characterized by their velocity. The impression they give is of a violent jet, irrepressible strikes. They are poems that are born complete, explosions of a unit, excellent at times, in which the plasticity of movement and images is incomparable to our contemporary poetry\u201d. Peixoto himself soon disregarded\u00a0<\/span>Mund\u00e9u<\/strong>\u00a0as being too false and artificially constructed.<\/span>

In the same year Peixoto publishes, in a magazine called\u00a0<\/span>Bazar<\/strong>, three short stories and a play, that are part of a collection published by Saulo Pereira de Mello in 2004:\u00a0<\/span>Six stories and two short plays<\/strong>\u00a0(aeroplane) which also includes undated and so far unpublished material written by M\u00e1rio.<\/span><\/p>\n

\"\"<\/p>\n

In 2002, another collection of poems written between 1930 and 1960,\u00a0Poemas De Permeio Com O Mar<\/strong>\u00a0(aeroplane), is published.<\/p>\n

\"\"<\/a><\/p>\n

Constan\u00e7a Hertz, in her article\u00a0Mapas Inexistentes, Caminhos Incertos: A Obra Po\u00e9tica De M\u00e1rio Peixoto<\/strong>\u00a0comments on the poetry: \u201cThe poetic images always reveal a oscillating reality, emerging and ready to disappear again. The reality that is part of the poems always carries the mark of the instability, as if the possible reality always had a consistency of dreams, clouds, seas – always unstable; […] In M\u00e1rio Peixoto\u2019s poems, the flow is permanent [\u2026] and this uncertainty becomes the only possible reality\u201d.<\/p>\n

In 1933 M\u00e1rio publishes, as a private edition, his first romance,\u00a0O In\u00fatil De Cada Um<\/strong>\u00a0with a preface by Oct\u00e1vio of Farias who defines the romance as a \u201cbook of difficult penetration and understanding […]; an admirable book, once assimilated\u201d and a \u201cromance to read and re-read\u201d. Another version of the same romance is published a year later by\u00a0Alfredo Frederico Schmidt<\/strong>\u00a0and in 1996,\u00a0Sette Letters<\/strong>\u00a0re- edits the original text of 1933. From 1967 on, in Angra dos Reis and on his\u00a0S\u00edtio Do Morcego<\/strong>, M\u00e1rio re-elaborates the original text of 1934\/5, using it as matrix for an extended version divided in six volumes. So far only the first volume\u00a0O In\u00fatil De Cada Um<\/strong>\u2013 Itamar<\/strong>\u00a0has been released in 1984 by publishing company\u00a0Record<\/strong>,<\/p>\n

\"\"<\/a><\/p>\n

through intervention of Jorge Amado, with whom M\u00e1rio had worked on one of his film projects. The romance, a complex literary universe of about 2000 pages (six volumes) and extraordinary textual quality, dialogues visibly with two famous novels:\u00a0In Search of Lost Time<\/strong>\u00a0(1913-27) by Marcel Proust and Virginia Woolf\u2019s\u00a0Orlando<\/strong>\u00a0(1928). Peixoto sends his main figure Orlando, with clear autobiographic references and who\u2019s homosexuality is, in this first volume, still more latent then determent, on a trip through time where a fluctuant memory dictates the textual rhythm. Writing against time and the clock hand with its permanent message of \u201cone less, one less\u201d, counterbalancing the loss of temporal space with a gain of textual permanency, evoking memory without violating its potential and still aiming towards a contingent comprehension of the past, that is the paradoxical key of his novel which could have been \u2013 or still may turn into \u2013 one of the outstanding novels, not only in Brazilian literature.<\/p>\n

Bibliography<\/strong><\/p>\n

Hertz, Constan\u00e7a.\u00a0Mapas inexistentes, caminhos incertos: a obra po\u00e9tica de M\u00e1rio Peixoto<\/strong>.<\/p>\n

Peixoto, Mario.\u00a0O in\u00fatil de\u00a0cada\u00a0um<\/strong>.\u00a0Rio\u00a0de\u00a0Janeiro\u00a0: Record, 1984.<\/p>\n

Peixoto, M\u00e1rio.\u00a0O\u00a0in\u00fatil\u00a0de\u00a0cada\u00a0um<\/strong>.\u00a0Rio\u00a0de\u00a0Janeiro\u00a0: Sette\u00a0Letras, 1996. (reedi\u00e7\u00e3o\u00a0da\u00a0vers\u00e3o\u00a0de 1931, 153 pages.)<\/p>\n

Peixoto, M\u00e1rio.\u00a0Mund\u00e9u<\/strong>.\u00a0Rio\u00a0de\u00a0Janeiro: Sette\u00a0Letras, 1996.<\/p>\n

Peixoto, M\u00e1rio.\u00a0Poemas\u00a0de\u00a0permeio\u00a0com\u00a0o\u00a0mar<\/strong>.\u00a0Aeroplano, 2002.<\/p>\n

Peixoto, M\u00e1rio.\u00a0seis\u00a0contos\u00a0e duas\u00a0pe\u00e7as\u00a0curtas<\/strong>.\u00a0Rio\u00a0de\u00a0Janeiro:\u00a0aeroplano, 2004.<\/p>\n","protected":false},"excerpt":{"rendered":"

M\u00e1rio Peixoto begins to write and publish around the same period in which\u00a0Limite\u00a0has been planed and filmed. In 1931, he releases a collection of poems called\u00a0Mund\u00e9u\u00a0(reedited in 1996) which is characterized by a strong modernist accent. M\u00e1rio de Andrade writes the foreword: \u201cThe poems of M\u00e1rio Peixoto are especially characterized by their velocity. The impression … Continue reading Literary Work<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.ufrgs.br\/mariopeixoto\/wp-json\/wp\/v2\/pages\/82"}],"collection":[{"href":"https:\/\/www.ufrgs.br\/mariopeixoto\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.ufrgs.br\/mariopeixoto\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.ufrgs.br\/mariopeixoto\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ufrgs.br\/mariopeixoto\/wp-json\/wp\/v2\/comments?post=82"}],"version-history":[{"count":8,"href":"https:\/\/www.ufrgs.br\/mariopeixoto\/wp-json\/wp\/v2\/pages\/82\/revisions"}],"predecessor-version":[{"id":365,"href":"https:\/\/www.ufrgs.br\/mariopeixoto\/wp-json\/wp\/v2\/pages\/82\/revisions\/365"}],"wp:attachment":[{"href":"https:\/\/www.ufrgs.br\/mariopeixoto\/wp-json\/wp\/v2\/media?parent=82"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}