{"title":"José Castello","description":"","products":[{"product_id":"a-literatura-na-poltrona","title":"LITERATURE IN THE ARMCHAIR","description":"In LITERATURE IN THE ARMCHAIR, the reader is a privileged spectator of Castello's memories, scenes, and live interviews. In the chapter that lends its title to the work, the author weaves an exceptional analysis of the act of reading a text. He carefully desacralizes the relationship between intention and work, a recurring theme in academic criticism that shaped passions and beliefs in the 20th century, and which is reflected in the chapter dissecting Graciliano's Angústia. Otherness, the understanding of the other, and the literary are all present in the essay on Pessoa. From this analysis, the reader delves into the soul of writing and its boundaries, with a range of references from Capote to João Antônio and Piglia and from Kafka to Borges. Along with the chapter on literary workshops, this is a must-read for young writers and is also essential for communications students. The book concludes with Castello's five greatest Brazilian poets of the 20th century: Drummond, Cabral, Bandeira, Vinicius, and Cecília Meireles.","brand":"Totvsrj-record-dc","offers":[{"title":"Default Title","offer_id":47159227875580,"sku":"9788501074645","price":59.9,"currency_code":"BRL","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0722\/9197\/5420\/files\/0a70489b735068b41f73355e07939ee2.jpg?v=1778321532"},{"product_id":"ribamar","title":"Ribamar","description":"\"This boy suffers from nerves,\" he is a Sampaku, \"someone incapable of reacting appropriately to danger,\" his eyes are averted, they point upward; the boy José has eyes like those of a dead fish, but the eye doctor says everything is fine, and yes, everything is fine and everything is wrong; the resemblance to his father's eyes is this: the only curse we desire, the wish we curse most. The hypnotist does not straighten the boy's eyes, does not take away his nervous suffering; the blade does not make his nose more discreet, the thing does not work with the knife --- but there is this: the feeling that his nose is not right, that his eyes are wandering, that his position in the world is not correct --- it is the timid chess piece lost on the board of another game. Letter to his father that accompanies the letter to Kafka's father. Kafka, the worm writer; writes as if crawling, and we might think that part of it is this: it's about seeing if the traces our crawling left behind can be deciphered, if they have been transformed into a book or if they are, after all, like the illegible scribbles of Ribamar's demented old man, who is blind and therefore doesn't need to write anything understandable. In Ribamar, a fall is taken advantage of to move forward; crawling isn't so bad after all: it's the forward movement of someone who has fallen and doesn't want, or can't, get up. The blow that knocked him down was too strong --- and being born is a bit like this: a blow from which we sometimes only recover many decades later. And then there's the visit to the crazy aunt who imitates chickens and perhaps writes on the ground yes; yes, which is, despite everything, one of the most beautiful words, even if it has no recipient or subject, even if there's no prior question. And that's it: from a distance, from where we can see, what Castello seems to be writing on the ground is a yes, and this yes is perhaps addressed to his father, a yes that also appears after no question. In Ribamar, Castello writes, it's about \"taking possession of my father,\" as if the father were \"a public office or a piece of land.\" It's not about understanding, reclaiming, or rebuilding \"the ruins that hurt but don't frighten,\" it's simply about saying a yes, which isn't out of obedience, a yes that doesn't come from anywhere but remains there. When the boy José sat among the plants, so as not to be seen—that sitting was also a way of saying yes. Reading is exposing oneself—as one writes in Kafka's chapters—even in the most private reading. Ribamar is, therefore, something that interprets us. This book, which insists on wanting to read us, thus alters the natural order of things. The one who writes is entering our intimacy; how does he know so much about ours? And perhaps that's why we get emotional. And yes, we crawl, but in Ribamar we also advance, step by step, many meters above the ground. This too, therefore: serenity in the journey. Like a tightrope walker who is certain he will reach the end, and is able to withstand the temptation of wanting to descend; a tightrope walker who advances, calm, knowing where he is and how much further to go (12\/18, 13\/18, 14\/18). This, therefore: the maximum points above the ground (crawling) and the minimum support on the ground (the tightrope walker's advance). Between the two moments, before or after --- the fall, always. It's not enough to do, it's necessary to save what was done --- someone wrote. And, in a way, this is what all of us who have been read by this book demand --- the impossible, of course: that he who made us save us. Gonçalo Tavares","brand":"Totvsrj-record-dc","offers":[{"title":"Default Title","offer_id":47174841401596,"sku":"9788528614435","price":54.9,"currency_code":"BRL","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0722\/9197\/5420\/files\/3f7f194da6c9d139feed35c866c407f6.jpg?v=1778321794"},{"product_id":"na-cobertura-de-rubem-braga","title":"On Rubem Braga's roof","description":"In his unique penthouse apartment in Ipanema, surrounded by trees and vegetable gardens, Rubem Braga led a somewhat unusual life amidst the urbanity of Rio de Janeiro's South Zone. In *Na Cobertura de Rubem Braga*, journalist and writer José Castello, through testimonies and photos of writers and intellectuals such as Carlos Drummond de Andrade, João Cabral de Melo Neto, Antônio Callado, and Vinicius de Moraes, reconstructs the life and work of this great master. *Na Cobertura de Rubem Braga* is a book in the form of a dictionary, which, according to the letters of the alphabet, reveals important aspects of the author's life and work.","brand":"Totvsrj-record-dc","offers":[{"title":"Default Title","offer_id":47175427391740,"sku":"9788503005951","price":59.9,"currency_code":"BRL","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0722\/9197\/5420\/files\/872ac373e5d7ab9947dc03784fc52ebe_ec5f5e18-7c47-4ddd-a34b-dc6958b335f5.jpg?v=1779765806"},{"product_id":"inventario-das-sombras","title":"Shadow inventory","description":"\" \u003cp\u003e\u003cstrong\u003e\u003cem\u003eInventário das sombras\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eis the result of more than two decades of interviews conducted by writer and journalist José Castello with leading figures in Brazilian and world literature. This new edition, in addition to the portraits of great authors that comprised the first version of the book, includes two previously unpublished portraits and a self-portrait of the writer of literary portraits.\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e José Castello, writer and journalist, was always impressed by the abandonment of writers, by the loneliness of authors tormented by the readings that influence them, and he was especially interested in the dark zones in which these artists wage their battles, by the small tortures imposed by the market and critics, by the demands of vanity, by the madness, in short, that takes over men and women when they face the blank page, leaving in the background the sophisticated and elegant images that the media constructs about artists.\u003c\/p\u003e\n\n \u003cp\u003eIn this new edition of \u003cem\u003eInventário das sombras (Inventory of Shadows\u003c\/em\u003e ), the author paints sixteen portraits of great writers: Clarice Lispector, João Antônio, Caio Fernando Abreu, Allain Robbe-Grillet, Hilda Hilst, Manoel de Barros, Nelson Rodrigues, Adolfo Bioy Casares, Raduan Nassar, Ana Cristina Cesar, José Saramago, Dalton Trevisan, José Cardoso Pires, João Rath, and Arthur Bispo do Rosário. Added to these are two previously unpublished portraits of Raimundo Carrero and João Gilberto Noll, as well as the text in which Castello dedicates himself to the difficult task of speaking about himself and the behind-the-scenes nature of portraying others.\u003c\/p\u003e\n\n\u003cp\u003e Beyond the works of those portrayed, Castello focuses on their intimate conflicts, their disappointments, their difficult feelings, the horrors, the twilight zone of literary creation, and he does this not out of perversion or because he desires to invert values, but rather because he prefers to focus on the difficult and unglamorous moments of writing, but more expressive of their personalities and personal phantasmagorias. \u003c\/p\u003e\"","brand":"Totvsrj-record-dc","offers":[{"title":"Default Title","offer_id":47175492305148,"sku":"9786555874877","price":69.9,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0722\/9197\/5420\/files\/9b727d7c36a8587ee86499d96feb2e79_fcc7f6b0-bb94-4bc6-8502-878214bc01c6.jpg?v=1778874285"},{"product_id":"as-feridas-de-um-leitor","title":"A reader's wounds","description":"\"If I deliver them here to the reader, it is also to share with them the pain that literature always produces in me.\" After winning the Jabuti Prize with Ribamar, José Castello presents *As Hungrian de Um Leite*, a classic collection of critical texts published in the press. With this publication, readers will witness the author's excellent analytical technique and his literary preferences. In the end, one thing is certain: literature is much more complex and entertaining than one might imagine. The title was chosen because of Castello's approach to his critical work. The \"wounds\" refer to the marks, scars, and blows that various readings leave in him. According to the author himself, he does not engage in theoretical reading. He writes about a book not to apply theories, but as someone who traveled to a distant continent and, upon returning, wrote an account of his personal observations about the trip. This is the central idea that permeates and connects the entire book. It is also a record of his journalistic work in the pages of Globo, Valor Econômico, Bravo, Rascunho, among others. Castello delights in working with literary journalism – a type of journalism that focuses on thoughts more than facts.","brand":"Totvsrj-record-dc","offers":[{"title":"Default Title","offer_id":47175785644284,"sku":"9788528616002","price":59.9,"currency_code":"BRL","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0722\/9197\/5420\/files\/570af44525d517bd5c8fdf73cd30cdb5_62a8a3e9-fd11-4b6f-98c5-af727d204941.jpg?v=1778324762"}],"url":"https:\/\/www.record.com.br\/en\/collections\/jose-castello.oembed","provider":"Editora Record","version":"1.0","type":"link"}