My soul is God's sister

Camila is a young woman who wants to be a saint to parade in the army of the eleven thousand virgins of Paradise. On a Sunday afternoon in Recife, he discovers the sect Soldiers of the Fatherland for Christ through its founder, the pastor-musician Leonardo, who spends the day playing saxophone on the sidewalks. Together, the two proclaim the wonders of religion amid poverty, alcohol, and mysticism. They follow a A wandering life, until the pastor disappears and the woman becomes social waste, sleeping among the rubbish, naked and with nothing to cover herself with except paper and cardboard in the streets. She can't even sleep in ruins and old, uninhabited houses. A fitting metaphor for contemporary man. To achieve this narrative effect, Raimundo Carrero uses intratextuality — a collection of new texts with those from his other novels, as well as characters and situations—and intertextuality—texts and motifs from other authors, including the Bible. All this because *My Soul is God's Sister* is the novel that concludes the tetralogy "Quarteto Áspero" (Harsh Quartet), composed of *Açã agreste* (Wild Apple), *We Are Stones That Consume* (We Are Stones That Consume), and *Love Doesn't Have Good Feelings* (Love Doesn't Have Good Feelings), with characters, scenes, and sequences that repeat and advance through the plot and harmony of the text, modified, altered, renewed, creating new situations, independent of each other. Involved in a mysterious kidnapping, Camila begs her father to pay the ransom immediately. so she can ascend to the heavens, while wandering the city streets alongside Leonardo, who drinks in bars and stalls, while she plays with dolls and racing cars, sitting on the curb. It's a poignant metaphor for a generation that needs to survive but finds no jobs or help, and must struggle alone to achieve some social status. And when that doesn't happen, they sink dizzily, dazed and hungry. The beauty of this story also lies in the solitude of Camila, a young woman who doesn't know her way around and seeks to cling to values that Brazilian urban society often ignores—religion, morality, and ethics, prompting the heartbreaking phrase from one of its less representative characters: "I am the third person after no one." Furthermore, the reader will meet the couple Raquel and Alvarenga, the latter a poor man who plays the trumpet on the sidewalks, inviting his wife's lovers to his prostitute's bed, explaining his life: "I am a social, democratic body; I belong to everyone. I have no right to exclusivity."