{"product_id":"o-antimodernista","title":"The antimodernist","description":"\"\u003cp\u003e \u003cstrong\u003eIn the chronicles, interviews and letters gathered in this book, Graciliano Ramos reveals his very particular vision of the Brazilian modernist movement, symbolized by the Modern Art Week of 1922.\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n \u003cp\u003eIn \u003cem\u003eThe Antimodernist: Graciliano Ramos and 1922\u003c\/em\u003e , edited by Thiago Mio Salla and Ieda Lebensztayn, the reader will find the critical and self-critical consciousness of a Graciliano Ramos in the countercurrent of modernist triumphalism, symbolized by the Modern Art Week of 1922. It is the perspective of an artist who doubts the idolatry of progress and rejects the fascination with the new, when excesses ignore the country's social inequalities.\u003c\/p\u003e\n\n \u003cp\u003eThis is not, however, a defense of traditionalism or reactionism. In this book, through his writings—chronicles, interviews, letters—we see a Graciliano disturbed by the misdirection of Western civilization, constantly expressing his distrustful and vigilant stance. Here, the reader will be led to question Graciliano's ties, both in terms of similarities and differences, to Mário de Andrade and Oswald de Andrade, and to modern Northeastern literature—of intellectuals and artists such as Manuel Bandeira, Santa Rosa, the Alagoans Aurélio Buarque de Holanda, Valdemar Cavalcanti, Jorge de Lima, as well as representatives of the so-called 1930s novel, such as José Lins do Rego, Jorge Amado, and Rachel de Queiroz. The reader will also see how the work of organizing an anthology of Brazilian short stories shaped Graciliano's perspective, revealing his artistic criteria.\u003c\/p\u003e\n\n \u003cp\u003eGraciliano championed clarity of writing and a fictional technique grounded in circumspection, introspection, and respect for words and beings, capable of articulating critical representation and the subjective expression of social and moral impasses. The texts in \u003cem\u003eThe Antimodernist\u003c\/em\u003e allow us to better understand and recognize the author of \u003cem\u003eVidas secas\u003c\/em\u003e 's ties to modernism, his reflections on the criteria for the permanence of works of art, and his keen perspective on Brazil.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e GRACILIANO RAMOS: Brazilian modernists, confusing the country's literary scene with academia, drew rigid (but arbitrary) dividing lines between good and bad. And, wanting to destroy everything that had been left behind, they condemned, through ignorance or slyness, much that deserved to be saved. Seeing Coelho Neto as the incarnation of Brazilian literature—which was a mistake—they pretended to forget everything that had come before, and in this massive condemnation, they committed tremendous injustices. [...]\u003c\/p\u003e\n\n \u003cp\u003eREVISTA DO GLOBO: Does this mean you don't consider yourself a modernist?\u003c\/p\u003e\n\n\u003cp\u003e GRACILIANO RAMOS: What an idea! While the 22-year-olds were promoting their little movement, I was in Palmeira dos Índios, in the middle of the Alagoas backlands, selling calico at the counter.”\u003c\/p\u003e\n\n\u003cp\u003e — Excerpt from an interview given by Graciliano Ramos in 1948.\u003c\/p\u003e \"","brand":"Totvsrj-record-dc","offers":[{"title":"Default Title","offer_id":47176695677180,"sku":"9786555874464","price":64.9,"currency_code":"BRL","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0722\/9197\/5420\/files\/c12beec5ad3a30405efb635bcb6b059d.jpg?v=1778874697","url":"https:\/\/www.record.com.br\/en\/products\/o-antimodernista","provider":"Editora Record","version":"1.0","type":"link"}