In this new edition of O observador no escritorio , with a new graphic design and an unpublished afterword by Míriam Leitão, the reader has the privilege of delving into the most intimate daily life of Carlos Drummond de Andrade, based on the notes made in his diary over more than thirty years.
The mythical aura surrounding the figure and poetry of Carlos Drummond de Andrade takes on real form in * The Observer in the Office *. Here, the reader has the privilege of delving into the poet's daily life through notes from his diary, which spans over thirty years—from 1943 to 1977.
First published in Jornal do Brasil between 1980 and 1981, this historical record nearly succumbed to the author's perfectionism, which led him to consider destroying his writings in a Kafkaesque impulse. Finally published in 1985, the book reveals the author's diverse interests during a period of intense political instability in Brazil and the world: the end of the Estado Novo (New State) and World War II; the return of a dictatorship from 1964 onward; the clash between the military and the left, etc.
But "man does not live by politics alone, if it even lets him live," as the writer says to himself. Beyond his concern for Brazil's future, scenes from his private life are also recorded, such as an unpretentious afternoon at the home of Fernando Sabino, accompanied by João Cabral de Melo Neto and Vinicius de Moraes; a reception for the poet Pablo Neruda on a visit to Rio de Janeiro; or even a moving description of the burial of the Drummond family canary.
The diary also records a moment of transition in the author's professional life, when he left the then Ministry of Education and Public Health to make a living from writing, whether in journalism or literature: “I feel an interest in earning a living outside the paternalistic circle of bureaucracy.”
Varying between long texts, like a news report, and short notes, like a social media post , Drummond transforms the mundane into art. And, through his privileged lens, the Brazilian streetscapes become a literary work.
"It's one thing to read a book to write an afterword. It's another to spend time with Drummond. It's walking into his office and watching him jot down random ideas, while Crispim, his cat, with a personality the opposite of Inácio's, who was 'elusive and dry,' 'shows himself ready to socialize.' He became his great friend in the office. 'But he doesn't always let me write.' I finished the book feeling the joy of intimacy with the poet whose verses have stayed with me through life." – Míriam Leitão , for the afterword to The Observer in the Office .