floated up to me, I was apparently calm and was thinking about
nothing in particular. I don’t know what suddenly happened to me.
I went to my desk, opened a notebook, and wrote down a title
that had never before crossed my mind: Hallucinated City.
embryo of oral harmony, just as we find the germ of musical
Antithesis: genuine dissonance.
Just before the publication of Paulicéia Desvairada, de Andrade collaborated with Malfatti and Oswald de Andrade to create a large event that might bring attention to their work. The event, the Semana de Arte Moderna (Modern Art Week), consisted of exhibitions of paintings, readings, lectures on art, music, and literature. As the central organizer, Mário gave lectures on the principles of modernism and on Brazilian folk music (much of which he had recorded on his trips over the years), as well as reading his collection’s introduction, “Extremely Interesting Preface.” The culminating event was his own reading of the poetry, which received numerous jeers, yet had a transformative effect on its audience. And the event remains seen, even today, as a seminal occurrence in Brazilian modern literature. Numerous other such gatherings occurred over the years by different artists and writers.
Há uma Gota de Sangue em Cada Poema (1917); Paulicéia Desvairada (1922); Losango Cáqui (1926); Clã do Jubuti (1927); Remate de Males (1930); Poesias (1941); Lira Paulistana (1946); O Carro da Miséia (1946); Poesias Completas (São Paulo: Martins, 1955)
ENGLISH LANGUAGE TRANSLATIONS
Hallucinated City, trans. by Jack E. Tomlins (Nashville: Vanderbilt University Press, 1968)