Showing posts with label Brazil. Show all posts
Showing posts with label Brazil. Show all posts

Tuesday, July 8, 2025

‘God chose you, Jair Bolsonaro!’/ Is Brazil now in the grip of evangelicals?

 

‘God chose you, Jair Bolsonaro!’ Is Brazil now in the grip of evangelicals?

From TV soaps to the supreme court to the top job, Christian fundamentalists are on a power-grab in the country. We meet the director of Apocalypse in the Tropics, a new film charting their rise

Petra Costa was rewatching footage of what has become a historic speech made in 2021 by Jair Bolsonaro, the then Brazilian president, when suddenly she noticed something that went largely unnoticed at the time. Addressing thousands of supporters in São Paulo, the far-right leader lashed out at a supreme court justice, and said he would only leave the presidency “in prison or dead”. This statement is now cited as evidence against Bolsonaro, who is currently on trial, accused of attempting a coup to overturn his 2022 election defeat to current president Luiz Inácio Lula da Silva. Bolsonaro denies these allegations.

Thursday, April 7, 2022

It's Chilly in Here, Don't You Think? by Lygia Fagunes Telles

It's Chilly in Here, Don't You Think?

by Lygia Fagundes Telles
Translated from the Portuguese by Eric M. B. Becker

 

She slowly extricated her hand from his grip and turned toward the wall. A blank white wall, not a single picture or even a nail mark—nada. If only there were a tiny hole left from a nail she could crawl into and disappear. She suddenly remembered the small insect struggling to crawl into the lime mortar, forcing itself into a small opening before it disappeared, fleeing. It’s easier to escape when you’re an insect, she thought, and folded her hands. What’s the first thing you do after making love? was the moronic question all those morons answered on the talk shows. I light a cigarette and lie there looking at the ceiling, some said amid giggles. Others provided more detail: I throw on my boxer shorts and grab a beer from the fridge. Or chicken wings. More giggles. And the talk show host never remembered to ask how they would react in a more delicate situation, when nothing happened at all. Where was one supposed to look? She turned back toward Armando, who was propped up against the headboard, with his elbows on the pillows, smoking and listening to music with an expression of pure ecstasy. I’m nothing more than a disgusting romantic, she thought.

Lygia Fagundes Telles / Master of the Haminan and the Fantastic

 


Lygia Fagundes Telles

LYGIA FAGUNDES TELLES, MASTER OF THE HUMAN AND THE FANTASTIC

By Lorena Sales dos Santos

April 6, 2020

My first contact with the work of Lygia Fagundes Telles was during my early years of college, during a summer vacation. My mother,  who was an avid reader and had recently started to write some short stories, was reading Telles’s book Antes do Baile Verde (Before the Green Ball would be the literal translation of the book’s title). The book was first published in 1969 but has had several other editions. Since I was looking for something to read during the lazy afternoon hours of the summer, when I returned from the beach to be with cousins and friends, my mother offered me the book she had just devoured so fast.

Wednesday, April 6, 2022

Lygia Fagundes Telles and Manuel Alegre

Lygia Fagundes Telles



Lygia Fagundes Telles 

and Manuel Alegre


BOMB 102
Winter 2008
The Brazilian novelist and short story writer Lygia Fagundes Telles and the Portuguese writer Manuel Alegre met each other at the Book Biennial in Rio de Janeiro, which took place last September. Alegre is renowned in Portugal as a novelist, poet, and public figure with a long engagement in politics, from his early days as a law student opposing the 40-year dictatorship of Antonio de Oliveria Salazar (1933–74) to his imprisonment and exile in Algiers, to his running for president in the 2006 Portuguese elections. Alegre traveled to Brazil to participate in the launching of his book Cão como nós (A Dog Like Us), a lyrical memoir featuring his family’s relationship with Kurica, an epagneul breton, their companion over many years.

Sunday, June 28, 2020

What Agatha Christie can teach us about Brazil / Translated literature and cultural dynamics


Agatha Christie, British author - Illustration price | Minty
Agatha Christie

WHAT AGATHA CHRISTIE CAN TEACH US ABOUT BRAZIL: TRANSLATED LITERATURE AND CULTURAL DYNAMICS

Vanessa Lopes Lourenço Hanes
Pós-Graduação em Estudos da Tradução (PGET)
Universidade Federal de Santa Catarina

1611 / A Journal of Translation History No. 98 / 2015

Basis and framework

British writer Agatha Christie (1890-1976) was (and is) a unique phenomenon in literary history worldwide. Due to this, from the perspective adopted in this study, a topic such as “Agatha Christie in Brazil”, just like “Hemingway in Europe” or “Tolstoy in Germany”, might be envisaged from the point of view of what Goethe termed as “World literature” (for more information on Goethe’s concept of Weltliteratur, see Eckermann (1930). But, considered this way, such topics are never simple, since the entire issue of world literature is never simple. As a matter of fact, not even the supposedly “less broad” concept of “national literature” is a simple one. And it certainly is paradoxical to talk about world literature without first considering the concept of national literature.

At first, the idea of world literature sounded almost blasphemous, mainly because the Nation-State strongly cultivated the idea of a national literature. At the end of the 18th century, Goethe linked the idea of national literatures with particular cultural traditions, but only after the second half of the 20th century literary theoreticians and comparatists such as René Étiemble (1975) and Jonathan Culler (2007) discover that the very concept of literature was hardly any older than the idea of national literature.

Saturday, April 18, 2020

Rubem Fonseca’s “The Taker and Other Stories” / Reviewed by Dan Bevacqua

Rubem Fonseca
by Triunfo Arciniegas


Rubem Fonseca’s “The Taker and Other Stories”

Reviewed by Dan Bevacqua
January 2009

In Notes from Underground, Dostoevsky writes, "Every man has reminiscences which he would not tell to everyone, but only to his friends. He has other matters in his mind which he would not reveal even to his friends, but only to himself, and that in secret. But there are other things which a man is afraid to tell even to himself." Brazilian literary icon Rubem Fonseca, in his first collection of short stories to be translated into English, writes characters that tend to disagree with the greatest Russian. The first-person narrators in The Taker And Other Stories share the most sinister aspects of themselves with a cool detachment that makes Patrick Bateman from American Psycho seem like a penitent, thanks in large part to the urgent and deft translation by Mario Ferreira Award winner Clifford E. Landers.
In the title story, a Rio De Janeiro street thug narrates his transition from maniac to mass murderer, mapping his vengeance-fueled descent with such detail that "The Taker" reads like a sociological study of a young terrorist. "Night Drive" articulates the nocturnal boredom of a successful businessman who can only quench his bloodlust by committing vehicular homicide. And in "The Notebook," by far the lightest of Fonseca's inventions, a recently divorced man feeds his appetite for sex by seducing women and then writing about their preferences and physical flaws in a notebook for his own private gratification.
A former police commissioner, Fonseca writes stories in The Taker that read like interrogation room confessionals. All but four of the fifteen are first-person narratives, but even the third-person narration manages to convey a similar sense of testimony. Here the accused flood their accuser, we the readers, with a perverted logic: a trip to the dentist is to be mentioned with the same nonchalance as public defecation, sodomy, and senicide. These accounts are delivered by the author with the kind of Raymond Chandler tone of noir that mars the line between empathy and apathy.
There is also a substantial amount of injustice to contend with here, as the central conflict of the entire collection is the inequality between classes in the Brazilian social system. In "The Taker," the nameless narrator says, "They owe me food, pussy, blankets, shoes, a house, car, watch, teeth, they owe me . . . the electric company, vaccinations, doctor, clothing store, people everywhere. In the morning you can't even walk toward the train station, the crowd moves like some enormous lizard that takes up the entire sidewalk." Rage quickens the pulse of all these stories: it is the adrenaline that propels their narration, as anger remains the first thought and last straw of Fonseca's hopeless protagonists.
Landers' translation captures the desperate rage of the Portuguese underclass, as well as the burden of wealth suffered by its richest citizens—and what The Taker and Other Stories lacks in subtly it more than makes up for with its immediacy. Each sentence is as plain and true as blood. Fonseca's stories, like his characters, aim to attack. With their willingness to expose their capacity for violence and desire, they lay bare the warfare of the mind, where, as Fonseca writes in his story "The Enemy," "Thought is the fastest thing there is."
Dan Bevacqua's short story "Numbers" appears in the Spring Issue of 580 Split. He lives in Iowa City.


Sunday, May 5, 2019

The shock of the nude / Brazil's stark new form of political protest

Not sexualised, just present … Isto é um negro? (Is This a Black?). Photograph: Nereu Jr

The shock of the nude: Brazil's stark new form of political protest


In a defiant riposte to president Bolsonaro and intolerance, performers at São Paulo’s international theatre festival are reclaiming the rights to be seen and to be different

Mark Fisher
Friday 29 March 2019

I
f ever there were a city where disrupting traffic felt like a political act, it would be São Paulo. Its 15 million inhabitants routinely take an hour to drive across town and can waste a month per year just getting to and from work. So when the dancers of Cia. Les Commediens Tropicalesstep in front of the moving vehicles on Avenida Paulista, sashaying in their bright party dresses and sombre suits to a jazzy Brazilian beat, it feels like an act of defiance.

In a street-theatre intervention entitled (See[]Have) Adrift, they lie on the tarmac, flirt with drivers and hitch lifts on the sides of trucks, turning the cars into reluctant dance partners. It’s the same when they snog on the pedestrian crossing in same-sex couples (with a nod to Banksy’s kissing coppers) as hooting taxis squeeze past.
“We love the fight between the public and the traffic,” performer Carlos Canhameiro tells me later, remarkably uninjured. “The street belongs to you.”


(See[]Have) Adrift.
Pinterest
 ‘The street belongs to you’ … (See[]Have) Adrift. Photograph: Guto Muniz

If there are politics even in this breezy piece of Brazilian street theatre, it is doubly the case elsewhere in the 10-day Mostra Internacional de Teatro de São Paulo (MITsp). Under the directorship of Antônio Araújo, the festival is squaring up to an era of right-wing populism with a celebration of otherness, difference and resistance.
More often than not, this resistance manifests itself in the naked body. In show after show, nudity takes on a political role. In part, this is a reaction to the censoriousness of the evangelical movement that helped sweep Jair Bolsonaro to power last year. In part, it is a response to the president’s intolerance of feminism, homosexuality and even the country’s famous carnivals. Standing before us undressed, the performers seem to say: “I am here. I exist. Do not deny me.”
‘My body always comes before me’ … Renata Carvalho in Transpofágico (Transpophagic Manifesto). Photograph: Nereu Jr


That is the case, for example, in Isto é um Negro? (Is This a Black?), a joyful show about skin colour that defies you to ignore the flesh under discussion – not sexualised just present. Created by graduates of the School of Dramatic Art of the University of São Paulo, the first-hand stories of discrimination, informed by the legacy of colonisation, are angry and agitational. But there is also compassion, as Tarina Quelho’s production asks the audience to share the things that turn “us”, a group of individuals, into “us”, a collective of common interests. In a time of division, the simple act of coming together in a theatre can seem like a gesture of solidarity.
In Brazil, the threat to expression is real. Artists are aghast at the swingeing cuts in a country that has dissolved its ministry of culture. They are also fearful of the drive towards censorship. Last year, trans performer Renata Carvalho received death threats and lost bookings after she performed the Brazilian version of Jesus, Queen of Heaven by Edinburgh playwright Jo Clifford. That’s why, in Transpofágico (Transpophagic Manifesto), she stands naked before us as a “travesti”, in a blend of autobiography and polemics about a life spent under constant scrutiny. “My body always comes before me,” she says, choosing to put her body firmly before us now, even stepping into the auditorium to let the audience touch. Several opt to hug her instead.
To an outsider, political meanings are not always obvious until you remember that, whatever else, a man like Bolsonaro would detest having to watch this sort of thing. That is unquestionably the case with Lobo (Wolf), a gloriously extravagant feast of male nudity that carries an arresting message of female empowerment. It begins like some masochistic gym class, with 16 naked men running in circles, sweaty and breathless, crashing into each other before collapsing into a writhing, orgiastic heap. It’s only then that writer and director Carolina Bianchi asserts her control, shooting from the hip (she carries two guns) and turning for moral support to Artemisia Gentileschi, Emily Dickinson and Mary Shelley. They are, she tells me later, “women who have this obsession with death and violent things – not just women who talk about flowers”.


Colônia (Colony).
Pinterest
 The psychological effects of colonisation … Renato Livera in Colônia (Colony). Photograph: Nereu Jr

The thrilling show culminates with the men passing a globule of saliva from mouth to mouth. With the audience packed tightly on three sides, these are bodies that cannot be wished away or made invisible.
Giving shape to the invisible is what so many of these productions seek to do. You see it in Colônia (Colony), in which actor Renato Livera fills a blackboard with notes on the psychological effects of colonisation. And you see it in the excellent Altamira 2042, in which Gabriela Carneiro da Cunha turns a meditative jungle sound installation into a documentary study of people displaced by the ongoing construction of the massive Belo Monte hydroelectric plant on the Xingu river, a tributary of the Amazon. Warning of environmental catastrophe ahead, she sees the rainforest region of Altamira as “the energetic centre of a world war”. In a polarised world, it feels like the naked truth.



Friday, July 14, 2017

Luiz Inácio Lula da Silva / The Rise and Fall of a Brazilian Leader


Luiz Inácio Lula da Silva: The Rise and Fall of a Brazilian Leader

July 12, 2017

Luiz Inácio Lula da Silva, a former president of Brazil, was sentenced to nearly 10 years in prison on Wednesday after he was convicted of corruption and money laundering.

Mr. da Silva, who rose from the working class to serve as president from 2003 to 2010, is the highest-profile political figure convicted so far in a wide-ranging investigation involving billions of dollars in contracts and allegations of kickbacks related to the giant state-controlled oil company Petrobras.

Here is a brief look at Mr. da Silva’s career:
From Poverty to the Presidency


■ Born in 1945, he helped his family with jobs as a shoeshine boy, a street vendor and a factory worker.

■ In 1975, he was elected president of the Metalworkers’ Union.

■ In 1980, he was a founder of the Workers’ Party, an alliance of leftist groups, trade unionists, intellectuals and church activists.

■ In 1986, he was elected to the national Chamber of Deputies as a federal deputy from São Paulo.

■ Mr. da Silva ran for president in 1989, 1994 and 1998 but lost each time.


■ In 2002, after expanding his coalition and courting business leaders, he won the presidency, promising economic and political change and an end to hunger. Tens of millions of Brazilians benefited from his administration’s social programs.

Scrutiny After the Presidency

Mr. da Silva remained popular enough to be re-elected despite political scandals that swirled around his party and criticism that he failed to address the underlying causes of poverty in Brazil. The Constitution barred him from running for a third consecutive term, but he helped elect a close ally, Dilma Rousseff, as his successor. Ms. Rousseff was re-elected in 2014, but she was soon engulfed in the Petrobras scandal. In August 2016, she was removed from office.

Although he embodied Brazil’s rise as a global powerhouse, after he left office in 2010 Mr. da Silva was among the many Brazilian politicians caught up in the sprawling corruption investigation.

■ In March 2016, the police raided his home and took him into custody. Shortly thereafter, he was charged with money laundering and misrepresentation of assets involving a luxury apartment in the beachfront city of Guarujá.

■ In September 2016, the judge overseeing the investigation into the Petrobras formally accepted the charges of corruption and money laundering against Mr. da Silva, portraying him as the mastermind of a graft scheme intended to maintain his party’s grip on the presidency.

■ On Wednesday, he was found guilty of corruption and money laundering and sentenced to almost 10 years in prison.



Friday, July 17, 2015

Brazil / The land where everyone's a poet

Rubem Fonseca

The land where everyone's a poet
Liz Calder celebrates Brazil's hidden talents

Liz Calder
Saturday 22 July 2000 22.53 BST


Unless you have been locked in a darkened cupboard since January, you can hardly have missed the explosion of Brazilian music, theatre, dance, art and film which has marked the celebrations for Brazil's 500 years of history as a nation. Yet among this torrent of creative energy there has been only one literary event. One of the reasons for this is that very few Brazilian books have been translated into English, while the impact of those that have is slight. Yet there is a storehouse of literary riches there; indeed, the country has produced some of the greatest writers of all time.

Thursday, July 16, 2015

Rubem Fonseca’s Detective Novel / A threatening manifestation of pride and dementia

Rubem Fonseca
A threatening manifestation of pride and dementia: Rubem Fonseca’s Detective Novel




Detectives are the fools of the universe, without receiving any exemption from the dangers of uttering truths. Lumbering through a corrupt, hypocrite, violent world armed with nothing but convictions and an inflated sense of morality. What is that makes detective novels the last bastions of morality in modern fiction? Nowhere else is truth and rectitude treated so seriously without the author winking at the reader. Is it because it makes the detective’s fall only more inevitable? Perhaps not in the beginning. Auguste Dupin certainly continued to solve mysteries after he found the purloined letter. And Sherlock Holmes retired to the countryside to become a beekeeper. There are no reports that they met tragic ends. For detectives of serial fiction, at least, life never seems to pose convincing dangers. Writing in the 1930s, Fernando Pessoa, the last person in the world who should be commenting detective fiction, criticised novels that depicted attempts on detectives’ lives. What was the point, he asked, when the hero is unkillable? The problem is that authors don’t like killing a goose that lays golden eggs. And regardless of varying merits of the series, Hercule Poirot, Jane Marple, Nero Wolfe, and Philip Marlowe paid their creators’ bills. Whenever G. K. Chesterton, who considered his pamphlets and articles his most important work, was short of cash, he just sat down and wrote some more Father Brown stories, always a sure hit.


Friday, November 25, 2011

Evangelical Leader Rises in Brazil’s Culture Wars

“God called on me to be a pastor, and I won’t exchange that for being a politician.” - Silas MalafaiaCreditMauricio Lima for The New York Times





Photo







Silas Malafaia gives an interview at the backyard of a hotel prior to an event. CreditMauricio Lima for The New York Times
FORTALEZA, Brazil


SILAS MALAFAIA’s books, which sell in the millions in Brazil, have titles like “How to Defeat Satan’s Strategies” and “Lessons of a Winner.” The Gulfstream private jet in which he flies has “Favor of God,” in English, inscribed on its body.

As a television evangelist, Mr. Malafaia reaches viewers in dozens of countries, including the United States, where Daystar and Trinity Broadcasting Network broadcast his overdubbed sermons. Over 30 years, Mr. Malafaia, 53, has assembled thriving churches and enterprises around his Pentecostal preaching.

Still, he might have garnered little attention beyond his own followers had he not waded into Brazil’s version of the culture wars. After all, Brazil has evangelical leaders who command larger empires, like Edir Macedo, whose Universal Church of the Kingdom of God controls Rede Record, one of Brazil’s biggest television networks. Others, like Romildo Ribeiro Soares, of the International Church of God’s Grace, are known for greater missionary zeal.

But it is Mr. Malafaia who has recently attracted the most attention, with his pointed verbal attacks on a broad array of foes, including the leaders of Brazil’s movement for gay rights, proponents of abortion rights and supporters of marijuana decriminalization.

“I’m the public enemy No. 1 of the gay movement in Brazil,” Mr. Malafaia said in an interview this month here in Fortaleza, a city in Brazil’s northeast where he came to lead one of his self-described “crusades,” an event mixing scripture and song in front of about 200,000 people. Tears flowed down the faces of some of the impassioned attendees, while others danced to the performances that served as his opening act.

Before ascending to the pulpit, he described how coveted he had become on television talk shows as a sparring partner with gay leaders. But that is only a small part of his repertoire, and television is just one of many media at Mr. Malafaia’s disposal. On Twitter, he has nearly a quarter of a million followers, and in videos distributed on YouTube, he lambastes not only liberal foes but also journalists and rival evangelical leaders.

Not surprisingly, his rising prominence has made him the source of both admiration and unease. He mobilized thousands to march in the capital, Brasília, this year against a bill aimed at expanding anti-discrimination legislation to include sexual orientation.

“He’s like Pat Robertson in the sense of being a pioneer in moving Brazil’s evangelical right into the national political realm,” said Andrew Chesnut, an expert on Latin American religions at Virginia Commonwealth University, comparing Mr. Malafaia to the conservative American television evangelist.

Brazil’s elite is seeking to understand the rise of such a polarizing figure, and how it might influence the nation’s politics. Piauí, a magazine that is the rough equivalent of The New Yorker in the United States, ran a lengthy article this year on Mr. Malafaia’s rise from obscurity in Rio de Janeiro, where he grew up in a military family, to the power he now wields.

BEYOND Mr. Malafaia, the broad expansion of evangelical faiths, particularly Pentecostalism, in recent decades is altering Brazil’s politics. (While Pentecostalism varies widely, its tenets in Brazil include faith healing, prophecy and exorcism.) Leaders in Brasília must now consult on a range of matters with an evangelical caucus of legislators with resilient clout.

About one in four Brazilians are now thought to belong to evangelical Protestant congregations, and Pentecostals like Mr. Malafaia are at the forefront of this growth. In a remarkable religious transformation, scholars say that while Brazil still has the largest number of Roman Catholics in the world, it now also rivals the United States in having one of the largest Pentecostal populations.

Not everyone in Brazil is enthusiastic about this shift.

In a November essay, the journalist Eliane Brum wrote of the intolerance shown toward atheists in Brazil by some adherents of born-again faiths, describing what she called the “ever more aggressive dispute for market share” among big churches.

Ms. Brum’s essay unleashed a wave of reactions from Pentecostals. Mr. Malafaia’s words were among the most caustic.

During the interview here, he called Ms. Brum a “tramp,” and repeated his contention that “communist atheists” in the former Soviet Union, Cambodia and Vietnam were responsible for more killings than “any war produced for religious questions.”

Whether by design or default, his aggressive language has often become a spectacle. In November, Época magazine reported that Mr. Malafaia, during heated comments about taking legal action against Toni Reis, a prominent gay-rights advocate, said he would “fornicate” Mr. Reis.

Mr. Malafaia fired off an explanation that he had actually said he would “funicate” Mr. Reis. While researchers were unable to find Mr. Malafaia’s word in reference dictionaries, he said it was slang that roughly translated as “trounce.”

The visibility Mr. Malafaia achieves from such episodes has fueled questions about his political ambitions. He said he had no desire to run for office because it could make him beholden to a specific political party, thus curbing the broader visibility he now has.

“God called on me to be a pastor,” he said, “and I won’t exchange that for being a politician.”

But political influence is another matter. Mr. Malafaia said he voted twice for Brazil’s former president, Luiz Inácio Lula da Silva, and for years enjoyed access to Brasília’s corridors of power. But he also related an anecdote about Mr. da Silva’s successor, President Dilma Rousseff, that suggests how important evangelical figures are becoming in national elections.

He said she spoke with him by telephone for 15 minutes during last year’s presidential campaign, trying to lure his support. But he said he refused because of ideological differences with parts of the governing Workers Party of Mr. da Silva, a former labor leader, and Ms. Rousseff, a former operative in an urban guerrilla group.

“I told her, ‘I don’t have anything personal against you. I think you’re an intelligent, qualified woman,’ ” he said. “ ‘But how can I vote for you if I spent four years fighting with the group from your party supporting a bill to benefit gays, thus hurting me?’ ”

MR. MALAFAIA, while stabbing the air with fingers adorned with diamond-encrusted gold rings, delivers such tales in booming Portuguese with a thick Rio accent.

His persona has given him almost rock-star status among some supporters.

“I didn’t recognize him without his mustache,” said Erineide Mendonça, 39, an employee at the Fortaleza hotel where Mr. Malafaia was staying, referring to the trademark facial hair that he shaved not long ago. “But I recognized his voice,” she said, asking to be photographed with the evangelist she adores.

Both Mr. Malafaia and his wife, Elizete, were trained as psychologists, and when he rises to the pulpit, his voice echoes in sermons laden with lessons of self-help and perseverance.

A favorite theme involves success and how to attain it. While he contends that he still lives relatively humbly and is not even a millionaire, he makes no apologies for his own material rise. In fact, he celebrates it, touting, for instance, his Mercedes-Benz — a gift, he explains, from a prosperous friend.

Then there is the Gulfstream, acquired secondhand in the United States, he said, not by him but by his nonprofit religious organization at a reasonable price.

“The pope flies in a jumbo jet,” he said, referring to the chartered Alitalia plane that carries the bishop of Rome, and chafing at what he viewed as a double standard with which Brazil’s ascendant evangelical leaders must contend. “But if a pastor travels in any old jet, he’s considered a thief.”