Download Meus Verdes Anos by José Lins do Rego PDF

By José Lins do Rego

About the writer (from Goodreads):

José Lins do Rego Cavalcanti (July three, 1901 in Pilar Paraíba - September 12, 1957 in Rio de Janeiro) was once a Brazilian novelist such a lot identified for his semi-autobiographical "sugarcane cycle." those novels have been the root of flicks that had distribution within the English talking international. in addition to Graciliano Ramos and Jorge Amado he stands as one of many maximum regionalist writers of Brazil. in accordance with Otto Maria Carpeaux (Brazilian literary critic), José Lins used to be "the final of the tale tellers". His first novel, Menino de Engenho ("Boy from the plantation"), was once released with trouble, yet quickly it received praised through the critics.

Sobre o livro:

Livro de memórias em que o autor conta suas lembranças da infância vivida no engenho do avô. É também uma espécie de guia biográfico das pessoas nas quais se inspirou para criar os ricos personagens de sua obra literária. Um livro que permite compreender os estreitos limites entre depoimento e ficção.

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Sample text

Such actions ‘most powerfully appeal to the great primary human affections: to those elementary feelings which subsist permanently in the race, and which are independent of time’ (1965: 593–4). Such an art escapes the predicament of the modern: the alienation of artists from his society, their Introduction: Victorian Poetics 7 confinement to subjectivity as the material of art, and their location in a mundane contemporaneity. Arnold advocates a style appropriate to poetry as he conceived it: the grand style, in which beauty or elaborateness of expression does not offer itself as an independent pleasure, distracting the reader from the action.

Although one works with the visible world, the other with the spiritual, both try to flash upon you in a sudden way a new and perfect sense of the artist’s intuition, rejecting all ready-made impressions and conclusions. Symons’s linking of impressionism to symbolism recalls how close throughout the Victorian period, from Tennyson to the PreRaphaelites, were a poetics centring upon visual impressions as a way of communicating an emotional landscape and a poetics evoking emotion through language distanced from its immediate referents.

He revises Arnold’s advice to the critic to see the object as in itself it really is; the aesthetic critic must ‘know one’s impression as it really is’. Having reduced experience so radically, Pater asserts that intensity of experience is the only success to which one can aspire. The love of art for its own sake offers the best way to achieve the ‘quickened, multiplied consciousness’ that Pater desires. Aesthetic poetry provides a distillation of a transfigured world, an artificial or earthly paradise.

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