C’è nella narrativa e nella cinematografia brasiliana una figura mitica, che mi ha sempre affascinato: il cangaceiro. The bandit who heroically epic struggle against the landowners and the northeast, in the Sertao.
to this caste, intertwined with hunger, prostitution, and violence, supports and then dominated, with a kind of sacredness Manzoni, the Untouchable. E 'this is the deus ex machina of "The polygon of drought", the metaphor of the magnificent and moving Diogo Mainardi, Brazilian writer. Built as a movie of Glauber Rocha, the pages seem to be intoxicated with the atmosphere of the dusty roads used by Manoel Vitorino, who wanders in search of a cemetery to bury the corpse to rot away in their child. The syntax dry is cruel and violent as that kills Catarina Rosa, her husband hung and quartered. A world without hope, where no one nurtures ambitions of redemption because the spectrum dell'untore everything that destroys and annihilates in an eschatological inspiration, offers no way of salvation. The infector, with its deadly infection, kissing either landowners and cowboys, children and old people, but also destroys the myth of happiness and the fake folklore of Brazil. As the author says in conclusion that "The player does not count. E 'subaltern respect to author and has no right to interfere ... when the literature does not kill humans, is l’uomo a uccidere la letteratura”.
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