Após o acidente que o deformou, Santino nunca mais foi o mesmo. Seu coração foi rachado como o seu rosto. Se fechando para todos, ele se afasta; tendo como única preocupação e foco: o seu trabalho. Três anos depois, a notícia que seu pai está muito doente, o faz retornar para casa e força seu reencontro com a mulher da sua vida, seu grande amor. A linda e doce Marina era uma tortura constante. Uma garota determinada e que se aproximava dele cada vez mais, o instigando a sair das sombras. Marina não sabe, mas Santino guarda um segredo a sete chaves que pode uni-los ou afastá-la para sempre dele. UM LIVRO QUE IRÁ TE EMOCIONAR E TE SURPREENDER.

"That rare person who looked like Marlene Dietrich and wrote like Virginia Woolf," Clarice Lispector is one of the most popular but least understood of Latin American writers. Now, after years of research on three continents, drawing on previously unknown manuscripts and dozens of interviews, Benjamin Moser demonstrates how Lispector's development as a writer was directly connected to the story of her turbulent life. Born in the nightmarish landscape of post-World War I Ukraine, Clarice became, virtually from adolescence, a person whose beauty, genius, and eccentricity intrigued Brazil. Why This World tells how this precocious girl, through long exile abroad and difficult personal struggles, matured into a great writer. It also asserts, for the first time, the deep roots in the Jewish mystical tradition that make her the true heir to Kafka as well as the unlikely author of "perhaps the greatest spiritual autobiography of the twentieth century." From Chechelnik to Recife, from Naples and Berne to Washington and Rio de Janeiro, Why This World strips away the mythology surrounding this extraordinary figure and shows how Clarice Lispector transformed one woman's struggles into a universally resonant art.

Drawing on new research from the ERC project ‘Developing Theatre’, this collection presents innovative institutional approaches to the theatre historiography of the Global South since 1945. Covering perspectives from Africa, Asia, the Middle East and Latin America as well as Eastern Europe, the chapters explore how US philanthropy, international organisations and pan-African festivals all contributed to the globalisation and institutionalisation of the performing arts in the Global South. During the Cultural Cold War, the Global North intervened in and promoted forms of cultural infrastructure that were deemed adaptable to any environment. This form of technopolitics impacted the construction of national theatres, the introduction of new pedagogical tools and the invention of the workshop as a format. The networks of 'experts' responsible for this foreground seminal figures, both celebrated (Augusto Boal, Efua Sutherland) but also lesser known (Albert Botbol, Severino Montano, Metin And), who contributed to the worldwide theatrical epistemic community of the postwar years. Developing Theatre in the Global South investigates the institutional factors that led to the emergence of professional theatre in the postwar period throughout the decolonising world. The book’s institutional and transnational approach enables theatre studies to overcome its still strong national and local focus on plays and productions, and connect it to current discourses in transnational and global history.

The cultural Cold War in Latin America was waged as a war of values--artistic freedom versus communitarianism, Western values versus national cultures, the autonomy of art versus a commitment to liberation struggles--and at a time when the prestige of literature had never been higher. The projects of the historic avant-garde were revitalized by an anti-capitalist ethos and envisaged as the opposite of the republican state. The Decline and Fall of the Lettered City charts the conflicting universals of this period, the clash between avant-garde and political vanguard. This was also a twilight of literature at the threshold of the great cultural revolution of the seventies and eighties, a revolution to which the Cold War indirectly contributed. In the eighties, civil war and military rule, together with the rapid development of mass culture and communication empires, changed the political and cultural map. A long-awaited work by an eminent Latin Americanist widely read throughout the world, this book will prove indispensable to anyone hoping to understand Latin American literature and society. Jean Franco guides the reader across minefields of cultural debate and histories of highly polarized struggle. Focusing on literary texts by Garcia Marquez, Vargas Llosa, Roa Bastos, and Juan Carlos Onetti, conducting us through this contested history with the authority of an eyewitness, Franco gives us an engaging overview as involving as it is moving.

The Oxford Anthology of the Brazilian Short Story contains a selection of short stories by the best-known authors in Brazilian literature from the late nineteenth century to the present. With few exceptions, these stories have appeared in English translation, although widely separated in time and often published in obscure journals. Here they are united in a coherent edition representing Brazil's modern, vibrant literature and culture. J.M. Machado de Assis, who first perfected the genre, wrote at least sixty stories considered to be masterpieces of world literature. Ten of his stories are included here, and are accompanied by strong and diverse representations of the contemporary story in Brazil, featuring nine stories by Clarice Lispector and seven by Joao Guimaraes Rosa. The remaining 34 authors include Mario de Andrade, Graciliano Ramos, Osman Lins, Dalton Trevisan, and other major names whose stories in translation exhibit profound artistry. The anthology is divided into four major periods, "Tropical Belle-Epoque," "Modernism," "Modernism at Mid-Century," and "Contemporary Views." There is a general introduction to Brazilian literary culture and introductions to each of the four sections, with descriptions of the authors and a general bibliography on Brazil and Brazilian literature in English. It includes stories of innovation (Mario de Andrade), psychological suspense (Graciliano Ramos), satire and perversion (Dalton Trevisan), altered realities and perceptions (Murilo Rubiao), repression and sexuality (Hilda Hilst, Autran Dourado), myth (Nelida Pinon), urban life (Lygia Fagundes Telles, Rubem Fonescal), the oral tale (Jorge Amado, Rachel de Queiroz) and other overarching themes and issues of Brazilian culture. The anthology concludes with a haunting story set in the opera theater in Manaus by one of Brazil's most recently successful writers, Milton Hatoum.

Driven by an unfulfilled desire for the unattainable, ultimately indefinable Other, the protagonists of the novels and stories of acclaimed Brazilian writer Clarice Lispector exemplify and humanize many of the issues central to poststructuralist thought, from the nature of language, truth, and meaning to the unstable relationships between language, being, and reality. In this book, Earl Fitz demonstrates that, in turn, poststructuralism offers important and revealing insights into all aspects of Lispector's writing, including her style, sense of structure, characters, themes, and socio-political conscience. Fitz draws on Lispector's entire oeuvre—novels, stories, crônicas, and children's literature—to argue that her writing consistently reflects the basic tenets of poststructuralist theory. He shows how Lispector's characters struggle over and humanize poststructuralist dilemmas and how their essential sense of being is deeply dependent on a shifting, and typically transgressive, sense of desire and sexuality.