While filming, Pedro Costa met people there who led him to Fontainhas, a now-vanished slum on the outskirts of Lisbon where many Cape Verdean immigrants used to live. Even as it was being torn down, this place became the location and actual subject of Costa’s future projects.
“We face the book when reading. We do not read out of the corner of our eyes; to read is to turn the body toward the letter.”
“Vita brevis, sensus ebes, negligentiae torpor et inutiles occupationes nos paucula scire permittent. Et aliquotients scita excutit ab animo per temporum lapsum frudatrix scientiae et inimica memoriae praeceps oblivio.”
She was fat, short, freckled and with sort of reddish excessively frizzy hair.
An artist on artists text on Laura Lima by Cabelo, accompanied by several photographs of sculpture pieces by Laura Lima, the first titled Gala Chicken.
A artists on artists text on sculpture artist Jarbas Lopes by Luis Andrade, accompanied by three photographs of sculptures by Jarbas Lopes, the first titled Troca-Troca (Switch-Switch).
Sometimes the gaze follows
the network of light
without any curiosity
This is for when you get here. You have to be prepared. Somebody has to warn you.
Meditation Beside a Poem
I pruned the rosebush at precisely the right moment
The audacity of putting an ad in the newspaper—Writing Consultant, along with my phone number and two vague specifications (classes and proofreading)—paid off the very next morning.
Yesterday it rained in the future.
It couldn’t be real.
I put down the book with the feeling that something sinister was happening.
Regarded by many critics as Brazil’s foremost living author, Rubem Fonseca (b. 1925) has for more than four decades captured in his fiction the societal anxieties besetting inhabitants of his nation’s sprawling cityscapes.
For: Cineas Santos
The magician never gives away his secrets. Tunga is content to explain his, yet the sum of these secrets remains a mystery.
This First Proof contains “The Dead Man’s Dream,” an excerpt from Under the Frangipani.
Adélia Prado’s poetry is filled with a reverence for the commonplace—the color yellow, a refrigerator, a rooster, a black umbrella—through which she expresses her divine faith in God. She speaks with her English translator, Ellen Doré Watson.