Premières Histoires

The original text seems to be a link to an article titled "29 Primeiras Estórias" on a WordPress blog. To expand it to 300 words, we could write something like this:

The link https://1001livrosbrasileirosparalera... leads to an interesting collection of 29 first stories. These stories likely offer a diverse range of perspectives, themes, and writing styles. They might take readers on various literary journeys, exploring different emotions, experiences, and ideas. Whether it's through fictional tales or real-life accounts, these stories have the potential to engage, inspire, and entertain. By clicking on the link, readers can embark on a literary adventure and discover the unique voices and narratives within this collection. It's an opportunity to expand one's literary horizons and gain a deeper understanding of the Brazilian literary landscape.

There are some works that, being literary landmarks, although not hermetic or encrypted, are not accessible to all readers. Some of them, precisely because they try to emulate a popular speech, become almost impenetrable to those not initiated in the "speech" that the work wants to mimic.

This is what happens with Guimarães Rosa's Primeiras Estórias. Readers interested in the "little story" or in superficiality will probably have problems reading Rosa. They will finish the reading without understanding anything and complaining. The fact is that Rosa's work is, in the best sense of the term, an experience. It is no coincidence that many try to reproduce what he did, without success, generating only clumsy and bizarre caricatures.

Besides the use of neologisms, the author's text has a musicality, a rhythm, that a hasty reading makes impossible to appreciate. Even a silent reading needs to be done allowing the "inner voice" to declaim the text. Attempts to read Rosa mechanically produce a truncated, disjointed and poor reading.

It is also worth pointing out the references and plays that the author makes with elements of Universal Culture, with the sounds of different languages and with the sounds of our own language. Rosa's text is similar to some types of musical composition, works for two or more voices.

The author's ability to involve us with very little text is impressive. Primeiras Estórias is a roller coaster of emotions. We are taken from childhood innocence to the processing of grief and madness, passing through scathing social criticisms and texts that can only be described as beautiful. But again, not all texts lend themselves to merely rational analyzes.

As much as the idea of "feeling" bothers me, it is undeniable that Rosa's narratives are based on a spectrum much more related to emotion than to reason. Some of his texts refer to experiences so particular that for those who do not live that reality they seem unreal or even silly.

Undoubtedly, Primeiras Estórias is a good gateway to get to know Guimarães Rosa and an excellent introduction before venturing into his masterpiece: Grande Sertão Veredas. We have here beautiful, reflective texts and the use of language almost to its limits. However, the truth must be told, similar to what is said about wines, here the reader needs maturity and a refined palate to truly appreciate it. It is a text that requires some humility, that the reader "take off his shoes" because this is definitely not just any ground.

João Guimarães Rosa is a master of irony, capable of creating an inimitable atmosphere in all his tales. Each story is like a myth, written in the style of a parable.
In The Thin Edge of Happiness, a young boy on a trip suddenly grasps the cruel nature of existence. Happiness is possible, but it is fragile.

Everything was softened by melancholy, even the day; that is, the coming of twilight. Nightfall is sorrowful everywhere. The stillness stole out from where it was kept. The boy was soothed in a half-frightened way by his own despair; some inner force was working in him, putting down roots to strengthen his soul.

The stories are diverse and vivid. An attempt at revenge turns into a frivolous party. Secret love becomes obvious. A pickpocket climbs a palm tree. A Woman of Good Works is an ambiguous tale of an equivocal crime.

Well, according to what I heard, the man she murdered was a villain, a cur in the form of a man, and a most horrendous calamity, danger, and scourge to the people of this place.

A little girl tells incredible stories. A bride is abducted. An amnesiac man ascends to heaven. The mystery of The Horse That Drank Beer remains unsolved. And there are many other enigmas.
In The Third Bank of the River, a man figuratively becomes a third bank of the river.

Father stepped into the canoe, untied it, and began to paddle off. The canoe slipped away, a straight, even shadow like an alligator, slithery, long.
Our father never came back. He hadn’t gone anywhere. He stuck to that stretch of the river, staying halfway across, always in the canoe, never to spring out of it, ever again.

Time is a river, and each of us is an island in the stream.

A number of appetizing aperitifs, alluring starters or delicate delicacies

that completely fascinate and confuse. They lose themselves in the mouth

and roll around to land softly like manioc roots in the stomach

and then follow me forever in my dreams.

Typically.

In fact, it's 3.5 stars, because I really liked most of the short stories that make up this book. The half star that is missing from the four is entirely due to my difficulty, at times, in following the original, inventive and sometimes extremely strange prose of Guimarães Rosa. It demanded a great effort from me at times, forcing me to read some sentences more than once, and at other times to imagine them being said orally, until I could understand their meaning.

Here is an excerpt from the short story "A benfazeja", one of the ones I liked the most and, for some reason, it made me remember "O Leproso", from "Novos Contos da Montanha" by Miguel Torga.

"I know they didn't pay attention to the woman; it wasn't possible. Living too close, in a small village, with loose arms, people get rid of people slowly. People don't see again those who aren't worth it. Do they still think it wasn't worth it? Yes, well, yes. In what they didn't even think about; and they didn't ask, about a lot of things. Why? The woman - a slacker, a mess, dirty with herself, pitied, so old and ugly, made dizzy, not repentant in the crime - and guide of a blind man. You all never suspected that she could arch herself in the most closed extreme, in the domains of too much?"

Of course, when the reading requires more effort, it ends up taking away a little of the pleasure of reading, although towards the end, I noticed that it was becoming less, as I was getting used to the language. Now it's a matter of gathering courage, to throw myself into the Grande Sertão!

Uma obra que não é fácil de descrever. Guimarães Rosa é um escritor que não se encaixa muito bem nas caixinhas que a maioria dos críticos literários gostam de criar.

A escrita de Guimarães Rosa é repleta de neologismos e tem um grau de oralidade imenso. Até considero que este livro é dos poucos de ficção em que a versão audiobook não sofreria muitas perdas em relação ao texto escrito. Aliás, muitas vezes, principalmente quando uma frase que ao ser lida parece difícil de compreender, ler o texto em voz alta ajudou na compreensão.

Um dicionário e um caderno para apontar os neologismos do Guimarães Rosa são dois instrumentos essenciais para a leitura de "Primeiras Estórias". Nesta coletânea de contos, o escritor mineiro usa o sertão, que consiste aproximadamente na região norte de Minas Gerais, sudoeste da Bahia e leste de Goiás, como cenário das suas histórias. Há de tudo um pouco mas destaco as crianças, os valentões e os loucos. Tudo isso num ambiente quase sempre muito pobre e miserável.

A profundidade dos textos é enorme e eu acredito que nesta leitura eu tenha apenas arranhado a superfície na maioria deles. Há muita filosofia, muita reflexão. Há até incursões ao sobrenatural. Os meus contos favoritos foram: "Famigerado", "Sorôco, sua mãe, sua filha", "Os Irmãos Dagobé", "A Terceira Margem do Rio", "O Cavalo que bebida cerveja", "Luas de Mel" e "A Benfazeja".

Este ano fez 30 anos que li este livro pela primeira vez para a escola e naquela época havia sido uma leitura praticamente impossível. O texto de Guimarães Rosa é demasiado inacessível para uma leitura escolar. Se ainda fosse algo supervisionada, poderia ter tido algum valor na época. Foi sim orientada para as provas e nada mais. A edição que li, da Global Editora, tem um longo texto de fortuna crítica no final.

Para finalizar, além de recomendar a leitura (que deve ser feita lentamente), destaco algumas frases do livro que têm a cara de Guimarães Rosa:

1. Era uma viagem inventada no feliz. (As Margens da Alegria)

2. Seu pensamentozinho estava ainda na fase hieroglífica. (As Margens da Alegria)

3. Aquele homem, para proceder da forma, só podia ser um brabo sertanejo, jagunço até na escuma do bofe. (Famigerado)

4. Ali, antenasal, de mim a palmo! (Famigerado)

5. A gente estava levando agora o Sorôco para a casa dele, de verdade. A gente, com ele, ia até aonde que ia aquela cantiga. (Sorôco, sua mãe, sua filha)

6. A gente teve de se acostumar com aquilo. Às penas, que, com aquilo, a gente mesmo nunca se acostumou, em si, na verdade. (A terceira margem do rio)

7. Eu sofria já o começo de velhice — esta vida era só o demoramento.

8. Eles se olhavam para não-distância, estiadamente, sem sabêres, sem caso. Mas a Moça estava devagar. Mas o Moço estava ansioso. (A terceira margem do rio)

9. Meu Amigo, não. Disse um “Oh” polissilábico, sem despesas de emoção. (Fatalidade)

10. Iam-se, na ceguez da noite — à casa da mãe do breu: a vaca, o homem, a vaca — transeuntes, galopando. (Sequência)

11. Tudo, aliás, é a ponta de um mistério. Inclusive, os fatos. Ou a ausência deles. Duvida? Quando nada acontece, há um milagre que não estamos vendo. (O Espelho)

12. Tão branco; mas não branquicelo, senão que de um branco leve, semidourado de luz: figurando ter por dentro da pele uma segunda claridade. (Um moço muito branco)

13. Sou remediado lavrador, isto é — de pobre não me sujo, de rico não me esporcalho. (Luas de mel)

14. Me passei para o lado do velho, junto — … tapatrão, tapatrão… tarantão… tarantão… — e ele me disse: nada. Seus olhos, o outro grosso azul, certeiros, esses muito se mexiam. (-Tarantão, meu patrão)

15. Enquanto a gente brincava, descuidoso, as coisas ruins já estavam armando a assanhação de acontecer: elas esperavam a gente atrás das portas. (Os cimos)

Observation of the little boy in 'Appearance of the Bird': 'But, in this shining moment, he knew and discovered: that you could never truly, in terms of value, enjoy the beautiful or good things that happened. Sometimes, because they came quickly and unexpectedly, when you weren't ready yet. Or they were expected, and then they didn't taste as good as they were, just crude imitations. Or, because the other things, the bad ones, also continued, on both sides, and left no room open. Or because still other things were missing, which happened in all kinds of situations, but which had to come together with that first one to make a whole. Or because, even while they were happening, you knew that they were on their way, towards their end, gnawed at by the hours, disintegrating...'

This passage presents a profound exploration of the complex nature of experiencing and enjoying the good things in life. The little boy realizes that there are numerous factors that can prevent us from fully savoring these precious moments. Whether it's the element of surprise, unmet expectations, the presence of negative aspects, or the absence of complementary elements, all these can impact our perception and appreciation of the beautiful and the good.

It makes us reflect on how often we may take the good things for granted or fail to truly cherish them in the moment. We are reminded to be more aware and present, to make the most of the opportunities that come our way, and to strive to create a more complete and fulfilling experience by addressing the various factors that can influence our enjoyment.

Zeer zeer bijzonder taalgebruik, neologismen bij de vleet en opvallende zinsconstructies. This makes the reading experience quite unique and engaging. The language used seems to break free from the ordinary, adding an element of mystery and excitement.

The atmosphere of the stories is often philosophical and lyrical. It's as if the author is trying to convey deep thoughts and emotions through the power of words. The stories seem to draw their existence from the evoked atmosphere, which gives them a certain charm and allure.

However, the actual content of the stories is often difficult to follow. It requires a great deal of concentration and effort to understand the meaning and significance behind the words. This is perhaps one of the challenges of reading such works, but it also makes the experience more rewarding.

I have previously read 'Het uur en ogenblik van Augusto Matraga', and that went quite well. It was an enjoyable read that kept me engaged from start to finish. Now, I have 'Diepe wildernis: de wegen' left to read. I'm looking forward to it, but I think I'll let it sit for a while before delving in. JM