sábado, 18 de março de 2017

Derek Walcott (1930-2017)

The Antilles: Fragments of Epic Memory

Felicity is a village in Trinidad on the edge of the Caroni plain, the wide central plain that still grows sugar and to which indentured cane cutters were brought after emancipation, so the small population of Felicity is East Indian, and on the afternoon that I visited it with friends from America, all the faces along its road were Indian, which, as I hope to show, was a moving, beautiful thing, because this Saturday afternoon Ramleela, the epic dramatization of the Hindu epic the Ramayana, was going to be performed, and the costumed actors from the village were assembling on a field strung with different-coloured flags, like a new gas station, and beautiful Indian boys in red and black were aiming arrows haphazardly into the afternoon light. Low blue mountains on the horizon, bright grass, clouds that would gather colour before the light went. Felicity! What a gentle Anglo-Saxon name for an epical memory.

Under an open shed on the edge of the field, there were two huge armatures of bamboo that looked like immense cages. They were parts of the body of a god, his calves or thighs, which, fitted and reared, would make a gigantic effigy. This effigy would be burnt as a conclusion to the epic. The cane structures flashed a predictable parallel: Shelley's sonnet on the fallen statue of Ozymandias and his empire, that "colossal wreck" in its empty desert.

Drummers had lit a fire in the shed and they eased the skins of their tables nearer the flames to tighten them. The saffron flames, the bright grass, and the hand-woven armatures of the fragmented god who would be burnt were not in any desert where imperial power had finally toppled but were part of a ritual, evergreen season that, like the cane-burning harvest, is annually repeated, the point of such sacrifice being its repetition, the point of the destruction being renewal through fire.

Deities were entering the field. What we generally call "Indian music" was blaring from the open platformed shed from which the epic would be narrated. Costumed actors were arriving. Princes and gods, I supposed. What an unfortunate confession! "Gods, I suppose" is the shrug that embodies our African and Asian diasporas. I had often thought of but never seen Ramleela,and had never seen this theatre, an open field, with village children as warriors, princes, and gods. I had no idea what the epic story was, who its hero was, what enemies he fought, yet I had recently adapted the Odysseyfor a theatre in England, presuming that the audience knew the trials of Odysseus, hero of another Asia Minor epic, while nobody in Trinidad knew any more than I did about Rama, Kali, Shiva, Vishnu, apart from the Indians, a phrase I use pervertedly because that is the kind of remark you can still hear in Trinidad: "apart from the Indians".

It was as if, on the edge of the Central Plain, there was another plateau, a raft on which the Ramayana would be poorly performed in this ocean of cane, but that was my writer's view of things, and it is wrong. I was seeing the Ramleela at Felicity as theatre when it was faith.

Multiply that moment of self-conviction when an actor, made-up and costumed, nods to his mirror before stopping on stage in the belief that he is a reality entering an illusion and you would have what I presumed was happening to the actors of this epic. But they were not actors. They had been chosen; or they themselves had chosen their roles in this sacred story that would go on for nine afternoons over a two-hour period till the sun set. They were not amateurs but believers. There was no theatrical term to define them. They did not have to psych themselves up to play their roles. Their acting would probably be as buoyant and as natural as those bamboo arrows crisscrossing the afternoon pasture. They believed in what they were playing, in the sacredness of the text, the validity of India, while I, out of the writer's habit, searched for some sense of elegy, of loss, even of degenerative mimicry in the happy faces of the boy-warriors or the heraldic profiles of the village princes. I was polluting the afternoon with doubt and with the patronage of admiration. I misread the event through a visual echo of History - the cane fields, indenture, the evocation of vanished armies, temples, and trumpeting elephants - when all around me there was quite the opposite: elation, delight in the boys' screams, in the sweets-stalls, in more and more costumed characters appearing; a delight of conviction, not loss. The name Felicity made sense.

Consider the scale of Asia reduced to these fragments: the small white exclamations of minarets or the stone balls of temples in the cane fields, and one can understand the self-mockery and embarrassment of those who see these rites as parodic, even degenerate. These purists look on such ceremonies as grammarians look at a dialect, as cities look on provinces and empires on their colonies. Memory that yearns to join the centre, a limb remembering the body from which it has been severed, like those bamboo thighs of the god. In other words, the way that the Caribbean is still looked at, illegitimate, rootless, mongrelized. "No people there", to quote Froude, "in the true sense of the word". No people. Fragments and echoes of real people, unoriginal and broken.

The performance was like a dialect, a branch of its original language, an abridgement of it, but not a distortion or even a reduction of its epic scale. Here in Trinidad I had discovered that one of the greatest epics of the world was seasonally performed, not with that desperate resignation of preserving a culture, but with an openness of belief that was as steady as the wind bending the cane lances of the Caroni plain. We had to leave before the play began to go through the creeks of the Caroni Swamp, to catch the scarlet ibises coming home at dusk. In a performance as natural as those of the actors of the Ramleela, we watched the flocks come in as bright as the scarlet of the boy archers, as the red flags, and cover an islet until it turned into a flowering tree, an anchored immortelle. The sigh of History meant nothing here. These two visions, the Ramleela and the arrowing flocks of scarlet ibises, blent into a single gasp of gratitude. Visual surprise is natural in the Caribbean; it comes with the landscape, and faced with its beauty, the sigh of History dissolves.

We make too much of that long groan which underlines the past. I felt privileged to discover the ibises as well as the scarlet archers of Felicity.

The sigh of History rises over ruins, not over landscapes, and in the Antilles there are few ruins to sigh over, apart from the ruins of sugar estates and abandoned forts. Looking around slowly, as a camera would, taking in the low blue hills over Port of Spain, the village road and houses, the warrior-archers, the god-actors and their handlers, and music already on the sound track, I wanted to make a film that would be a long-drawn sigh over Felicity. I was filtering the afternoon with evocations of a lost India, but why "evocations"? Why not "celebrations of a real presence"? Why should India be "lost" when none of these villagers ever really knew it, and why not "continuing", why not the perpetuation of joy in Felicity and in all the other nouns of the Central Plain: Couva, Chaguanas, Charley Village? Why was I not letting my pleasure open its windows wide? I was enticed like any Trinidadian to the ecstasies of their claim, because ecstasy was the pitch of the sinuous drumming in the loudspeakers. I was entitled to the feast of Husein, to the mirrors and crepe-paper temples of the Muslim epic, to the Chinese Dragon Dance, to the rites of that Sephardic Jewish synagogue that was once on Something Street. I am only one-eighth the writer I might have been had I contained all the fragmented languages of Trinidad.

Break a vase, and the love that reassembles the fragments is stronger than that love which took its symmetry for granted when it was whole. The glue that fits the pieces is the sealing of its original shape. It is such a love that reassembles our African and Asiatic fragments, the cracked heirlooms whose restoration shows its white scars. This gathering of broken pieces is the care and pain of the Antilles, and if the pieces are disparate, ill-fitting, they contain more pain than their original sculpture, those icons and sacred vessels taken for granted in their ancestral places. Antillean art is this restoration of our shattered histories, our shards of vocabulary, our archipelago becoming a synonym for pieces broken off from the original continent.

And this is the exact process of the making of poetry, or what should be called not its "making" but its remaking, the fragmented memory, the armature that frames the god, even the rite that surrenders it to a final pyre; the god assembled cane by cane, reed by weaving reed, line by plaited line, as the artisans of Felicity would erect his holy echo.

Poetry, which is perfection's sweat but which must seem as fresh as the raindrops on a statue's brow, combines the natural and the marmoreal; it conjugates both tenses simultaneously: the past and the present, if the past is the sculpture and the present the beads of dew or rain on the forehead of the past. There is the buried language and there is the individual vocabulary, and the process of poetry is one of excavation and of self-discovery. Tonally the individual voice is a dialect; it shapes its own accent, its own vocabulary and melody in defiance of an imperial concept of language, the language of Ozymandias, libraries and dictionaries, law courts and critics, and churches, universities, political dogma, the diction of institutions. Poetry is an island that breaks away from the main. The dialects of my archipelago seem as fresh to me as those raindrops on the statue's forehead, not the sweat made from the classic exertion of frowning marble, but the condensations of a refreshing element, rain and salt.

Deprived of their original language, the captured and indentured tribes create their own, accreting and secreting fragments of an old, an epic vocabulary, from Asia and from Africa, but to an ancestral, an ecstatic rhythm in the blood that cannot be subdued by slavery or indenture, while nouns are renamed and the given names of places accepted like Felicity village or Choiseul. The original language dissolves from the exhaustion of distance like fog trying to cross an ocean, but this process of renaming, of finding new metaphors, is the same process that the poet faces every morning of his working day, making his own tools like Crusoe, assembling nouns from necessity, from Felicity, even renaming himself. The stripped man is driven back to that self-astonishing, elemental force, his mind. That is the basis of the Antillean experience, this shipwreck of fragments, these echoes, these shards of a huge tribal vocabulary, these partially remembered customs, and they are not decayed but strong. They survived the Middle Passage and the Fatel Rozack, the ship that carried the first indentured Indians from the port of Madras to the cane fields of Felicity, that carried the chained Cromwellian convict and the Sephardic Jew, the Chinese grocer and the Lebanese merchant selling cloth samples on his bicycle.

And here they are, all in a single Caribbean city, Port of Spain, the sum of history, Trollope's "non-people". A downtown babel of shop signs and streets, mongrelized, polyglot, a ferment without a history, like heaven. Because that is what such a city is, in the New World, a writer's heaven.

A culture, we all know, is made by its cities.

Another first morning home, impatient for the sunrise - a broken sleep. Darkness at five, and the drapes not worth opening; then, in the sudden light, a cream-walled, brown-roofed police station bordered with short royal palms, in the colonial style, back of it frothing trees and taller palms, a pigeon fluttering into the cover of an cave, a rain-stained block of once-modern apartments, the morning side road into the station without traffic. All part of a surprising peace. This quiet happens with every visit to a city that has deepened itself in me. The flowers and the hills are easy, affection for them predictable; it is the architecture that, for the first morning, disorients. A return from American seductions used to make the traveller feel that something was missing, something was trying to complete itself, like the stained concrete apartments. Pan left along the window and the excrescences rear - a city trying to soar, trying to be brutal, like an American city in silhouette, stamped from the same mould as Columbus or Des Moines. An assertion of power, its decor bland, its air conditioning pitched to the point where its secretarial and executive staff sport competing cardigans; the colder the offices the more important, an imitation of another climate. A longing, even an envy of feeling cold.

In serious cities, in grey, militant winter with its short afternoons, the days seem to pass by in buttoned overcoats, every building appears as a barracks with lights on in its windows, and when snow comes, one has the illusion of living in a Russian novel, in the nineteenth century, because of the literature of winter. So visitors to the Caribbean must feel that they are inhabiting a succession of postcards. Both climates are shaped by what we have read of them. For tourists, the sunshine cannot be serious. Winter adds depth and darkness to life as well as to literature, and in the unending summer of the tropics not even poverty or poetry (in the Antilles poverty is poetry with a V,une vie, a condition of life as well as of imagination) seems capable of being profound because the nature around it is so exultant, so resolutely ecstatic, like its music. A culture based on joy is bound to be shallow. Sadly, to sell itself, the Caribbean encourages the delights of mindlessness, of brilliant vacuity, as a place to flee not only winter but that seriousness that comes only out of culture with four seasons. So how can there be a people there, in the true sense of the word?

They know nothing about seasons in which leaves let go of the year, in which spires fade in blizzards and streets whiten, of the erasures of whole cities by fog, of reflection in fireplaces; instead, they inhabit a geography whose rhythm, like their music, is limited to two stresses: hot and wet, sun and rain, light and shadow, day and night, the limitations of an incomplete metre, and are therefore a people incapable of the subtleties of contradiction, of imaginative complexity. So be it. We cannot change contempt.

Ours are not cities in the accepted sense, but no one wants them to be. They dictate their own proportions, their own definitions in particular places and in a prose equal to that of their detractors, so that now it is not just St. James but the streets and yards that Naipaul commemorates, its lanes as short and brilliant as his sentences; not just the noise and jostle of Tunapuna but the origins of C.L.R. James's Beyond a Boundary, not just Felicity village on the Caroni plain, but Selvon Country, and that is the way it goes up the islands now: the old Dominica of Jean Rhys still very much the way she wrote of it; and the Martinique of the early Cesaire; Perse's Guadeloupe, even without the pith helmets and the mules; and what delight and privilege there was in watching a literature - one literature in several imperial languages, French, English, Spanish - bud and open island after island in the early morning of a culture, not timid, not derivative, any more than the hard white petals of the frangipani are derivative and timid. This is not a belligerent boast but a simple celebration of inevitability: that this flowering had to come.

On a heat-stoned afternoon in Port of Spain, some alley white with glare, with love vine spilling over a fence, palms and a hazed mountain appear around a corner to the evocation of Vaughn or Herbert's "that shady city of palm-trees", or to the memory of a Hammond organ from a wooden chapel in Castries, where the congregation sang "Jerusalem, the Golden". It is hard for me to see such emptiness as desolation. It is that patience that is the width of Antillean life, and the secret is not to ask the wrong thing of it, not to demand of it an ambition it has no interest in. The traveller reads this as lethargy, as torpor.

Here there are not enough books, one says, no theatres, no museums, simply not enough to do. Yet, deprived of books, a man must fall back on thought, and out of thought, if he can learn to order it, will come the urge to record, and in extremity, if he has no means of recording, recitation, the ordering of memory which leads to metre, to commemoration. There can be virtues in deprivation, and certainly one virtue is salvation from a cascade of high mediocrity, since books are now not so much created as remade. Cities create a culture, and all we have are these magnified market towns, so what are the proportions of the ideal Caribbean city? A surrounding, accessible countryside with leafy suburbs, and if the city is lucky, behind it, spacious plains. Behind it, fine mountains; before it, an indigo sea. Spires would pin its centre and around them would be leafy, shadowy parks. Pigeons would cross its sky in alphabetic patterns, carrying with them memories of a belief in augury, and at the heart of the city there would be horses, yes, horses, those animals last seen at the end of the nineteenth century drawing broughams and carriages with top-hatted citizens, horses that live in the present tense without elegiac echoes from their hooves, emerging from paddocks at the Queen's Park Savannah at sunrise, when mist is unthreading from the cool mountains above the roofs, and at the centre of the city seasonally there would be races, so that citizens could roar at the speed and grace of these nineteenth-century animals. Its docks, not obscured by smoke or deafened by too. much machinery, and above all, it would be so racially various that the cultures of the world - the Asiatic, the Mediterranean, the European, the African - would be represented in it, its humane variety more exciting than Joyce's Dublin. Its citizens would intermarry as they chose, from instinct, not tradition, until their children find it increasingly futile to trace their genealogy. It would not have too many avenues difficult or dangerous for pedestrians, its mercantile area would be a cacophony of accents, fragments of the old language that would be silenced immediately at five o'clock, its docks resolutely vacant on Sundays.

This is Port of Spain to me, a city ideal in its commercial and human proportions, where a citizen is a walker and not a pedestrian, and this is how Athens may have been before it became a cultural echo.

The finest silhouettes of Port of Spain are idealizations of the craftsman's handiwork, not of concrete and glass, but of baroque woodwork, each fantasy looking more like an involved drawing of itself than the actual building. Behind the city is the Caroni plain, with its villages, Indian prayer flags, and fruit vendors' stalls along the highway over which ibises come like floating flags. Photogenic poverty! Postcard sadnesses! I am not re-creating Eden; I mean, by "the Antilles", the reality of light, of work, of survival. I mean a house on the side of a country road, I mean the Caribbean Sea, whose smell is the smell of refreshing possibility as well as survival. Survival is the triumph of stubborness, and spiritual stubborness, a sublime stupidity, is what makes the occupation of poetry endure, when there are so many things that should make it futile. Those things added together can go under one collective noun: "the world".

This is the visible poetry of the Antilles, then. Survival.

If you wish to understand that consoling pity with which the islands were regarded, look at the tinted engravings of Antillean forests, with their proper palm trees, ferns, and waterfalls. They have a civilizing decency, like Botanical Gardens, as if the sky were a glass ceiling under which a colonized vegetation is arranged for quiet walks and carriage rides. Those views are incised with a pathos that guides the engraver's tool and the topographer's pencil, and it is this pathos which, tenderly ironic, gave villages names like Felicity. A century looked at a landscape furious with vegetation in the wrong light and with the wrong eye. It is such pictures that are saddening rather than the tropics itself. These delicate engravings of sugar mills and harbours, of native women in costume, are seen as a part of History, that History which looked over the shoulder of the engraver and, later, the photographer. History can alter the eye and the moving hand to conform a view of itself; it can rename places for the nostalgia in an echo; it can temper the glare of tropical light to elegiac monotony in prose, the tone of judgement in Conrad, in the travel journals of Trollope.

These travellers carried with them the infection of their own malaise, and their prose reduced even the landscape to melancholia and self-contempt. Every endeavor is belittled as imitation, from architecture to music. There was this conviction in Froude that since History is based on achievement, and since the history of the Antilles was so genetically corrupt, so depressing in its cycles of massacres, slavery, and indenture, a culture was inconceivable and nothing could ever be created in those ramshackle ports, those monotonously feudal sugar estates. Not only the light and salt of Antillean mountains defied this, but the demotic vigour and variety of their inhabitants. Stand close to a waterfall and you will stop hearing its roar. To be still in the nineteenth century, like horses, as Brodsky has written, may not be such a bad deal, and much of our life in the Antilles still seems to be in the rhythm of the last century, like the West Indian novel.

By writers even as refreshing as Graham Greene, the Caribbean is looked at with elegiac pathos, a prolonged sadness to which Levi-Strauss has supplied an epigraph: Tristes Tropiques. Their tristesse derives from an attitude to the Caribbean dusk, to rain, to uncontrollable vegetation, to the provincial ambition of Caribbean cities where brutal replicas of modern architecture dwarf the small houses and streets. The mood is understandable, the melancholy as contagious as the fever of a sunset, like the gold fronds of diseased coconut palms, but there is something alien and ultimately wrong in the way such a sadness, even a morbidity, is described by English, French, or some of our exiled writers. It relates to a misunderstanding of the light and the people on whom the light falls.

These writers describe the ambitions of our unfinished cities, their unrealized, homiletic conclusion, but the Caribbean city may conclude just at that point where it is satisfied with its own scale, just as Caribbean culture is not evolving but already shaped. Its proportions are not to be measured by the traveller or the exile, but by its own citizenry and architecture. To be told you are not yet a city or a culture requires this response. I am not your city or your culture. There might be less of Tristes Tropiques after that.

Here, on the raft of this dais, there is the sound of the applauding surf: our landscape, our history recognized, "at last". At Last is one of the first Caribbean books. It was written by the Victorian traveller Charles Kingsley. It is one of the early books to admit the Antillean landscape and its figures into English literature. I have never read it but gather that its tone is benign. The Antillean archipelago was there to be written about, not to write itself, by Trollope, by Patrick Leigh-Fermor, in the very tone in which I almost wrote about the village spectacle at Felicity, as a compassionate and beguiled outsider, distancing myself from Felicity village even while I was enjoying it. What is hidden cannot be loved. The traveller cannot love, since love is stasis and travel is motion. If he returns to what he loved in a landscape and stays there, he is no longer a traveller but in stasis and concentration, the lover of that particular part of earth, a native. So many people say they "love the Caribbean", meaning that someday they plan to return for a visit but could never live there, the usual benign insult of the traveller, the tourist. These travellers, at their kindest, were devoted to the same patronage, the islands passing in profile, their vegetal luxury, their backwardness and poverty. Victorian prose dignified them. They passed by in beautiful profiles and were forgotten, like a vacation.

Alexis Saint-Leger Leger, whose writer's name is Saint-John Perse, was the first Antillean to win this prize for poetry. He was born in Guadeloupe and wrote in French, but before him, there was nothing as fresh and clear in feeling as those poems of his childhood, that of a privileged white child on an Antillean plantation, Pour Feter une Enfance, Eloges, and later Images a Crusoe. At last, the first breeze on the page, salt-edged and self-renewing as the trade winds, the sound of pages and palm trees turning as "the odour of coffee ascents the stairs".

Caribbean genius is condemned to contradict itself. To celebrate Perse, we might be told, is to celebrate the old plantation system, to celebrate the beque or plantation rider, verandahs and mulatto servants, a white French language in a white pith helmet, to celebrate a rhetoric of patronage and hauteur; and even if Perse denied his origins, great writers often have this folly of trying to smother their source, we cannot deny him any more than we can the African Aime Cesaire. This is not accommodation, this is the ironic republic that is poetry, since, when I see cabbage palms moving their fronds at sunrise, I think they are reciting Perse.

The fragrant and privileged poetry that Perse composed to celebrate his white childhood and the recorded Indian music behind the brown young archers of Felicity, with the same cabbage palms against the same Antillean sky, pierce me equally. I feel the same poignancy of pride in the poems as in the faces. Why, given the history of the Antilles, should this be remarkable? The history of the world, by which of course we mean Europe, is a record of intertribal lacerations, of ethnic cleansings. At last, islands not written about but writing themselves! The palms and the Muslim minarets are Antillean exclamations. At last! the royal palms of Guadeloupe recite Éloges by heart.

Later, in "Anabase", Perse assembled fragments of an imaginary epic, with the clicking teeth of frontier gates, barren wadis with the froth of poisonous lakes, horsemen burnoosed in sandstorms, the opposite of cool Caribbean mornings, yet not necessarily a contrast any more than some young brown archer at Felicity, hearing the sacred text blared across the flagged field, with its battles and elephants and monkey-gods, in a contrast to the white child in Guadeloupe assembling fragments of his own epic from the lances of the cane fields, the estate carts and oxens, and the calligraphy of bamboo leaves from the ancient languages, Hindi, Chinese, and Arabic, on the Antillean sky. From the Ramayana to Anabasis, from Guadeloupe to Trinidad, all that archaeology of fragments lying around, from the broken African kingdoms, from the crevasses of Canton, from Syria and Lebanon, vibrating not under the earth but in our raucous, demotic streets.

A boy with weak eyes skims a flat stone across the flat water of an Aegean inlet, and that ordinary action with the scything elbow contains the skipping lines of the Iliad and the Odyssey, and another child aims a bamboo arrow at a village festival, another hears the rustling march of cabbage palms in a Caribbean sunrise, and from that sound, with its fragments of tribal myth, the compact expedition of Perse's epic is launched, centuries and archipelagoes apart. For every poet it is always morning in the world. History a forgotten, insomniac night; History and elemental awe are always our early beginning, because the fate of poetry is to fall in love with the world, in spite of History.

There is a force of exultation, a celebration of luck, when a writer finds himself a witness to the early morning of a culture that is defining itself, branch by branch, leaf by leaf, in that self-defining dawn, which is why, especially at the edge of the sea, it is good to make a ritual of the sunrise. Then the noun, the "Antilles" ripples like brightening water, and the sounds of leaves, palm fronds, and birds are the sounds of a fresh dialect, the native tongue. The personal vocabulary, the individual melody whose metre is one's biography, joins in that sound, with any luck, and the body moves like a walking, a waking island.

This is the benediction that is celebrated, a fresh language and a fresh people, and this is the frightening duty owed.

I stand here in their name, if not their image - but also in the name of the dialect they exchange like the leaves of the trees whose names are suppler, greener, more morning-stirred than English - laurier canelles, bois-flot, bois-canot - or the valleys the trees mention - Fond St. Jacques, Matoonya, Forestier, Roseau, Mahaut - or the empty beaches - L'Anse Ivrogne, Case en Bas, Paradis - all songs and histories in themselves, pronounced not in French - but in patois.

One rose hearing two languages, one of the trees, one of school children reciting in English:
I am monarch of all I survey,
My right there is none to dispute;
From the centre all round to the sea
I am lord of the fowl and the brute.
Oh, solitude! where are the charms
That sages have seen in thy face?
Better dwell in the midst of alarms,
Than reign in this horrible place ...
While in the country to the same metre, but to organic instruments, handmade violin, chac-chac, and goatskin drum, a girl named Sensenne singing:
Si mwen di 'ous ça fait mwen la peine
'Ous kai dire ça vrai.

(If I told you that caused me pain
You'll say, "It's true".)
Si mwen di 'ous ça pentetrait mwen
'Ous peut dire ça vrai
(If I told you you pierced my heart
You'd say, "It's true".)
Ces mamailles actuellement
Pas ka faire l 'amour z'autres pour un rien.

(Children nowadays
Don't make love for nothing.)
It is not that History is obliterated by this sunrise. It is there in Antillean geography, in the vegetation itself. The sea sighs with the drowned from the Middle Passage, the butchery of its aborigines, Carib and Aruac and Taino, bleeds in the scarlet of the immortelle, and even the actions of surf on sand cannot erase the African memory, or the lances of cane as a green prison where indentured Asians, the ancestors of Felicity, are still serving time.

That is what I have read around me from boyhood, from the beginnings of poetry, the grace of effort. In the hard mahogany of woodcutters: faces, resinous men, charcoal burners; in a man with a cutlass cradled across his forearm, who stands on the verge with the usual anonymous khaki dog; in the extra clothes he put on this morning, when it was cold when he rose in the thinning dark to go and make his garden in the heights - the heights, the garden, being miles away from his house, but that is where he has his land - not to mention the fishermen, the footmen on trucks, groaning up mornes, all fragments of Africa originally but shaped and hardened and rooted now in the island's life, illiterate in the way leaves are illiterate; they do not read, they are there to be read, and if they are properly read, they create their own literature.

But in our tourist brochures the Caribbean is a blue pool into which the republic dangles the extended foot of Florida as inflated rubber islands bob and drinks with umbrellas float towards her on a raft. This is how the islands from the shame of necessity sell themselves; this is the seasonal erosion of their identity, that high-pitched repetition of the same images of service that cannot distinguish one island from the other, with a future of polluted marinas, land deals negotiated by ministers, and all of this conducted to the music of Happy Hour and the rictus of a smile. What is the earthly paradise for our visitors? Two weeks without rain and a mahogany tan, and, at sunset, local troubadours in straw hats and floral shirts beating "Yellow Bird" and "Banana Boat Song" to death. There is a territory wider than this - wider than the limits made by the map of an island - which is the illimitable sea and what it remembers.

All of the Antilles, every island, is an effort of memory; every mind, every racial biography culminating in amnesia and fog. Pieces of sunlight through the fog and sudden rainbows, arcs-en-ciel. That is the effort, the labour of the Antillean imagination, rebuilding its gods from bamboo frames, phrase by phrase.

Decimation from the Aruac downwards is the blasted root of Antillean history, and the benign blight that is tourism can infect all of those island nations, not gradually, but with imperceptible speed, until each rock is whitened by the guano of white-winged hotels, the arc and descent of progress.

Before it is all gone, before only a few valleys are left, pockets of an older life, before development turns every artist into an anthropologist or folklorist, there are still cherishable places, little valleys that do not echo with ideas, a simplicity of rebeginnings, not yet corrupted by the dangers of change. Not nostalgic sites but occluded sanctities as common and simple as their sunlight. Places as threatened by this prose as a headland is by the bulldozer or a sea almond grove by the surveyor's string, or from blight, the mountain laurel.

One last epiphany: A basic stone church in a thick valley outside Soufrière, the hills almost shoving the houses around into a brown river, a sunlight that looks oily on the leaves, a backward place, unimportant, and one now being corrupted into significance by this prose. The idea is not to hallow or invest the place with anything, not even memory. African children in Sunday frocks come down the ordinary concrete steps into the church, banana leaves hang and glisten, a truck is parked in a yard, and old women totter towards the entrance. Here is where a real fresco should be painted, one without importance, but one with real faith, mapless, Historyless.

How quickly it could all disappear! And how it is beginning to drive us further into where we hope are impenetrable places, green secrets at the end of bad roads, headlands where the next view is not of a hotel but of some long beach without a figure and the hanging question of some fisherman's smoke at its far end. The Caribbean is not an idyll, not to its natives. They draw their working strength from it organically, like trees, like the sea almond or the spice laurel of the heights. Its peasantry and its fishermen are not there to be loved or even photographed; they are trees who sweat, and whose bark is filmed with salt, but every day on some island, rootless trees in suits are signing favourable tax breaks with entrepreneurs, poisoning the sea almond and the spice laurel of the mountains to their roots. A morning could come in which governments might ask what happened not merely to the forests and the bays but to a whole people.

They are here again, they recur, the faces, corruptible angels, smooth black skins and white eyes huge with an alarming joy, like those of the Asian children of Felicity at Ramleela; two different religions, two different continents, both filling the heart with the pain that is joy.

But what is joy without fear? The fear of selfishness that, here on this podium with the world paying attention not to them but to me, I should like to keep these simple joys inviolate, not because they are innocent, but because they are true. They are as true as when, in the grace of this gift, Perse heard the fragments of his own epic of Asia Minor in the rustling of cabbage palms, that inner Asia of the soul through which imagination wanders, if there is such a thing as imagination as opposed to the collective memory of our entire race, as true as the delight of that warrior-child who flew a bamboo arrow over the flags in the field at Felicity; and now as grateful a joy and a blessed fear as when a boy opened an exercise book and, within the discipline of its margins, framed stanzas that might contain the light of the hills on an island blest by obscurity, cherishing our insignificance.
From Nobel Lectures, Literature 1991-1995, Editor Sture Allén, World Scientific Publishing Co., Singapore, 1997

* Disclaimer
Every effort has been made by the publisher to credit organizations and individuals with regard to the supply of audio files. Please notify the publishers regarding corrections.

Copyright © The Nobel Foundation 1992

sexta-feira, 17 de março de 2017

Pedro Mastrobuono V

Na quinta pergunta e resposta, PEDRO MASTROBUONO nos fala de como um ato injustificado de censura privou os brasileiros de patrimônio, que seria referencial para o país, e desrespeitou a memória dos homens de visão e de arte, que construíram Brasília.
QUINTA PERGUNTA: o que dizer sobre a destruição da obra de Volpi na Capela de Fátima em Brasília ?
RESPOSTA: Volpi confeccionava quase tudo em seu ateliê. Não só os pigmentos e os bastidores das telas, mas também os próprios utensílios, tais como o cavalete de pintura, cabos de martelo e, ainda, arco de serrinha tico-tico, etc.
Certo sábado, abriu o armário sobre o qual ficavam as cabeças feitas por Bruno Giorgi (Terracota e Bronze), ao lado da escada sem corrimão. Tirou de lá uma pasta de cartolina, também feita por ele mesmo, que continha alguns desenhos antigos.
Enquanto todos olhávamos tais trabalhos, meu pai percebeu que aquela pasta de cartolina também continha uma pintura escondida na sua parte interna. Tinha sido encoberta por uma folha de papel branco, colada só nas bordas.
Meu pai, curioso como sempre, perguntou o que era aquela pintura escondida. Volpi, meio cabisbaixo, respondeu que era um estudo.
Meu pai pediu para ver tal trabalho. Volpi, então, desfez tal pasta e removeu o papel branco, exibindo um lindíssimo trabalho a têmpera, sobre o qual começou a contar:
- “Um arquiteto me pediu um projeto para um mural de azulejos. Era para o saguão de um prédio em Santos. Precisava ser de azulejos por causa da maresia. Fiz isso aí. Com duas cores nos azulejos, na diagonal, para facilitar a execução. Ele não gostou, disse que eu estava me repetindo muito. Executou um projeto da Fayga Ostrower.”
Note-se, por favor, que Volpi havia ficado bastante envergonhado e, por isso, havia coberto tal trabalho.
Meu pai, sem pestanejar, disse bem em voz bem forte e alta:
- “Esse arquiteto é uma besta!”
Volpi, que já estava sorrindo novamente, disse:
- “Você gostou? Fica pra você.”
Volpi era assim. Sensível, generoso, desprendido, altruísta, humilde, simples, bom amigo... Jamais falava dele próprio. Jamais se vangloriava.
Quando da destruição de seus afrescos na Capela de Nossa Senhora de Fátima, não disse nada. Não foi a público. Não esbravejou. Não era do seu feitio.
Do mesmo modo que ficou envergonhado e escondeu o estudo rejeitado por aquele arquiteto, rapidamente se desfez dos projetos da Capela de Brasília. Deu alguns para seu amigo Bruno Giorgi (padrinho de casamento em 1943), que hoje estão com seus familiares.
Volpi não merecia isso.
Já falei aqui, nesta própria entrevista, sobre Cultura ser importante elemento de formação de identidade, referindo-me inclusive a maneira pela qual professamos nossa fé. Assim, rogo atenção para algo que me incomoda profundamente. Como fica a destruição do ponto de vista da espiritualidade, da fé popular? Lembremo-nos que se trata de uma obra solicitada pelo então Presidente da República, em face de uma promessa da Primeira Dama pela saúde da filha do casal. A destruição não seria, pois, de um desrespeito também a memória de Sarah e Juscelino Kubitschek? Um desrespeito às intenções religiosas do casal?
Quantos brasilienses poderiam ter se casado, batizado os filhos, em cerimônias ornamentadas pelos afrescos de Volpi? Tais pinturas, caso preservadas, não estariam gravadas de modo indelével nas memórias destes fiéis?
Foi só a obra artística de Alfredo Volpi que foi prejudicada?
Alfredo Volpi foi impedido de ter sua obra incorporada ao imaginário do povo brasiliense. Foi impedido de ver seus afrescos posteriormente tombados, em nível distrital e federal, como os demais artistas envolvidos na Capela, hoje protegida por força de lei.
Sob qualquer ponto de vista que se queira adotar, onde está, por favor, a coerência?
Se houvesse alguma, ainda que de abordagem religiosa, como fica então a Capela do Cristo Operário? Edifício também dos anos 1950, localizado no bairro do Alto do Ipiranga, em São Paulo, ligado à Ordem dos Dominicanos. Possui obras de artistas do mesmo Modernismo brasileiro, com afrescos de Volpi, acompanhado neste projeto também de Burle Max.
A religião católica de Brasília é outra?
Um único padre, às vésperas ou em pleno regime militar, destruiria assim os afrescos, sem ao menos consultar o Bispo? Não é estranho que não tenha havido reação?
Independentemente do lado que se queira defender, é impossível não reconhecer que, aqui em São Paulo, quando este novo prefeito apagou pichações e grafites, houve grande alarido. Ações judiciais, Ministério Público, liminares. Discussões infindáveis na mídia.
Apagam-se afrescos de um projeto comum de ninguém menos que Oscar Niemeyer, Athos Bulcão, Burle Max e Alfredo Volpi. Encomenda do casal Kubitschek. E ninguém fala nada? Silêncio sepulcral?
Tudo isso precisa ser esclarecido. Compositores que sofreram censura, revolvem até hoje documentos em busca de fatos e circunstâncias. Assim como há pesquisa sobre peças teatrais censuradas e proibidas. Entendo que pintura (terceira das sete artes) também tenha legitimidade para tanto.
Volpi era tímido. Ficava envergonhado. Não disse nada.
Ocorre que o Instituto Volpi tem o DEVER legal de zelar pela preservação e divulgação da memória e da obra artística do pintor. Sua passagem por Brasília é, inquestionavelmente, fato relevante para sua biografia, sua memória.

quinta-feira, 16 de março de 2017

Pedro Mastrobuono IV

Na quarta resposta, Pedro Mastrobuono nos esclarece sobre assunto, que teve merecida cobertura da Imprensa. Seu testo contém história, sensibilidade e afirmação forte sobre o descaso do poder público com seus bens culturais.
4-Como está a questão da restauração do mural de Volpi no Palácio dos Arcos ? Sabemos que a solução evolui, em função de sua atuação.
O painel do Palácio Itamaraty, é tombado. Integrante, deste modo, do Patrimônio Histórico e Artístico Nacional. Pode ser visto, inclusive à noite, refletido na lâmina d'água, por todos aqueles que visitam Brasília. Chefes de Estado.
Volpi e Oscar Niemeyer tinham uma predileção comum, ambos gostavam de comer no Ca’d´oro. Pouco se comenta, mas quando Alfredo Volpi criou o afresco "O SONHO DE DOM BOSCO", em homenagem ao patrono de Brasília, inspirou-se nas feições de Oscar Niemeyer, que achava graça disso. O edifício é também conhecido por “Palácio dos Arcos”, sendo certo que elementos de sua fachada aparecem claramente na composição criada por Volpi.
Para aqueles que não sabem, a fundação de Brasília é associada a profecia de São João Bosco, que previu o surgimento da Capital. Teria sonhado com ponto exato onde seria erguida, entre os paralelos 15º e 20º, local onde haveria um leito muito extenso e onde se formaria um lago.
O afresco do Itamaraty foi pintado em 1966, oito anos após as pinturas da Capela de Nossa Senhora de Fátima, que são de 1958. O retorno de Volpi a Brasília, para realização dessa nova empreitada, não se deve apenas a dupla Oscar Niemeyer e Bruno Giorgi. Desta vez, contou também com a sensibilidade do Embaixador Wladimir Murtinho, responsável pela área cultural do Ministério da Relações Exteriores. Foi Murtinho que encomendou o famoso Meteoro de Bruno Giorgi que fica do lado de fora do palácio.
Volpi guardava consigo, resistindo à pressão de seus colecionadores, os estudos sobre cartão das obras que realizou em Brasília. Guardava somente as versões que efetivamente pintou, desfazendo-se daquelas que não executou, como por exemplo O SONHO DE DOM BOSCO pintado só em tons terras, sem nada de azul, hoje em coleção particular. 
O Embaixador Murtinho teve um lindíssimo São Miguel sobre tela, de rara beleza. Inédito, nunca reproduzido ou exibido. Volpi manteve consigo, até morrer, o estudo em cartão, hoje extraviado e judicialmente procurado pelo espólio do artista. Não é demasiado lembrar que a versão realmente executada do SONHO DE DOM BOSCO pintado só em tons de azul, foi apreendida e está devidamente depositada no MAC/USP, por força de um convênio firmado entre o museu e o Judiciário, que tive o privilégio de redigir, onde o Instituto Volpi figura como supervisor por meu intermédio.
Volpi e Bruno Giorgi tinham profundo orgulho dos trabalhos que realizaram em Brasília, justamente por entender como foi concebida, pensada como cidade símbolo de um país onde a Arte e a Cultura participam do processo decisório e, assim, dos destinos da nação. Não se trata apenas de um referencial do Modernismo brasileiro. É muito, muito mais do que isso.
Recentemente, tivemos a felicidade de ver uma linda obra de Volpi, com duas bandeirinhas pretas, escolhida como símbolo da Cultura Brasileira na EUROPALIA, edição sobre nosso país, nesta conceituadíssima feira internacional que celebra a herança cultural dos povos.
Quem convive comigo, sabe que, de há muito, insisto no entendimento, consagrado em nossa Constituição, de que a Cultura é importante elemento de formação de identidade. Friso sempre. Nossas músicas, nossas danças, a maneira pela qual professamos nossa fé. É, pois, através de nossas manifestações culturais que nos reconhecemos por iguais. Dando-nos o sentimento de pertencimento. Aliás, repito à exaustão, posto que verdadeiramente acredito nisso.
Há poucos dias, externei minha solidariedade a Maria Elisa, filha de Lúcio Costa. Quando da retirada de obras das obras dos Palácios do Planalto e Alvorada, enviadas para o RJ. Maria Elisa publicamente qualificou o episódio como “uma traição a Juscelino”
Nossa cultura não é assunto apenas de um Governo, qualquer que seja ele. Assim como as obras de arte que integram a Casa Branca não dizem respeito apenas aos recentes governos Bush, Clinton, Obama, Trump. Estamos falando de símbolos pátrios.
Queira-se ou não, esta não é uma questão de reservas técnicas deste ou daquele museu. Assim como não se trata deste ou aquele presidente. Deste ou daquele Governo. Trata-se da nossa Cultura, da nossa Identidade.
A indignação da filha de Lúcio Costa, também é a minha. Há um inegável descaso com nossos bens culturais. Pasmem, já é a segunda vez que O SONHO DE DOM BOSCO será restaurado. Na primeira oportunidade, estava ainda pior.
Infelizmente, é preciso ir a público e clamar por providências. Quando, na verdade, o Estado deveria ser o primeiro a zelar por aquilo que já é público. Grito e continuarei gritando, esbravejando.
Não adianta nada ficar de olho grande sobre bens privados, quando se maltrata o próprio Patrimônio Artístico.
No artigo publicado pelo ESTADO, digo com todas as letras que entendo por claro descaso e que sinto falta de uma política pública que demonstre eficácia, efetividade na proteção dos nossos bens culturais. A proteção ao patrimônio deveria começar pelo próprio Estado, dando o bom exemplo. Afinal, trata-se da nossa identidade.
Volpi, Oscar Niemeyer, Wladimir Murtinho e Lúcio Costa não mereciam nada disso.

quarta-feira, 15 de março de 2017

Pedro Mastrobuono III

TERCEIRA PERGUNTA para Pedro Mastrobuono:
-Você foi amigo de Antonio Henrique Amaral, não obstante a diferença de idade. O que pode nos dizer sobre ele, além do reconhecido domínio técnico como pintor ?
RESPOSTA: Antonio Henrique Amaral foi meu amigo, uma de minhas maiores referências nas artes. Gostava de mim e eu dele. Além disso, sempre tive admiração por sua coragem na luta contra a ditadura. Homem sempre engajado, preocupado de modo sincero, com nosso futuro. Esteve comigo, sem pestanejar, no MuBE, ao lado de Roberto Dias, Professor da PUC/SP e da FGV; também da então Vice-Presidente da OAB/SP, Professora Ivette Senise Ferreira; de Luiz Pérrissé Duarte Junior, Vice-Presidente da AASP; e de Rosana Chiavassa. Aliás, esteve comigo inclusive no programa da Rosana, de grande repercussão no cenário cultural, onde todos juntos criticávamos o polêmico Decreto Presidencial 8.124 de Outubro de 2013. Sabia que eu encabeçava tal resistência, recebendo a animosidade por parte de integrantes da época do IBRAM e também do próprio MinC. Não titubeava. 
Enquanto artista,conseguiu algo raro, que jamais voltei a ver. Conseguiu unir o discurso de uma obra engajada com um profundo talento e sensibilidade. O convívio com seus quadros sempre foi gratificante para mim e, ainda, para meus filhos também, que crescem os admirando e, assim, conhecendo como nós podemos sim exercer nossa cidadania naquilo que fazemos cotidianamente.
Quando faleceu, a FOLHA publicou o texto que enviei ao jornal, do qual destaco o seguinte trecho: 
“Bananas como símbolo
Perdi um amigo, Antonio Henrique Amaral. O Brasil perdeu um homem corajoso, que nos anos 1960 e 1970, no auge dos problemas que todos vivemos, teve a ousadia de representar a brasilidade com a banana como símbolo, sendo amarrada, perfurada, subjugada. Sua obra artística é da maior relevância histórica. Um atualíssimo chamado à reflexão, quando alguns cometem a insensatez de clamar por imediata intervenção militar, em total desapego com nossas conquistas democráticas.
Pedro Mastrobuono, diretor jurídico do Instituto Volpi
(São Paulo, SP)”
Saudades amigo.

terça-feira, 14 de março de 2017

Pedro Mastrobuono II

SEGUNDA pergunta para Pedro Mastrobuono. Vale ressaltar a citação a Ladi Biezus, nosso primeiro entrevistado. Cutura e Sensibilidade através de gerações...
PERGUNTA: Seu pai, além de engenheiro de grande capacidade, foi intelectual com pensamento independente, sempre surpreendente, e superior domínio da expressão verbal. A nosso ver, avesso aos cerebralismo gratuitos, preferiu artistas da cor, com produção numerosa, pois entendia que o verdadeiro artista tem necessidade de criar: Volpi, José Antonio da Silva, Pancetti. Reconheceu a arte do equatoriano Oswaldo Guayasamín antes que ele se tornasse mundialmente famoso como pintor latino-americano. Qual o papel de seu pai em seu interesse e conhecimento em artes ?
Ninguém convive por meio século com Marco Antonio Mastrobuono impunemente. Impossível.
Levando-me pela mão, desde a mais tenra infância, fez-me presenciar infindáveis conversas e reflexões. Nunca se fez rodear por medíocres, sobre os quais pudesse ter algum controle ou ascendência. Dizia que isso era conduta de covardes e inseguros. Conviveu com gênios, com gigantes. Não só nas artes. Extraindo todo o conhecimento possível. 
Minha prudência sempre esbarrava em seu arrojo. Como muito bom enxadrista que era, ralhava comigo repetindo incontáveis vezes, até os últimos dias: “Deixe de jogar com as pretas! Pense com as brancas!”.
Foi alfabetizado, simultaneamente, em francês. Ainda bem pequenininho, meu avô lia para ele, todo santo dia, alguma das fábulas de La Fontaine. Depois, os dois discutiam seu conteúdo e significado. Tudo naquela língua. Meu pai desenvolveu um humor refinado e certo apego por imagens poéticas.
O que dizer do convívio com pessoas como Alfredo Volpi, Theon Spanudis e Oscar Niemeyer? Para mim era puro fascínio. Inebriante. Na casa de minha infância, era comum encontrar ainda Willys de Castro, Hércules Barsotti e tantos outros. Domingos Giobbi foi até passar uma temporada conosco, quando residíamos no Perú. Ladi Biezus é meu padrinho de Batismo e de Crisma de meu irmão, duplamente compadre de meu pai.
Minha casa, embora muito concorrida, não era o único cenário para esses intensos “cafés filosóficos” sobre arte e cultura. Sábado era dia obrigatório de visita ao ateliê de Volpi. Todos lá novamente.
Ladi, por exemplo, almoçava conosco aos Domingos, quase religiosamente. 
Por tudo isso, não sou capaz de traduzir, de modo honesto, a quantidade de horas de conversas que presenciei.
Ao logo de toda uma vida, quando algum marchand nos visitava, especialmente quando trazia um Volpi em suas mãos, meu pai mandava me chamar e ficava calado. Prestava muitíssima atenção de como eu manuseava o quadro, na expetativa de que eu me lembrasse de primeiro analisar o verso da obra, ver como a tela era fixada (se com grampos ou por tachinhas), sem ter ainda olhado sua parte frontal. Gostava e sorria, quando eu passava a mão sobre a pintura, para reconhecer a inconfundível textura da têmpera. Dizia que eu havia sido alfabetizado em Volpi e que seria eu a falar de que época era tal pintura, cobrando o porquê de minhas conclusões. Caso não fosse autêntico, quais as inconsistências. Não é difícil imaginar, quantas e quantas vezes, fiquei constr angido. 
Meu pai era todo humano. Apaixonado por Tango, sabia inúmeros de cor, com diversos livros de letras das músicas em sua biblioteca. Lia metros cúbicos. Foi poeta, sendo que estamos agora compilando e trabalhando na publicação de suas obras.
O papel de meu pai no meu interesse por arte é, irrefutavelmente, direto. Muito daquilo que penso, são reminiscências. Já outras coisas, sequer são meras recordações fragmentadas. Alguns conceitos e reflexões ficaram gravados, de modo indelével. É como se eu o tivesse engolido e ele continuasse falando dentro de mim.

segunda-feira, 13 de março de 2017

Pedro Mastrobuono I

Quem pensa ARTE no Brasil ? Numa nova entrevista, a Galeria Nóbrega faz perguntas a PEDRO MASTROBUONO. A primeira pergunta e resposta estão a seguir:
PERGUNTA 1- Em suas múltiplas atividades ( advogado especializado em direito autoral, Vice-Presidente da Comissão de Direito às Artes da OAB, Presidente do Instituto Volpi, Conselheiro do Instituto Leonilson, Vice-Presidente da Associação de Amigos do MAC-USP...) , todas articuladas por seu conhecimento e sensibilidade para as Artes, quais são os valores, os princípios, que norteiam sua atuação pessoal ? Em contraponto, cada uma destas atividades está em diferente momento de maturação. Qual então são as prioridades, em sua visão ?
Minha atuação encontra coerência e sustentação em um tripé.
A primeira perna é distinção entre “conteúdo” e “veículo”. Os tempos atuais simplificaram bastante a percepção disso. Hoje em dia, a multiplicidade de veículos permite que uma mesma informação seja transmitida por WhatsApp, Messenger, Facebook, e-mails diversos (só no meu celular, recebo três caixas de entradas distintas), telefonia móvel e fixa, telegramas, Sedex e por aí afora. Então, pergunto: alguém muito querido, verdadeiramente amado, acaba de falecer. A dor e o desespero iriam desaparecer se a notícia tivesse sido dada por WhatsApp e não por e-mail? O sofrimento é inerente ao drama humano, decorre da perda. O conteúdo é avassalador, não o veículo.A constatação de uma traição grave. Do ponto de vista das emoções múltiplas (ódio, revolta, angústia, desorientação, tristeza), pergunto: uma fotografia do ato explícito de infidelidade ou a gravação de uma conversa picante entre os amantes, por acaso a pessoa traída sofreria menos porque tomou consciência do conteúdo pelo sentido da visão ao invés da audição?
A segunda perna do tripé é bilateralidade dos nossos cérebros. Como bem se sabe, o hemisfério esquerdo é responsável pelo pensamento lógico e por nossa competência comunicativa. Por sua vez, o hemisfério direito é responsável pelo pensamento dito simbólico, pelas emoções e por nossa criatividade.
Na minha maneira de compreender as coisas, as sete artes, ditas clássicas, são meros veículos. Nada além disso. A primeira, “música”, transmite-nos sua mensagem pelo som. A segunda, “artes cênicas”, alcança-nos pela performance teatral ou pela coreografia, dança, seres humanos em movimento. A terceira, “pintura”, parafraseando Volpi, “é uma questão de linha, forma é cor”. A quarta, “escultura”, vale-se do volume, da textura, da tridimensionalidade. A quinta, “arquitetura”, pelos espaços e sua capacidade de interação conosco. A sexta, “literatura”, por fomentar nossa capacidade de imaginação, quase sem limites. Já a sétima, “cinema”, que é a mais consumida de todas nos dias atuais, integra elementos de todas as manifestações anteriores.
Sem pieguices. Sem argumentos apaixonados. O convívio com Arte, muitas vezes, devolve-nos a alegria, arranca sorrisos, deixando-nos extasiados ainda que em comezinhas situações do cotidiano. Não obstante, em outras ocasiões, coloca-nos quase em estado de choque. E por quê? Justamente porque vivenciamos a dor do artista em sua real intensidade, dividindo com ele as sensações em estado puro. Conexão direta. Fio desencapado.
Especialmente as ditas “terceira” e “quarta” manifestações artísticas são de uma crueza inquestionável. Tal como um cigarro sem filtro, um vinho de 14% ou mais. Por certo que consumo música e literatura, sem dúvida, mas sou dependente de pintura. Se meu anseio é por poesia, consumo Leonilson. Se minha necessidade é apaziguar meu espírito, consumo Volpi e sua cromoterapia com claros efeitos ansiolíticos. Para mim, suas harmonias nirvânicas funcionam mais que uma dose de destilado no fim do dia. Afetam, em frações de segundo, áreas do meu cérebro, controlando minha ansiedad e. Já outros pintores, como José Antonio da Silva por exemplo, mudam meu o estado de alerta, como cafeína. 
É bom lembrar que somos humanos, que nos emocionar é da nossa natureza. Não o contrário.
Por fim, a terceira perna do tripé. O elo de ligação entre as duas pernas de sustentação anteriores.
As carreiras jurídicas são todas pautadas nas relações humanas e seus dramas. Enquanto houver humanidade, existirão conflitos. Os operadores do direito penal ou de varas de família, por excelências, defrontam-se diariamente com as mazelas humanas mais profundas. Atos e respectiva motivação. Ciúmes, ganância, preconceito, xenofobia. Crimes, vítimas, dor, sofrimento, miséria.
Queira-se ou não, não há grandes diferenças entre uma “audiência” (criminal ou de família) e uma mostra cultural. Afinal de contas, não é exatamente isto que a arte, como mero veículo, esfrega nas nossas caras? Quem não se emociona diante da verdadeira pureza de um “Marcelino pão e vinho” ou, na outra extremidade do espectro, diante da pequenez e sordidez das personagens de Pedro Almodóvar?
Ninguém nunca parou para se perguntar a razão de tantos filmes de sucesso, cujo tema central são crimes e julgamentos? Quem não conhece a interpretação magistral de Henry Fonda em “Doze homens e uma sentença”?
Tudo aumenta o meu repertório de experiências. Não me interessa se o drama humano (conteúdo) chegou ao meu conhecimento por meu hemisfério direito ou pelo esquerdo. No mínimo, todas as emoções e experiências que compartilho, irão aumentar minha “massa muscular” enquanto profissional do direito, compreendendo melhor a complexidade humana.

sábado, 11 de março de 2017

BOOKS 1/2017


Books 1/2017


Matsuo Bashō

Centoundici Haiku

A cura di Peter Otiv Norton

Revisione poetica di Elena Pozzi

Editore La Vita Felice 



Piccolo Manoscritto nella Bisaccia

Cura di Lydia Origlia

Piccola Enciclopedia 

Numero 146

Edizione SE


Charles Bukowski

Una Donna sulla Strada 

Editore Ugo Guanda


Antonio Paolucci

La Capella Sistina

Edizione Musei Vaticani




Edizione bilingue 

Portuguese Italiano



Dario Fo

Quasi per caso una Donna

CRISTINA di Svezia  


Ugo Guanda Editore


Emilio Salgari 

Il Bramino dell Assam

Bemporad Editori


Giovanni Papini

Retratti Stranieri 


Vallecchi Editore


Jamile do Carmo 


Edizioni Mandala


Zygmunt Bauman 

Gli Usi Postmoderni del Sesso

Il Mulino Editore 


Antonio Tabucchi

Mulher de Porto Pim

Publicações Dom Quixote


Constantino Kavafis

Le Poesie

Traduzione di Nicola Crocetti