South Atlantic Modern Language Association

The Destruction of Realism in the Short Prose Fiction of João Guimaráes RosaAuthor(s): Allan EnglekirkReviewed work(s):Source: South Atlantic Review, Vol. 47, No. 1 (Jan., 1982), pp. 51-61Published by: South Atlantic Modern Language AssociationStable URL: http://www.jstor.org/stable/3199610 .Accessed: 27/04/2012 14:09

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The Destruction of Realism in the Short Prose Fiction of

Joao Guimaraes Rosa ALLAN ENGLEKIRK

T COMPOSE prose fiction is to create a world-a structure that portrays fantasy or reality by describing or interpreting an outer, physically defined setting and/or an inner, spiritually de- fined ambient. It is one person's world, whose parameters are determined by an artist with a given purpose, or purposes, di- recting the process of creation. The outsider, or reader, may accept these parameters or establish different contours or dimensions for this structure, depending upon perceptive capabilities and per- spective. The end result is the evolution of a world that is many different worlds for many different readers, yet never nearly as complete or complex as life, for it is art, and art alone, that has been created.

The boundary separating the imaginary and the real in the novel and short story was generally well-delineated in the late nine- teenth century. The imitation of life in art, the primary objective of the Realist, was not a revolutionary doctrine. What made Realism so unique was the spirit, the quest for "truth," which motivated the artists who chose to approach art from this perspective.' Plot, characterization, language, and narrative technique in the Realist novel were all developed with the goal of objectivity as a funda- mental concern. Sentimental, idealistic, or fantastic distortion were generally eliminated by a writer dedicated to visualizing the exact appearance of character and ambience, for it was only through the most faithful portrayal of life that truth could be revealed. A "slice

The Destruction of Realism in the Short Prose Fiction of

Joao Guimaraes Rosa ALLAN ENGLEKIRK

T COMPOSE prose fiction is to create a world-a structure that portrays fantasy or reality by describing or interpreting an outer, physically defined setting and/or an inner, spiritually de- fined ambient. It is one person's world, whose parameters are determined by an artist with a given purpose, or purposes, di- recting the process of creation. The outsider, or reader, may accept these parameters or establish different contours or dimensions for this structure, depending upon perceptive capabilities and per- spective. The end result is the evolution of a world that is many different worlds for many different readers, yet never nearly as complete or complex as life, for it is art, and art alone, that has been created.

The boundary separating the imaginary and the real in the novel and short story was generally well-delineated in the late nine- teenth century. The imitation of life in art, the primary objective of the Realist, was not a revolutionary doctrine. What made Realism so unique was the spirit, the quest for "truth," which motivated the artists who chose to approach art from this perspective.' Plot, characterization, language, and narrative technique in the Realist novel were all developed with the goal of objectivity as a funda- mental concern. Sentimental, idealistic, or fantastic distortion were generally eliminated by a writer dedicated to visualizing the exact appearance of character and ambience, for it was only through the most faithful portrayal of life that truth could be revealed. A "slice

The Destruction of Realism in the Short Prose Fiction of

Joao Guimaraes Rosa ALLAN ENGLEKIRK

T COMPOSE prose fiction is to create a world-a structure that portrays fantasy or reality by describing or interpreting an outer, physically defined setting and/or an inner, spiritually de- fined ambient. It is one person's world, whose parameters are determined by an artist with a given purpose, or purposes, di- recting the process of creation. The outsider, or reader, may accept these parameters or establish different contours or dimensions for this structure, depending upon perceptive capabilities and per- spective. The end result is the evolution of a world that is many different worlds for many different readers, yet never nearly as complete or complex as life, for it is art, and art alone, that has been created.

The boundary separating the imaginary and the real in the novel and short story was generally well-delineated in the late nine- teenth century. The imitation of life in art, the primary objective of the Realist, was not a revolutionary doctrine. What made Realism so unique was the spirit, the quest for "truth," which motivated the artists who chose to approach art from this perspective.' Plot, characterization, language, and narrative technique in the Realist novel were all developed with the goal of objectivity as a funda- mental concern. Sentimental, idealistic, or fantastic distortion were generally eliminated by a writer dedicated to visualizing the exact appearance of character and ambience, for it was only through the most faithful portrayal of life that truth could be revealed. A "slice

The Destruction of Realism in the Short Prose Fiction of

Joao Guimaraes Rosa ALLAN ENGLEKIRK

T COMPOSE prose fiction is to create a world-a structure that portrays fantasy or reality by describing or interpreting an outer, physically defined setting and/or an inner, spiritually de- fined ambient. It is one person's world, whose parameters are determined by an artist with a given purpose, or purposes, di- recting the process of creation. The outsider, or reader, may accept these parameters or establish different contours or dimensions for this structure, depending upon perceptive capabilities and per- spective. The end result is the evolution of a world that is many different worlds for many different readers, yet never nearly as complete or complex as life, for it is art, and art alone, that has been created.

The boundary separating the imaginary and the real in the novel and short story was generally well-delineated in the late nine- teenth century. The imitation of life in art, the primary objective of the Realist, was not a revolutionary doctrine. What made Realism so unique was the spirit, the quest for "truth," which motivated the artists who chose to approach art from this perspective.' Plot, characterization, language, and narrative technique in the Realist novel were all developed with the goal of objectivity as a funda- mental concern. Sentimental, idealistic, or fantastic distortion were generally eliminated by a writer dedicated to visualizing the exact appearance of character and ambience, for it was only through the most faithful portrayal of life that truth could be revealed. A "slice

The Destruction of Realism in the Short Prose Fiction of

Joao Guimaraes Rosa ALLAN ENGLEKIRK

T COMPOSE prose fiction is to create a world-a structure that portrays fantasy or reality by describing or interpreting an outer, physically defined setting and/or an inner, spiritually de- fined ambient. It is one person's world, whose parameters are determined by an artist with a given purpose, or purposes, di- recting the process of creation. The outsider, or reader, may accept these parameters or establish different contours or dimensions for this structure, depending upon perceptive capabilities and per- spective. The end result is the evolution of a world that is many different worlds for many different readers, yet never nearly as complete or complex as life, for it is art, and art alone, that has been created.

The boundary separating the imaginary and the real in the novel and short story was generally well-delineated in the late nine- teenth century. The imitation of life in art, the primary objective of the Realist, was not a revolutionary doctrine. What made Realism so unique was the spirit, the quest for "truth," which motivated the artists who chose to approach art from this perspective.' Plot, characterization, language, and narrative technique in the Realist novel were all developed with the goal of objectivity as a funda- mental concern. Sentimental, idealistic, or fantastic distortion were generally eliminated by a writer dedicated to visualizing the exact appearance of character and ambience, for it was only through the most faithful portrayal of life that truth could be revealed. A "slice

Allan Englekirk Allan Englekirk Allan Englekirk Allan Englekirk Allan Englekirk

of life" was exposed to the reader, and the indiscriminate eye of a narrator attempted to present as thorough a portrait of life as had supposedly ever been depicted by art.

As the twentieth century progressed, however, the artist began to question the meaning of reality, whether it was possible for art to capture it, and whether this goal should be the primary concern of the artist. The line between the fantastic and the real became imperceptible in many works of prose fiction as writers were less preoccupied with reflecting mere surface reality and more intent on creating, or suggesting, more profound or revolutionary images. Realism as it had come to be known in the pages of nineteenth-century fiction vanished into a fictional narrative in which recognizable objects, people, and situations were no longer necessary parts of the total construct. In the fictional world of

many contemporary novelists or short story writers, "realism" is now a term whose nature is determined by the subjective rendition or interpretation of life emerging from the intellect of an imagina- tive artist.

The fictional world created by Joao Guimaraes Rosa was quite unique to the pages of Brazilian literature. The immediate reaction to his first works of prose fiction was not unmitigated praise. Sagarana, Corpo de Baile, and especially Grande Sertao:Veredas were

intricately conceived structures which stood in striking contrast to most other works of fiction in Brazilian literature. The author's

perspective was quite often puzzling and unfamiliar. Even more

confusing was the "quase mania do pensamento sentencioso" of various narrators or protagonists and the preference of the author for employing a plurisignificant language replete with obscure

phrases and neologisms.2 Guimaraes Rosa's fiction suffered in the

eyes of many critics for failing to capture the world as it truly was but rather presenting "uma transcridao eminentemente literaria da realidade"-the implication being that the author placed far too little emphasis on what was said and far too much emphasis on how it was said.3

It was precisely because Guimaraes Rosa's works were such an

imaginative and artistic "literary transcription of reality," however, that they eventually attracted such national and international ac- claim. Well before his death in 1967, the significance of Guimaraes Rosa's contribution to Brazilian letters was recognized. For the German literary critic Gunter Lorenz, Guimaraes Rosa was the "fundador de una nueva orientacion literaria" in Brazil, thus

placing him "entre los autores mas importantes del siglo veinte."4

of life" was exposed to the reader, and the indiscriminate eye of a narrator attempted to present as thorough a portrait of life as had supposedly ever been depicted by art.

As the twentieth century progressed, however, the artist began to question the meaning of reality, whether it was possible for art to capture it, and whether this goal should be the primary concern of the artist. The line between the fantastic and the real became imperceptible in many works of prose fiction as writers were less preoccupied with reflecting mere surface reality and more intent on creating, or suggesting, more profound or revolutionary images. Realism as it had come to be known in the pages of nineteenth-century fiction vanished into a fictional narrative in which recognizable objects, people, and situations were no longer necessary parts of the total construct. In the fictional world of

many contemporary novelists or short story writers, "realism" is now a term whose nature is determined by the subjective rendition or interpretation of life emerging from the intellect of an imagina- tive artist.

The fictional world created by Joao Guimaraes Rosa was quite unique to the pages of Brazilian literature. The immediate reaction to his first works of prose fiction was not unmitigated praise. Sagarana, Corpo de Baile, and especially Grande Sertao:Veredas were

intricately conceived structures which stood in striking contrast to most other works of fiction in Brazilian literature. The author's

perspective was quite often puzzling and unfamiliar. Even more

confusing was the "quase mania do pensamento sentencioso" of various narrators or protagonists and the preference of the author for employing a plurisignificant language replete with obscure

phrases and neologisms.2 Guimaraes Rosa's fiction suffered in the

eyes of many critics for failing to capture the world as it truly was but rather presenting "uma transcridao eminentemente literaria da realidade"-the implication being that the author placed far too little emphasis on what was said and far too much emphasis on how it was said.3

It was precisely because Guimaraes Rosa's works were such an

imaginative and artistic "literary transcription of reality," however, that they eventually attracted such national and international ac- claim. Well before his death in 1967, the significance of Guimaraes Rosa's contribution to Brazilian letters was recognized. For the German literary critic Gunter Lorenz, Guimaraes Rosa was the "fundador de una nueva orientacion literaria" in Brazil, thus

placing him "entre los autores mas importantes del siglo veinte."4

of life" was exposed to the reader, and the indiscriminate eye of a narrator attempted to present as thorough a portrait of life as had supposedly ever been depicted by art.

As the twentieth century progressed, however, the artist began to question the meaning of reality, whether it was possible for art to capture it, and whether this goal should be the primary concern of the artist. The line between the fantastic and the real became imperceptible in many works of prose fiction as writers were less preoccupied with reflecting mere surface reality and more intent on creating, or suggesting, more profound or revolutionary images. Realism as it had come to be known in the pages of nineteenth-century fiction vanished into a fictional narrative in which recognizable objects, people, and situations were no longer necessary parts of the total construct. In the fictional world of

many contemporary novelists or short story writers, "realism" is now a term whose nature is determined by the subjective rendition or interpretation of life emerging from the intellect of an imagina- tive artist.

The fictional world created by Joao Guimaraes Rosa was quite unique to the pages of Brazilian literature. The immediate reaction to his first works of prose fiction was not unmitigated praise. Sagarana, Corpo de Baile, and especially Grande Sertao:Veredas were

intricately conceived structures which stood in striking contrast to most other works of fiction in Brazilian literature. The author's

perspective was quite often puzzling and unfamiliar. Even more

confusing was the "quase mania do pensamento sentencioso" of various narrators or protagonists and the preference of the author for employing a plurisignificant language replete with obscure

phrases and neologisms.2 Guimaraes Rosa's fiction suffered in the

eyes of many critics for failing to capture the world as it truly was but rather presenting "uma transcridao eminentemente literaria da realidade"-the implication being that the author placed far too little emphasis on what was said and far too much emphasis on how it was said.3

It was precisely because Guimaraes Rosa's works were such an

imaginative and artistic "literary transcription of reality," however, that they eventually attracted such national and international ac- claim. Well before his death in 1967, the significance of Guimaraes Rosa's contribution to Brazilian letters was recognized. For the German literary critic Gunter Lorenz, Guimaraes Rosa was the "fundador de una nueva orientacion literaria" in Brazil, thus

placing him "entre los autores mas importantes del siglo veinte."4

of life" was exposed to the reader, and the indiscriminate eye of a narrator attempted to present as thorough a portrait of life as had supposedly ever been depicted by art.

As the twentieth century progressed, however, the artist began to question the meaning of reality, whether it was possible for art to capture it, and whether this goal should be the primary concern of the artist. The line between the fantastic and the real became imperceptible in many works of prose fiction as writers were less preoccupied with reflecting mere surface reality and more intent on creating, or suggesting, more profound or revolutionary images. Realism as it had come to be known in the pages of nineteenth-century fiction vanished into a fictional narrative in which recognizable objects, people, and situations were no longer necessary parts of the total construct. In the fictional world of

many contemporary novelists or short story writers, "realism" is now a term whose nature is determined by the subjective rendition or interpretation of life emerging from the intellect of an imagina- tive artist.

The fictional world created by Joao Guimaraes Rosa was quite unique to the pages of Brazilian literature. The immediate reaction to his first works of prose fiction was not unmitigated praise. Sagarana, Corpo de Baile, and especially Grande Sertao:Veredas were

intricately conceived structures which stood in striking contrast to most other works of fiction in Brazilian literature. The author's

perspective was quite often puzzling and unfamiliar. Even more

confusing was the "quase mania do pensamento sentencioso" of various narrators or protagonists and the preference of the author for employing a plurisignificant language replete with obscure

phrases and neologisms.2 Guimaraes Rosa's fiction suffered in the

eyes of many critics for failing to capture the world as it truly was but rather presenting "uma transcridao eminentemente literaria da realidade"-the implication being that the author placed far too little emphasis on what was said and far too much emphasis on how it was said.3

It was precisely because Guimaraes Rosa's works were such an

imaginative and artistic "literary transcription of reality," however, that they eventually attracted such national and international ac- claim. Well before his death in 1967, the significance of Guimaraes Rosa's contribution to Brazilian letters was recognized. For the German literary critic Gunter Lorenz, Guimaraes Rosa was the "fundador de una nueva orientacion literaria" in Brazil, thus

placing him "entre los autores mas importantes del siglo veinte."4

of life" was exposed to the reader, and the indiscriminate eye of a narrator attempted to present as thorough a portrait of life as had supposedly ever been depicted by art.

As the twentieth century progressed, however, the artist began to question the meaning of reality, whether it was possible for art to capture it, and whether this goal should be the primary concern of the artist. The line between the fantastic and the real became imperceptible in many works of prose fiction as writers were less preoccupied with reflecting mere surface reality and more intent on creating, or suggesting, more profound or revolutionary images. Realism as it had come to be known in the pages of nineteenth-century fiction vanished into a fictional narrative in which recognizable objects, people, and situations were no longer necessary parts of the total construct. In the fictional world of

many contemporary novelists or short story writers, "realism" is now a term whose nature is determined by the subjective rendition or interpretation of life emerging from the intellect of an imagina- tive artist.

The fictional world created by Joao Guimaraes Rosa was quite unique to the pages of Brazilian literature. The immediate reaction to his first works of prose fiction was not unmitigated praise. Sagarana, Corpo de Baile, and especially Grande Sertao:Veredas were

intricately conceived structures which stood in striking contrast to most other works of fiction in Brazilian literature. The author's

perspective was quite often puzzling and unfamiliar. Even more

confusing was the "quase mania do pensamento sentencioso" of various narrators or protagonists and the preference of the author for employing a plurisignificant language replete with obscure

phrases and neologisms.2 Guimaraes Rosa's fiction suffered in the

eyes of many critics for failing to capture the world as it truly was but rather presenting "uma transcridao eminentemente literaria da realidade"-the implication being that the author placed far too little emphasis on what was said and far too much emphasis on how it was said.3

It was precisely because Guimaraes Rosa's works were such an

imaginative and artistic "literary transcription of reality," however, that they eventually attracted such national and international ac- claim. Well before his death in 1967, the significance of Guimaraes Rosa's contribution to Brazilian letters was recognized. For the German literary critic Gunter Lorenz, Guimaraes Rosa was the "fundador de una nueva orientacion literaria" in Brazil, thus

placing him "entre los autores mas importantes del siglo veinte."4

52 52 52 52 52

South Atlantic Review South Atlantic Review South Atlantic Review South Atlantic Review South Atlantic Review

According to Assis Brasil, "a nova ficgo brasileira" began with the narrative of this singular mineiro author.5 Luis Harss referred to Guimaraes Rosa's sole novel, Grande Sertdo:Veredas, as "una de las tres o cuatro novelas mas acabadas de la literatura latinoameri- cana,"6 and the Brazilian writer Augusto de Campos expressed a similar sentiment in stating "ninguem podera construir qualquer coisa em prosa brasileira, pretendendo ignorar o Grande Ser- tdo:Veredas."7 Guimaraes Rosa's influence on Brazilian letters was considered to be so pervasive by many critics as to warrant divid- ing twentieth-century national prose fiction into those works pub- lished before and after the publication of his fiction.

The purpose of this paper will be to characterize the nature of realism in Guimaraes Rosa's later works of prose fiction-namely in Primeiras Estorias and Tutameia. On a purely superficial level, Guimaraes Rosa's first works depict worlds vaguely reminiscent of those defined by Afonso Arinos, Mario Palmerio, and other writers of the regionalist tradition of Brazilian letters. A complex cultural phenomenon, regional literature in Brazil has ranged from idea- lized interpretations of picturesque rural scenes, to powerfully graphic visualizations of the confrontation between man and land, and Guimaraes Rosa's works are an important part and product of this tradition. There is, however, in his prose literature, an ap- parent progression away from the mimetic reproduction of verisi- milar characters and settings as the author destroys traditionally defined realism in many of his later works by transforming the nature of the fictional worlds in these narratives through his approach to characterization, plot, language, and narrative tech- nique. In concentrating on Primeiras Estorias and Tutameia, this paper will attempt to show how certain specific narratives of these works question the meaning of truth and reality and produce within their texts not so much an illusion, but more so the dissolu- tion of reality-being less a presentation of the concrete and particular and more a perusal of the abstract and theoretical.8

Most of the narratives of Primeiras Estorias and Tutameia evolve fictional worlds relatively similar to those in previous volumes of prose fiction. In an interview with Gunter Lorenz, Guimaraes Rosa acknowledged his profound ties to the sertdo of Brazil and asserted that a spiritual identification with this specific area of the country was one of the most important factors determining the content, and very often the theme of his works of prose fiction. In com- menting on the label given him by Lorenz-"o homem do ser- tao"-Guimaraes Rosa stated:

According to Assis Brasil, "a nova ficgo brasileira" began with the narrative of this singular mineiro author.5 Luis Harss referred to Guimaraes Rosa's sole novel, Grande Sertdo:Veredas, as "una de las tres o cuatro novelas mas acabadas de la literatura latinoameri- cana,"6 and the Brazilian writer Augusto de Campos expressed a similar sentiment in stating "ninguem podera construir qualquer coisa em prosa brasileira, pretendendo ignorar o Grande Ser- tdo:Veredas."7 Guimaraes Rosa's influence on Brazilian letters was considered to be so pervasive by many critics as to warrant divid- ing twentieth-century national prose fiction into those works pub- lished before and after the publication of his fiction.

The purpose of this paper will be to characterize the nature of realism in Guimaraes Rosa's later works of prose fiction-namely in Primeiras Estorias and Tutameia. On a purely superficial level, Guimaraes Rosa's first works depict worlds vaguely reminiscent of those defined by Afonso Arinos, Mario Palmerio, and other writers of the regionalist tradition of Brazilian letters. A complex cultural phenomenon, regional literature in Brazil has ranged from idea- lized interpretations of picturesque rural scenes, to powerfully graphic visualizations of the confrontation between man and land, and Guimaraes Rosa's works are an important part and product of this tradition. There is, however, in his prose literature, an ap- parent progression away from the mimetic reproduction of verisi- milar characters and settings as the author destroys traditionally defined realism in many of his later works by transforming the nature of the fictional worlds in these narratives through his approach to characterization, plot, language, and narrative tech- nique. In concentrating on Primeiras Estorias and Tutameia, this paper will attempt to show how certain specific narratives of these works question the meaning of truth and reality and produce within their texts not so much an illusion, but more so the dissolu- tion of reality-being less a presentation of the concrete and particular and more a perusal of the abstract and theoretical.8

Most of the narratives of Primeiras Estorias and Tutameia evolve fictional worlds relatively similar to those in previous volumes of prose fiction. In an interview with Gunter Lorenz, Guimaraes Rosa acknowledged his profound ties to the sertdo of Brazil and asserted that a spiritual identification with this specific area of the country was one of the most important factors determining the content, and very often the theme of his works of prose fiction. In com- menting on the label given him by Lorenz-"o homem do ser- tao"-Guimaraes Rosa stated:

According to Assis Brasil, "a nova ficgo brasileira" began with the narrative of this singular mineiro author.5 Luis Harss referred to Guimaraes Rosa's sole novel, Grande Sertdo:Veredas, as "una de las tres o cuatro novelas mas acabadas de la literatura latinoameri- cana,"6 and the Brazilian writer Augusto de Campos expressed a similar sentiment in stating "ninguem podera construir qualquer coisa em prosa brasileira, pretendendo ignorar o Grande Ser- tdo:Veredas."7 Guimaraes Rosa's influence on Brazilian letters was considered to be so pervasive by many critics as to warrant divid- ing twentieth-century national prose fiction into those works pub- lished before and after the publication of his fiction.

The purpose of this paper will be to characterize the nature of realism in Guimaraes Rosa's later works of prose fiction-namely in Primeiras Estorias and Tutameia. On a purely superficial level, Guimaraes Rosa's first works depict worlds vaguely reminiscent of those defined by Afonso Arinos, Mario Palmerio, and other writers of the regionalist tradition of Brazilian letters. A complex cultural phenomenon, regional literature in Brazil has ranged from idea- lized interpretations of picturesque rural scenes, to powerfully graphic visualizations of the confrontation between man and land, and Guimaraes Rosa's works are an important part and product of this tradition. There is, however, in his prose literature, an ap- parent progression away from the mimetic reproduction of verisi- milar characters and settings as the author destroys traditionally defined realism in many of his later works by transforming the nature of the fictional worlds in these narratives through his approach to characterization, plot, language, and narrative tech- nique. In concentrating on Primeiras Estorias and Tutameia, this paper will attempt to show how certain specific narratives of these works question the meaning of truth and reality and produce within their texts not so much an illusion, but more so the dissolu- tion of reality-being less a presentation of the concrete and particular and more a perusal of the abstract and theoretical.8

Most of the narratives of Primeiras Estorias and Tutameia evolve fictional worlds relatively similar to those in previous volumes of prose fiction. In an interview with Gunter Lorenz, Guimaraes Rosa acknowledged his profound ties to the sertdo of Brazil and asserted that a spiritual identification with this specific area of the country was one of the most important factors determining the content, and very often the theme of his works of prose fiction. In com- menting on the label given him by Lorenz-"o homem do ser- tao"-Guimaraes Rosa stated:

According to Assis Brasil, "a nova ficgo brasileira" began with the narrative of this singular mineiro author.5 Luis Harss referred to Guimaraes Rosa's sole novel, Grande Sertdo:Veredas, as "una de las tres o cuatro novelas mas acabadas de la literatura latinoameri- cana,"6 and the Brazilian writer Augusto de Campos expressed a similar sentiment in stating "ninguem podera construir qualquer coisa em prosa brasileira, pretendendo ignorar o Grande Ser- tdo:Veredas."7 Guimaraes Rosa's influence on Brazilian letters was considered to be so pervasive by many critics as to warrant divid- ing twentieth-century national prose fiction into those works pub- lished before and after the publication of his fiction.

The purpose of this paper will be to characterize the nature of realism in Guimaraes Rosa's later works of prose fiction-namely in Primeiras Estorias and Tutameia. On a purely superficial level, Guimaraes Rosa's first works depict worlds vaguely reminiscent of those defined by Afonso Arinos, Mario Palmerio, and other writers of the regionalist tradition of Brazilian letters. A complex cultural phenomenon, regional literature in Brazil has ranged from idea- lized interpretations of picturesque rural scenes, to powerfully graphic visualizations of the confrontation between man and land, and Guimaraes Rosa's works are an important part and product of this tradition. There is, however, in his prose literature, an ap- parent progression away from the mimetic reproduction of verisi- milar characters and settings as the author destroys traditionally defined realism in many of his later works by transforming the nature of the fictional worlds in these narratives through his approach to characterization, plot, language, and narrative tech- nique. In concentrating on Primeiras Estorias and Tutameia, this paper will attempt to show how certain specific narratives of these works question the meaning of truth and reality and produce within their texts not so much an illusion, but more so the dissolu- tion of reality-being less a presentation of the concrete and particular and more a perusal of the abstract and theoretical.8

Most of the narratives of Primeiras Estorias and Tutameia evolve fictional worlds relatively similar to those in previous volumes of prose fiction. In an interview with Gunter Lorenz, Guimaraes Rosa acknowledged his profound ties to the sertdo of Brazil and asserted that a spiritual identification with this specific area of the country was one of the most important factors determining the content, and very often the theme of his works of prose fiction. In com- menting on the label given him by Lorenz-"o homem do ser- tao"-Guimaraes Rosa stated:

According to Assis Brasil, "a nova ficgo brasileira" began with the narrative of this singular mineiro author.5 Luis Harss referred to Guimaraes Rosa's sole novel, Grande Sertdo:Veredas, as "una de las tres o cuatro novelas mas acabadas de la literatura latinoameri- cana,"6 and the Brazilian writer Augusto de Campos expressed a similar sentiment in stating "ninguem podera construir qualquer coisa em prosa brasileira, pretendendo ignorar o Grande Ser- tdo:Veredas."7 Guimaraes Rosa's influence on Brazilian letters was considered to be so pervasive by many critics as to warrant divid- ing twentieth-century national prose fiction into those works pub- lished before and after the publication of his fiction.

The purpose of this paper will be to characterize the nature of realism in Guimaraes Rosa's later works of prose fiction-namely in Primeiras Estorias and Tutameia. On a purely superficial level, Guimaraes Rosa's first works depict worlds vaguely reminiscent of those defined by Afonso Arinos, Mario Palmerio, and other writers of the regionalist tradition of Brazilian letters. A complex cultural phenomenon, regional literature in Brazil has ranged from idea- lized interpretations of picturesque rural scenes, to powerfully graphic visualizations of the confrontation between man and land, and Guimaraes Rosa's works are an important part and product of this tradition. There is, however, in his prose literature, an ap- parent progression away from the mimetic reproduction of verisi- milar characters and settings as the author destroys traditionally defined realism in many of his later works by transforming the nature of the fictional worlds in these narratives through his approach to characterization, plot, language, and narrative tech- nique. In concentrating on Primeiras Estorias and Tutameia, this paper will attempt to show how certain specific narratives of these works question the meaning of truth and reality and produce within their texts not so much an illusion, but more so the dissolu- tion of reality-being less a presentation of the concrete and particular and more a perusal of the abstract and theoretical.8

Most of the narratives of Primeiras Estorias and Tutameia evolve fictional worlds relatively similar to those in previous volumes of prose fiction. In an interview with Gunter Lorenz, Guimaraes Rosa acknowledged his profound ties to the sertdo of Brazil and asserted that a spiritual identification with this specific area of the country was one of the most important factors determining the content, and very often the theme of his works of prose fiction. In com- menting on the label given him by Lorenz-"o homem do ser- tao"-Guimaraes Rosa stated:

53 53 53 53 53

Allan Englekirk Allan Englekirk Allan Englekirk Allan Englekirk Allan Englekirk

Eu sou mesmo antes de tudo, este homem do sertao, e isto nao e somente uma constataqao biografica, mas tambem ... esta presente como ponto de partida mais do que qualquer outra coisa . o pequeno mundo do sertao ... e para mim o simbolo, diria mesmo o modelo de meu universo.9

Vaqueiros, jagungos, fazendeiros, gypsies, simple country folk, beg- gars, prostitutes, blindmen, street urchins, crazed people, reli- gious zealots, etc.-the full cast of regional characters evident in any of the author's previous works are still a prominent feature in the narratives of his final volumes. Typical conflicts identifiable with the regional setting, with regional literature in general, and with a vast majority of Guimaraes Rosa's previous works likewise propel action: conflicts of man versus man, triggered by love, hate, greed, vanity, jealousy; conflicts of man versus self, arising from individual anxieties caused by psychological or physical factors; and conflicts of man versus nature, resulting from the oftentimes powerless position of man in confronting a potentially perilous and

always unpredictable natural world. Expanding beyond the boun- daries of the Brazilian sertao, the narratives of Primeiras Estorias and Tutameia also reveal aspects of existence common to humanity in

general-in these volumes, to a far greater extent than in his

previous works. The illusion of reality presented in many of these tales transcends the immediate, being regional in detail and uni- versal in perspective.

Not all the narratives of Primeiras Estorias and Tutameia, however,

present thoroughly recognizable or credible worlds. In certain instances, events portrayed in a narrative are verisimilar, but the author makes them seem fantasy-like in nature. A young lady in "Arroio-das-Antas" in Tutameia is taken away from a depressing setting by a man on horseback. Both setting and action are plausi- ble, but the surprise ending is definitely designed by the author to erase the line between the imaginary and the real, for the man who saves the girl is portrayed as a chivalrous knight, appearing from nowhere on a swift and large horse to gallantly claim a pure maiden and take her off to live and love happily ever after:

E vinha de la um cavalo grande, na ponta de uma flecha-entrante a estrada. Em galope curto, o Mogo, que colheu redea, recaracolando, desmontou-se, desco-

Eu sou mesmo antes de tudo, este homem do sertao, e isto nao e somente uma constataqao biografica, mas tambem ... esta presente como ponto de partida mais do que qualquer outra coisa . o pequeno mundo do sertao ... e para mim o simbolo, diria mesmo o modelo de meu universo.9

Vaqueiros, jagungos, fazendeiros, gypsies, simple country folk, beg- gars, prostitutes, blindmen, street urchins, crazed people, reli- gious zealots, etc.-the full cast of regional characters evident in any of the author's previous works are still a prominent feature in the narratives of his final volumes. Typical conflicts identifiable with the regional setting, with regional literature in general, and with a vast majority of Guimaraes Rosa's previous works likewise propel action: conflicts of man versus man, triggered by love, hate, greed, vanity, jealousy; conflicts of man versus self, arising from individual anxieties caused by psychological or physical factors; and conflicts of man versus nature, resulting from the oftentimes powerless position of man in confronting a potentially perilous and

always unpredictable natural world. Expanding beyond the boun- daries of the Brazilian sertao, the narratives of Primeiras Estorias and Tutameia also reveal aspects of existence common to humanity in

general-in these volumes, to a far greater extent than in his

previous works. The illusion of reality presented in many of these tales transcends the immediate, being regional in detail and uni- versal in perspective.

Not all the narratives of Primeiras Estorias and Tutameia, however,

present thoroughly recognizable or credible worlds. In certain instances, events portrayed in a narrative are verisimilar, but the author makes them seem fantasy-like in nature. A young lady in "Arroio-das-Antas" in Tutameia is taken away from a depressing setting by a man on horseback. Both setting and action are plausi- ble, but the surprise ending is definitely designed by the author to erase the line between the imaginary and the real, for the man who saves the girl is portrayed as a chivalrous knight, appearing from nowhere on a swift and large horse to gallantly claim a pure maiden and take her off to live and love happily ever after:

E vinha de la um cavalo grande, na ponta de uma flecha-entrante a estrada. Em galope curto, o Mogo, que colheu redea, recaracolando, desmontou-se, desco-

Eu sou mesmo antes de tudo, este homem do sertao, e isto nao e somente uma constataqao biografica, mas tambem ... esta presente como ponto de partida mais do que qualquer outra coisa . o pequeno mundo do sertao ... e para mim o simbolo, diria mesmo o modelo de meu universo.9

Vaqueiros, jagungos, fazendeiros, gypsies, simple country folk, beg- gars, prostitutes, blindmen, street urchins, crazed people, reli- gious zealots, etc.-the full cast of regional characters evident in any of the author's previous works are still a prominent feature in the narratives of his final volumes. Typical conflicts identifiable with the regional setting, with regional literature in general, and with a vast majority of Guimaraes Rosa's previous works likewise propel action: conflicts of man versus man, triggered by love, hate, greed, vanity, jealousy; conflicts of man versus self, arising from individual anxieties caused by psychological or physical factors; and conflicts of man versus nature, resulting from the oftentimes powerless position of man in confronting a potentially perilous and

always unpredictable natural world. Expanding beyond the boun- daries of the Brazilian sertao, the narratives of Primeiras Estorias and Tutameia also reveal aspects of existence common to humanity in

general-in these volumes, to a far greater extent than in his

previous works. The illusion of reality presented in many of these tales transcends the immediate, being regional in detail and uni- versal in perspective.

Not all the narratives of Primeiras Estorias and Tutameia, however,

present thoroughly recognizable or credible worlds. In certain instances, events portrayed in a narrative are verisimilar, but the author makes them seem fantasy-like in nature. A young lady in "Arroio-das-Antas" in Tutameia is taken away from a depressing setting by a man on horseback. Both setting and action are plausi- ble, but the surprise ending is definitely designed by the author to erase the line between the imaginary and the real, for the man who saves the girl is portrayed as a chivalrous knight, appearing from nowhere on a swift and large horse to gallantly claim a pure maiden and take her off to live and love happily ever after:

E vinha de la um cavalo grande, na ponta de uma flecha-entrante a estrada. Em galope curto, o Mogo, que colheu redea, recaracolando, desmontou-se, desco-

Eu sou mesmo antes de tudo, este homem do sertao, e isto nao e somente uma constataqao biografica, mas tambem ... esta presente como ponto de partida mais do que qualquer outra coisa . o pequeno mundo do sertao ... e para mim o simbolo, diria mesmo o modelo de meu universo.9

Vaqueiros, jagungos, fazendeiros, gypsies, simple country folk, beg- gars, prostitutes, blindmen, street urchins, crazed people, reli- gious zealots, etc.-the full cast of regional characters evident in any of the author's previous works are still a prominent feature in the narratives of his final volumes. Typical conflicts identifiable with the regional setting, with regional literature in general, and with a vast majority of Guimaraes Rosa's previous works likewise propel action: conflicts of man versus man, triggered by love, hate, greed, vanity, jealousy; conflicts of man versus self, arising from individual anxieties caused by psychological or physical factors; and conflicts of man versus nature, resulting from the oftentimes powerless position of man in confronting a potentially perilous and

always unpredictable natural world. Expanding beyond the boun- daries of the Brazilian sertao, the narratives of Primeiras Estorias and Tutameia also reveal aspects of existence common to humanity in

general-in these volumes, to a far greater extent than in his

previous works. The illusion of reality presented in many of these tales transcends the immediate, being regional in detail and uni- versal in perspective.

Not all the narratives of Primeiras Estorias and Tutameia, however,

present thoroughly recognizable or credible worlds. In certain instances, events portrayed in a narrative are verisimilar, but the author makes them seem fantasy-like in nature. A young lady in "Arroio-das-Antas" in Tutameia is taken away from a depressing setting by a man on horseback. Both setting and action are plausi- ble, but the surprise ending is definitely designed by the author to erase the line between the imaginary and the real, for the man who saves the girl is portrayed as a chivalrous knight, appearing from nowhere on a swift and large horse to gallantly claim a pure maiden and take her off to live and love happily ever after:

E vinha de la um cavalo grande, na ponta de uma flecha-entrante a estrada. Em galope curto, o Mogo, que colheu redea, recaracolando, desmontou-se, desco-

Eu sou mesmo antes de tudo, este homem do sertao, e isto nao e somente uma constataqao biografica, mas tambem ... esta presente como ponto de partida mais do que qualquer outra coisa . o pequeno mundo do sertao ... e para mim o simbolo, diria mesmo o modelo de meu universo.9

Vaqueiros, jagungos, fazendeiros, gypsies, simple country folk, beg- gars, prostitutes, blindmen, street urchins, crazed people, reli- gious zealots, etc.-the full cast of regional characters evident in any of the author's previous works are still a prominent feature in the narratives of his final volumes. Typical conflicts identifiable with the regional setting, with regional literature in general, and with a vast majority of Guimaraes Rosa's previous works likewise propel action: conflicts of man versus man, triggered by love, hate, greed, vanity, jealousy; conflicts of man versus self, arising from individual anxieties caused by psychological or physical factors; and conflicts of man versus nature, resulting from the oftentimes powerless position of man in confronting a potentially perilous and

always unpredictable natural world. Expanding beyond the boun- daries of the Brazilian sertao, the narratives of Primeiras Estorias and Tutameia also reveal aspects of existence common to humanity in

general-in these volumes, to a far greater extent than in his

previous works. The illusion of reality presented in many of these tales transcends the immediate, being regional in detail and uni- versal in perspective.

Not all the narratives of Primeiras Estorias and Tutameia, however,

present thoroughly recognizable or credible worlds. In certain instances, events portrayed in a narrative are verisimilar, but the author makes them seem fantasy-like in nature. A young lady in "Arroio-das-Antas" in Tutameia is taken away from a depressing setting by a man on horseback. Both setting and action are plausi- ble, but the surprise ending is definitely designed by the author to erase the line between the imaginary and the real, for the man who saves the girl is portrayed as a chivalrous knight, appearing from nowhere on a swift and large horse to gallantly claim a pure maiden and take her off to live and love happily ever after:

E vinha de la um cavalo grande, na ponta de uma flecha-entrante a estrada. Em galope curto, o Mogo, que colheu redea, recaracolando, desmontou-se, desco-

54 54 54 54 54

South Atlantic Review South Atlantic Review South Atlantic Review South Atlantic Review South Atlantic Review

briu-se. Senhorizou-se: olhos de dar, de lado a mao feito a fazer caricia-sorria, dono. Nada; senao que a queria e amava, trespassava-se de sua vista a presenca. Ela per- cebeu-o puramente; levantou a beleza do rosto, reflor. Ia. E disse altinho um segredo: 'Sim.'10

With this ending, the illusion of reality is diminished by giving it an air of fantasy-a reality too perfect to be real.

In other narratives, the events themselves, rather than the manner in which they are portrayed by the author, lack verisimili- tude. At times, unlikely occurrences are purely symbolic-such being the case in "A Terceira Margem do Rio" in Primeiras Estorias, where a man decides to spend the remainder of his life in a canoe in the middle of a river. In other instances, fantasy overpowers reality, as occurs in "Seqiiencia" in Primeiras Estorias, where a cow with mystical powers leads an unexpecting lad a considerable distance to meet and immediately fall in love with his wife-to-be. Willi Bolle classifies "Seqiiencia," "Luas de Mel," and "Substan- cia" of Primeiras Estorias as "modernos contos de fadas," the first of the three labeled as such because a "magic helper"-the cow- plays an integral part in plot development and climax." Other narratives of the two volumes present a horse that drinks beer, a priest that momentarily becomes a pig, and "a very white boy," who, to the consternation of all in the story, disappears into thin air. In these tales, verisimilitude does not determine the coordi- nates for setting or action and, according to Paulo R6nai, "nao funcionam nem as leis da casualidade nem as da logica."12

Many narratives of Primeiras Estorias and Tutameia which could not be classified as fantasy possess protagonists who successfully construct their own imaginary worlds and live in them. Their perception of reality is quite distinct from the more "logical" or "rational" perspective of the characters who surround them and they are usually considered as laughing stock by these individuals. Jon Vincent labels the "irrational" protagonists of Primeiras Estorias and Tutameia as liminal beings, with liminality defined as "an ontological state in which the reflective threshold being is expected to develop new perceptions of the relationships in his world. . . . "13 The man in "A Terceira Margem do Rio" who determines to pass his life in the middle of the river symbolizes the stance of many such liminal figures whose actions are apparently irrational and certainly not verisimilar, but whose conviction to seek a third

briu-se. Senhorizou-se: olhos de dar, de lado a mao feito a fazer caricia-sorria, dono. Nada; senao que a queria e amava, trespassava-se de sua vista a presenca. Ela per- cebeu-o puramente; levantou a beleza do rosto, reflor. Ia. E disse altinho um segredo: 'Sim.'10

With this ending, the illusion of reality is diminished by giving it an air of fantasy-a reality too perfect to be real.

In other narratives, the events themselves, rather than the manner in which they are portrayed by the author, lack verisimili- tude. At times, unlikely occurrences are purely symbolic-such being the case in "A Terceira Margem do Rio" in Primeiras Estorias, where a man decides to spend the remainder of his life in a canoe in the middle of a river. In other instances, fantasy overpowers reality, as occurs in "Seqiiencia" in Primeiras Estorias, where a cow with mystical powers leads an unexpecting lad a considerable distance to meet and immediately fall in love with his wife-to-be. Willi Bolle classifies "Seqiiencia," "Luas de Mel," and "Substan- cia" of Primeiras Estorias as "modernos contos de fadas," the first of the three labeled as such because a "magic helper"-the cow- plays an integral part in plot development and climax." Other narratives of the two volumes present a horse that drinks beer, a priest that momentarily becomes a pig, and "a very white boy," who, to the consternation of all in the story, disappears into thin air. In these tales, verisimilitude does not determine the coordi- nates for setting or action and, according to Paulo R6nai, "nao funcionam nem as leis da casualidade nem as da logica."12

Many narratives of Primeiras Estorias and Tutameia which could not be classified as fantasy possess protagonists who successfully construct their own imaginary worlds and live in them. Their perception of reality is quite distinct from the more "logical" or "rational" perspective of the characters who surround them and they are usually considered as laughing stock by these individuals. Jon Vincent labels the "irrational" protagonists of Primeiras Estorias and Tutameia as liminal beings, with liminality defined as "an ontological state in which the reflective threshold being is expected to develop new perceptions of the relationships in his world. . . . "13 The man in "A Terceira Margem do Rio" who determines to pass his life in the middle of the river symbolizes the stance of many such liminal figures whose actions are apparently irrational and certainly not verisimilar, but whose conviction to seek a third

briu-se. Senhorizou-se: olhos de dar, de lado a mao feito a fazer caricia-sorria, dono. Nada; senao que a queria e amava, trespassava-se de sua vista a presenca. Ela per- cebeu-o puramente; levantou a beleza do rosto, reflor. Ia. E disse altinho um segredo: 'Sim.'10

With this ending, the illusion of reality is diminished by giving it an air of fantasy-a reality too perfect to be real.

In other narratives, the events themselves, rather than the manner in which they are portrayed by the author, lack verisimili- tude. At times, unlikely occurrences are purely symbolic-such being the case in "A Terceira Margem do Rio" in Primeiras Estorias, where a man decides to spend the remainder of his life in a canoe in the middle of a river. In other instances, fantasy overpowers reality, as occurs in "Seqiiencia" in Primeiras Estorias, where a cow with mystical powers leads an unexpecting lad a considerable distance to meet and immediately fall in love with his wife-to-be. Willi Bolle classifies "Seqiiencia," "Luas de Mel," and "Substan- cia" of Primeiras Estorias as "modernos contos de fadas," the first of the three labeled as such because a "magic helper"-the cow- plays an integral part in plot development and climax." Other narratives of the two volumes present a horse that drinks beer, a priest that momentarily becomes a pig, and "a very white boy," who, to the consternation of all in the story, disappears into thin air. In these tales, verisimilitude does not determine the coordi- nates for setting or action and, according to Paulo R6nai, "nao funcionam nem as leis da casualidade nem as da logica."12

Many narratives of Primeiras Estorias and Tutameia which could not be classified as fantasy possess protagonists who successfully construct their own imaginary worlds and live in them. Their perception of reality is quite distinct from the more "logical" or "rational" perspective of the characters who surround them and they are usually considered as laughing stock by these individuals. Jon Vincent labels the "irrational" protagonists of Primeiras Estorias and Tutameia as liminal beings, with liminality defined as "an ontological state in which the reflective threshold being is expected to develop new perceptions of the relationships in his world. . . . "13 The man in "A Terceira Margem do Rio" who determines to pass his life in the middle of the river symbolizes the stance of many such liminal figures whose actions are apparently irrational and certainly not verisimilar, but whose conviction to seek a third

briu-se. Senhorizou-se: olhos de dar, de lado a mao feito a fazer caricia-sorria, dono. Nada; senao que a queria e amava, trespassava-se de sua vista a presenca. Ela per- cebeu-o puramente; levantou a beleza do rosto, reflor. Ia. E disse altinho um segredo: 'Sim.'10

With this ending, the illusion of reality is diminished by giving it an air of fantasy-a reality too perfect to be real.

In other narratives, the events themselves, rather than the manner in which they are portrayed by the author, lack verisimili- tude. At times, unlikely occurrences are purely symbolic-such being the case in "A Terceira Margem do Rio" in Primeiras Estorias, where a man decides to spend the remainder of his life in a canoe in the middle of a river. In other instances, fantasy overpowers reality, as occurs in "Seqiiencia" in Primeiras Estorias, where a cow with mystical powers leads an unexpecting lad a considerable distance to meet and immediately fall in love with his wife-to-be. Willi Bolle classifies "Seqiiencia," "Luas de Mel," and "Substan- cia" of Primeiras Estorias as "modernos contos de fadas," the first of the three labeled as such because a "magic helper"-the cow- plays an integral part in plot development and climax." Other narratives of the two volumes present a horse that drinks beer, a priest that momentarily becomes a pig, and "a very white boy," who, to the consternation of all in the story, disappears into thin air. In these tales, verisimilitude does not determine the coordi- nates for setting or action and, according to Paulo R6nai, "nao funcionam nem as leis da casualidade nem as da logica."12

Many narratives of Primeiras Estorias and Tutameia which could not be classified as fantasy possess protagonists who successfully construct their own imaginary worlds and live in them. Their perception of reality is quite distinct from the more "logical" or "rational" perspective of the characters who surround them and they are usually considered as laughing stock by these individuals. Jon Vincent labels the "irrational" protagonists of Primeiras Estorias and Tutameia as liminal beings, with liminality defined as "an ontological state in which the reflective threshold being is expected to develop new perceptions of the relationships in his world. . . . "13 The man in "A Terceira Margem do Rio" who determines to pass his life in the middle of the river symbolizes the stance of many such liminal figures whose actions are apparently irrational and certainly not verisimilar, but whose conviction to seek a third

briu-se. Senhorizou-se: olhos de dar, de lado a mao feito a fazer caricia-sorria, dono. Nada; senao que a queria e amava, trespassava-se de sua vista a presenca. Ela per- cebeu-o puramente; levantou a beleza do rosto, reflor. Ia. E disse altinho um segredo: 'Sim.'10

With this ending, the illusion of reality is diminished by giving it an air of fantasy-a reality too perfect to be real.

In other narratives, the events themselves, rather than the manner in which they are portrayed by the author, lack verisimili- tude. At times, unlikely occurrences are purely symbolic-such being the case in "A Terceira Margem do Rio" in Primeiras Estorias, where a man decides to spend the remainder of his life in a canoe in the middle of a river. In other instances, fantasy overpowers reality, as occurs in "Seqiiencia" in Primeiras Estorias, where a cow with mystical powers leads an unexpecting lad a considerable distance to meet and immediately fall in love with his wife-to-be. Willi Bolle classifies "Seqiiencia," "Luas de Mel," and "Substan- cia" of Primeiras Estorias as "modernos contos de fadas," the first of the three labeled as such because a "magic helper"-the cow- plays an integral part in plot development and climax." Other narratives of the two volumes present a horse that drinks beer, a priest that momentarily becomes a pig, and "a very white boy," who, to the consternation of all in the story, disappears into thin air. In these tales, verisimilitude does not determine the coordi- nates for setting or action and, according to Paulo R6nai, "nao funcionam nem as leis da casualidade nem as da logica."12

Many narratives of Primeiras Estorias and Tutameia which could not be classified as fantasy possess protagonists who successfully construct their own imaginary worlds and live in them. Their perception of reality is quite distinct from the more "logical" or "rational" perspective of the characters who surround them and they are usually considered as laughing stock by these individuals. Jon Vincent labels the "irrational" protagonists of Primeiras Estorias and Tutameia as liminal beings, with liminality defined as "an ontological state in which the reflective threshold being is expected to develop new perceptions of the relationships in his world. . . . "13 The man in "A Terceira Margem do Rio" who determines to pass his life in the middle of the river symbolizes the stance of many such liminal figures whose actions are apparently irrational and certainly not verisimilar, but whose conviction to seek a third

55 55 55 55 55

Allan Englekirk Allan Englekirk Allan Englekirk Allan Englekirk Allan Englekirk

bank to the river-to define truth and reality other than the way it is defined by most-sets them aside as heroes in the narratives in which they appear.

Three consecutive tales in Tutameia-"Joao Porem, o Criador de Perus," "Grande Gedeao," and "Reminisqao"-likewise possess such liminal characters. The importance of these tales is high- lighted by the author in his setting them outside the alphabetical order according to title in which the other narratives are arranged. Appearing after "Intruge-se," the first letter of each of the three

separate titles spells J.G.R.-the author's initials. Each protagonist in these narratives rejects "reality." In "ReminisSao," for example, Romao, the shoemaker, falls in love with and marries a woman who is anything but attractive:

Divulgue-se a Dra: cor de folha seca escura, estafermiqa, abexigada, feia feito fritura queimada, ximbe-ximbeva; primeiro sinisga de magra, depois gorda de odre, sempre pr6pria a figura do feio fora-da-lei. Medonha e ma; nao enganava pela cara.14

Inexplicably, "Romao ... gostou dela, audaz descobridor ... pu- desse achar melhor neg6cio. Mas ele tinha em si uma certa mate- matica."'5 Despite her unattractiveness and unfaithfulness, Romao continues, seemingly blindly, to love Dra, though no one can understand why this is so until he is at the point of death. In his final hours, as Romao stares adoringly at his wife, for a fleeting moment, those people surrounding his bed see Dra as Romao has

undoubtedly envisioned her from the beginning:

Romao por derradeiro se soergueu, olhou e viu e sorriu, o sorriso mais verossimil. Os outros, otusos, imaginan- imes, com olhos emprestados viam tambem, pedacinho de instante: o esbocoso, vislumbranqa ou transparecen- cia, o aflato! Da Dra, num estalar de claridade, nela se assumia toda a luminosidade, alva belissima... 16

In almost all the stories with liminal figures, the world surround-

ing these figures is life-like and verisimilar, yet the validity of truth or reality as presented in these worlds is brought into question when the author suggests the existence of other levels of reality and champions the cause of those characters able to penetrate to those levels.

bank to the river-to define truth and reality other than the way it is defined by most-sets them aside as heroes in the narratives in which they appear.

Three consecutive tales in Tutameia-"Joao Porem, o Criador de Perus," "Grande Gedeao," and "Reminisqao"-likewise possess such liminal characters. The importance of these tales is high- lighted by the author in his setting them outside the alphabetical order according to title in which the other narratives are arranged. Appearing after "Intruge-se," the first letter of each of the three

separate titles spells J.G.R.-the author's initials. Each protagonist in these narratives rejects "reality." In "ReminisSao," for example, Romao, the shoemaker, falls in love with and marries a woman who is anything but attractive:

Divulgue-se a Dra: cor de folha seca escura, estafermiqa, abexigada, feia feito fritura queimada, ximbe-ximbeva; primeiro sinisga de magra, depois gorda de odre, sempre pr6pria a figura do feio fora-da-lei. Medonha e ma; nao enganava pela cara.14

Inexplicably, "Romao ... gostou dela, audaz descobridor ... pu- desse achar melhor neg6cio. Mas ele tinha em si uma certa mate- matica."'5 Despite her unattractiveness and unfaithfulness, Romao continues, seemingly blindly, to love Dra, though no one can understand why this is so until he is at the point of death. In his final hours, as Romao stares adoringly at his wife, for a fleeting moment, those people surrounding his bed see Dra as Romao has

undoubtedly envisioned her from the beginning:

Romao por derradeiro se soergueu, olhou e viu e sorriu, o sorriso mais verossimil. Os outros, otusos, imaginan- imes, com olhos emprestados viam tambem, pedacinho de instante: o esbocoso, vislumbranqa ou transparecen- cia, o aflato! Da Dra, num estalar de claridade, nela se assumia toda a luminosidade, alva belissima... 16

In almost all the stories with liminal figures, the world surround-

ing these figures is life-like and verisimilar, yet the validity of truth or reality as presented in these worlds is brought into question when the author suggests the existence of other levels of reality and champions the cause of those characters able to penetrate to those levels.

bank to the river-to define truth and reality other than the way it is defined by most-sets them aside as heroes in the narratives in which they appear.

Three consecutive tales in Tutameia-"Joao Porem, o Criador de Perus," "Grande Gedeao," and "Reminisqao"-likewise possess such liminal characters. The importance of these tales is high- lighted by the author in his setting them outside the alphabetical order according to title in which the other narratives are arranged. Appearing after "Intruge-se," the first letter of each of the three

separate titles spells J.G.R.-the author's initials. Each protagonist in these narratives rejects "reality." In "ReminisSao," for example, Romao, the shoemaker, falls in love with and marries a woman who is anything but attractive:

Divulgue-se a Dra: cor de folha seca escura, estafermiqa, abexigada, feia feito fritura queimada, ximbe-ximbeva; primeiro sinisga de magra, depois gorda de odre, sempre pr6pria a figura do feio fora-da-lei. Medonha e ma; nao enganava pela cara.14

Inexplicably, "Romao ... gostou dela, audaz descobridor ... pu- desse achar melhor neg6cio. Mas ele tinha em si uma certa mate- matica."'5 Despite her unattractiveness and unfaithfulness, Romao continues, seemingly blindly, to love Dra, though no one can understand why this is so until he is at the point of death. In his final hours, as Romao stares adoringly at his wife, for a fleeting moment, those people surrounding his bed see Dra as Romao has

undoubtedly envisioned her from the beginning:

Romao por derradeiro se soergueu, olhou e viu e sorriu, o sorriso mais verossimil. Os outros, otusos, imaginan- imes, com olhos emprestados viam tambem, pedacinho de instante: o esbocoso, vislumbranqa ou transparecen- cia, o aflato! Da Dra, num estalar de claridade, nela se assumia toda a luminosidade, alva belissima... 16

In almost all the stories with liminal figures, the world surround-

ing these figures is life-like and verisimilar, yet the validity of truth or reality as presented in these worlds is brought into question when the author suggests the existence of other levels of reality and champions the cause of those characters able to penetrate to those levels.

bank to the river-to define truth and reality other than the way it is defined by most-sets them aside as heroes in the narratives in which they appear.

Three consecutive tales in Tutameia-"Joao Porem, o Criador de Perus," "Grande Gedeao," and "Reminisqao"-likewise possess such liminal characters. The importance of these tales is high- lighted by the author in his setting them outside the alphabetical order according to title in which the other narratives are arranged. Appearing after "Intruge-se," the first letter of each of the three

separate titles spells J.G.R.-the author's initials. Each protagonist in these narratives rejects "reality." In "ReminisSao," for example, Romao, the shoemaker, falls in love with and marries a woman who is anything but attractive:

Divulgue-se a Dra: cor de folha seca escura, estafermiqa, abexigada, feia feito fritura queimada, ximbe-ximbeva; primeiro sinisga de magra, depois gorda de odre, sempre pr6pria a figura do feio fora-da-lei. Medonha e ma; nao enganava pela cara.14

Inexplicably, "Romao ... gostou dela, audaz descobridor ... pu- desse achar melhor neg6cio. Mas ele tinha em si uma certa mate- matica."'5 Despite her unattractiveness and unfaithfulness, Romao continues, seemingly blindly, to love Dra, though no one can understand why this is so until he is at the point of death. In his final hours, as Romao stares adoringly at his wife, for a fleeting moment, those people surrounding his bed see Dra as Romao has

undoubtedly envisioned her from the beginning:

Romao por derradeiro se soergueu, olhou e viu e sorriu, o sorriso mais verossimil. Os outros, otusos, imaginan- imes, com olhos emprestados viam tambem, pedacinho de instante: o esbocoso, vislumbranqa ou transparecen- cia, o aflato! Da Dra, num estalar de claridade, nela se assumia toda a luminosidade, alva belissima... 16

In almost all the stories with liminal figures, the world surround-

ing these figures is life-like and verisimilar, yet the validity of truth or reality as presented in these worlds is brought into question when the author suggests the existence of other levels of reality and champions the cause of those characters able to penetrate to those levels.

bank to the river-to define truth and reality other than the way it is defined by most-sets them aside as heroes in the narratives in which they appear.

Three consecutive tales in Tutameia-"Joao Porem, o Criador de Perus," "Grande Gedeao," and "Reminisqao"-likewise possess such liminal characters. The importance of these tales is high- lighted by the author in his setting them outside the alphabetical order according to title in which the other narratives are arranged. Appearing after "Intruge-se," the first letter of each of the three

separate titles spells J.G.R.-the author's initials. Each protagonist in these narratives rejects "reality." In "ReminisSao," for example, Romao, the shoemaker, falls in love with and marries a woman who is anything but attractive:

Divulgue-se a Dra: cor de folha seca escura, estafermiqa, abexigada, feia feito fritura queimada, ximbe-ximbeva; primeiro sinisga de magra, depois gorda de odre, sempre pr6pria a figura do feio fora-da-lei. Medonha e ma; nao enganava pela cara.14

Inexplicably, "Romao ... gostou dela, audaz descobridor ... pu- desse achar melhor neg6cio. Mas ele tinha em si uma certa mate- matica."'5 Despite her unattractiveness and unfaithfulness, Romao continues, seemingly blindly, to love Dra, though no one can understand why this is so until he is at the point of death. In his final hours, as Romao stares adoringly at his wife, for a fleeting moment, those people surrounding his bed see Dra as Romao has

undoubtedly envisioned her from the beginning:

Romao por derradeiro se soergueu, olhou e viu e sorriu, o sorriso mais verossimil. Os outros, otusos, imaginan- imes, com olhos emprestados viam tambem, pedacinho de instante: o esbocoso, vislumbranqa ou transparecen- cia, o aflato! Da Dra, num estalar de claridade, nela se assumia toda a luminosidade, alva belissima... 16

In almost all the stories with liminal figures, the world surround-

ing these figures is life-like and verisimilar, yet the validity of truth or reality as presented in these worlds is brought into question when the author suggests the existence of other levels of reality and champions the cause of those characters able to penetrate to those levels.

56 56 56 56 56

South Atlantic Review South Atlantic Review South Atlantic Review South Atlantic Review South Atlantic Review

With each new work of fiction, the question of illusion versus reality for Guimaraes Rosa assumes increasing importance, becom- ing in Grande Sertdo:Veredas a preoccupation basic to the theme of the narrative. Riobaldo, the protagonist of this, the author's sole novel, is infinitely perplexed by the ambiguous nature of any "reality" perceived by man and constantly doubts his ability to distinguish, or the validity of his distinction, between truth and falsehood. He is concerned over the possibility of his being an unreliable narrator-a narrator whose perception of events might be overly influenced by his personal perspective and lead him to distort or interpret reality rather than re-create it as it occured. Many of the narratives of Primeiras Estorias and Tutameia call attention in similar fashion to the validity of "reality" as perceived by those telling the tales. "Antiperipleia," in Tutameia, narrated in first person, relates the incidents surrounding the death of a blind man as told by the dead man's former guide. The narrator suggests several possible alternatives to explain the death of the blind man, defending the veracity of his story and denying any involvement in the death, but the reader realizes the dubious value of this "real- ity" as it is proposed by Prudencinhano, the narrator, for it seems all too possible that truth is being obscured. The narrator's eyes are no longer indiscriminate in perspective, but instead see reality from a purely subjective position. The narration ends with the mystery of the blind man's death unresolved and the reader must decide which version of the death to accept as reality, if in fact, any version is a true representation of actual events.

Formal aspects of Guimaraes Rosa's later prose greatly affect the scope of vision or focus presented by the tales of these volumes- this being especially so in Tutameia. Published in the journal Pulso, none of the forty narratives of this volume exceed three pages in length, a limitation which forced the author to severely condense exposition, virtually eliminate dialogue, and reduce character de- velopment and description of scene to a minimum while emphasiz- ing the portrayal of action. The use of such techniques often results in an "abruptness" or "unpredictability" in certain narratives which produces a sense of incompleteness rather than synthesis.17 This sense of incompleteness is further induced by the tendency of the author to end many narratives without resolution of conflict. Events or actions critical to plot development are often left out, while tangential or insignificant actions are portrayed with unnec- essary attention given to detail. Other techniques such as the abundant use of abstract neologisms, convoluted syntax, and a

With each new work of fiction, the question of illusion versus reality for Guimaraes Rosa assumes increasing importance, becom- ing in Grande Sertdo:Veredas a preoccupation basic to the theme of the narrative. Riobaldo, the protagonist of this, the author's sole novel, is infinitely perplexed by the ambiguous nature of any "reality" perceived by man and constantly doubts his ability to distinguish, or the validity of his distinction, between truth and falsehood. He is concerned over the possibility of his being an unreliable narrator-a narrator whose perception of events might be overly influenced by his personal perspective and lead him to distort or interpret reality rather than re-create it as it occured. Many of the narratives of Primeiras Estorias and Tutameia call attention in similar fashion to the validity of "reality" as perceived by those telling the tales. "Antiperipleia," in Tutameia, narrated in first person, relates the incidents surrounding the death of a blind man as told by the dead man's former guide. The narrator suggests several possible alternatives to explain the death of the blind man, defending the veracity of his story and denying any involvement in the death, but the reader realizes the dubious value of this "real- ity" as it is proposed by Prudencinhano, the narrator, for it seems all too possible that truth is being obscured. The narrator's eyes are no longer indiscriminate in perspective, but instead see reality from a purely subjective position. The narration ends with the mystery of the blind man's death unresolved and the reader must decide which version of the death to accept as reality, if in fact, any version is a true representation of actual events.

Formal aspects of Guimaraes Rosa's later prose greatly affect the scope of vision or focus presented by the tales of these volumes- this being especially so in Tutameia. Published in the journal Pulso, none of the forty narratives of this volume exceed three pages in length, a limitation which forced the author to severely condense exposition, virtually eliminate dialogue, and reduce character de- velopment and description of scene to a minimum while emphasiz- ing the portrayal of action. The use of such techniques often results in an "abruptness" or "unpredictability" in certain narratives which produces a sense of incompleteness rather than synthesis.17 This sense of incompleteness is further induced by the tendency of the author to end many narratives without resolution of conflict. Events or actions critical to plot development are often left out, while tangential or insignificant actions are portrayed with unnec- essary attention given to detail. Other techniques such as the abundant use of abstract neologisms, convoluted syntax, and a

With each new work of fiction, the question of illusion versus reality for Guimaraes Rosa assumes increasing importance, becom- ing in Grande Sertdo:Veredas a preoccupation basic to the theme of the narrative. Riobaldo, the protagonist of this, the author's sole novel, is infinitely perplexed by the ambiguous nature of any "reality" perceived by man and constantly doubts his ability to distinguish, or the validity of his distinction, between truth and falsehood. He is concerned over the possibility of his being an unreliable narrator-a narrator whose perception of events might be overly influenced by his personal perspective and lead him to distort or interpret reality rather than re-create it as it occured. Many of the narratives of Primeiras Estorias and Tutameia call attention in similar fashion to the validity of "reality" as perceived by those telling the tales. "Antiperipleia," in Tutameia, narrated in first person, relates the incidents surrounding the death of a blind man as told by the dead man's former guide. The narrator suggests several possible alternatives to explain the death of the blind man, defending the veracity of his story and denying any involvement in the death, but the reader realizes the dubious value of this "real- ity" as it is proposed by Prudencinhano, the narrator, for it seems all too possible that truth is being obscured. The narrator's eyes are no longer indiscriminate in perspective, but instead see reality from a purely subjective position. The narration ends with the mystery of the blind man's death unresolved and the reader must decide which version of the death to accept as reality, if in fact, any version is a true representation of actual events.

Formal aspects of Guimaraes Rosa's later prose greatly affect the scope of vision or focus presented by the tales of these volumes- this being especially so in Tutameia. Published in the journal Pulso, none of the forty narratives of this volume exceed three pages in length, a limitation which forced the author to severely condense exposition, virtually eliminate dialogue, and reduce character de- velopment and description of scene to a minimum while emphasiz- ing the portrayal of action. The use of such techniques often results in an "abruptness" or "unpredictability" in certain narratives which produces a sense of incompleteness rather than synthesis.17 This sense of incompleteness is further induced by the tendency of the author to end many narratives without resolution of conflict. Events or actions critical to plot development are often left out, while tangential or insignificant actions are portrayed with unnec- essary attention given to detail. Other techniques such as the abundant use of abstract neologisms, convoluted syntax, and a

With each new work of fiction, the question of illusion versus reality for Guimaraes Rosa assumes increasing importance, becom- ing in Grande Sertdo:Veredas a preoccupation basic to the theme of the narrative. Riobaldo, the protagonist of this, the author's sole novel, is infinitely perplexed by the ambiguous nature of any "reality" perceived by man and constantly doubts his ability to distinguish, or the validity of his distinction, between truth and falsehood. He is concerned over the possibility of his being an unreliable narrator-a narrator whose perception of events might be overly influenced by his personal perspective and lead him to distort or interpret reality rather than re-create it as it occured. Many of the narratives of Primeiras Estorias and Tutameia call attention in similar fashion to the validity of "reality" as perceived by those telling the tales. "Antiperipleia," in Tutameia, narrated in first person, relates the incidents surrounding the death of a blind man as told by the dead man's former guide. The narrator suggests several possible alternatives to explain the death of the blind man, defending the veracity of his story and denying any involvement in the death, but the reader realizes the dubious value of this "real- ity" as it is proposed by Prudencinhano, the narrator, for it seems all too possible that truth is being obscured. The narrator's eyes are no longer indiscriminate in perspective, but instead see reality from a purely subjective position. The narration ends with the mystery of the blind man's death unresolved and the reader must decide which version of the death to accept as reality, if in fact, any version is a true representation of actual events.

Formal aspects of Guimaraes Rosa's later prose greatly affect the scope of vision or focus presented by the tales of these volumes- this being especially so in Tutameia. Published in the journal Pulso, none of the forty narratives of this volume exceed three pages in length, a limitation which forced the author to severely condense exposition, virtually eliminate dialogue, and reduce character de- velopment and description of scene to a minimum while emphasiz- ing the portrayal of action. The use of such techniques often results in an "abruptness" or "unpredictability" in certain narratives which produces a sense of incompleteness rather than synthesis.17 This sense of incompleteness is further induced by the tendency of the author to end many narratives without resolution of conflict. Events or actions critical to plot development are often left out, while tangential or insignificant actions are portrayed with unnec- essary attention given to detail. Other techniques such as the abundant use of abstract neologisms, convoluted syntax, and a

With each new work of fiction, the question of illusion versus reality for Guimaraes Rosa assumes increasing importance, becom- ing in Grande Sertdo:Veredas a preoccupation basic to the theme of the narrative. Riobaldo, the protagonist of this, the author's sole novel, is infinitely perplexed by the ambiguous nature of any "reality" perceived by man and constantly doubts his ability to distinguish, or the validity of his distinction, between truth and falsehood. He is concerned over the possibility of his being an unreliable narrator-a narrator whose perception of events might be overly influenced by his personal perspective and lead him to distort or interpret reality rather than re-create it as it occured. Many of the narratives of Primeiras Estorias and Tutameia call attention in similar fashion to the validity of "reality" as perceived by those telling the tales. "Antiperipleia," in Tutameia, narrated in first person, relates the incidents surrounding the death of a blind man as told by the dead man's former guide. The narrator suggests several possible alternatives to explain the death of the blind man, defending the veracity of his story and denying any involvement in the death, but the reader realizes the dubious value of this "real- ity" as it is proposed by Prudencinhano, the narrator, for it seems all too possible that truth is being obscured. The narrator's eyes are no longer indiscriminate in perspective, but instead see reality from a purely subjective position. The narration ends with the mystery of the blind man's death unresolved and the reader must decide which version of the death to accept as reality, if in fact, any version is a true representation of actual events.

Formal aspects of Guimaraes Rosa's later prose greatly affect the scope of vision or focus presented by the tales of these volumes- this being especially so in Tutameia. Published in the journal Pulso, none of the forty narratives of this volume exceed three pages in length, a limitation which forced the author to severely condense exposition, virtually eliminate dialogue, and reduce character de- velopment and description of scene to a minimum while emphasiz- ing the portrayal of action. The use of such techniques often results in an "abruptness" or "unpredictability" in certain narratives which produces a sense of incompleteness rather than synthesis.17 This sense of incompleteness is further induced by the tendency of the author to end many narratives without resolution of conflict. Events or actions critical to plot development are often left out, while tangential or insignificant actions are portrayed with unnec- essary attention given to detail. Other techniques such as the abundant use of abstract neologisms, convoluted syntax, and a

57 57 57 57 57

Allan Englekirk Allan Englekirk Allan Englekirk Allan Englekirk Allan Englekirk

high frequency of narration or dialogue terminating in suspended points further complicate or confuse the version or vision of life

emerging from these texts, with all the factors above-mentioned

producing a "reality" less than coherent and intentionally partial. In characterizing the narratives of Tutameia, Paulo R6nai states that

plot "e mais entremisturado que contado; o autor da a entender

que conhece toda a hist6ria a fundo, mas s6 libera dela uma parte. Suas senten,as carregavam-se de um sentido excedente pelo que nao diziam, num jogo de anacolutas, reticencias, e subenten- didos."'8

In comparing the prose of Euclides da Cunha to that of Gui- maraes Rosa, Antonio Candido notes a similar preoccupation with three basic elements-man, land, and struggle. How the authors

employ these elements is completely different, however, for "a atitude euclidiana e constatar para explicar, e a de Guimaraes Rosa, inventar para sugerir."19 Guimaraes Rosa's first works might be classified as works that generally attempted to "constatar para explicar," for, basically similar to most traditional realist writers, he demonstrated a strong desire to fashion a fictional world both similar to the regional world it was modeled on, yet representative of the universe which surrounded it. The fundamental objective was one of re-creation, and the implication was that, though the exact events portrayed in the narratives might never have oc-

curred, life, or reality, was very closely parallel to the image produced. The narratives published after Grande Sertdo:Veredas, however, evidence a new attitude by the author toward the rela-

tionship of life and art. Though many narratives are still re-crea- tions of verisimilar worlds, others are creations of new imaginative constructs. The author is no longer attempting to define life, or

"truth," or "reality," in specific terms in these prose selections, but, rather, imply through various narrative techniques and themes that reality and truth are far too complex to be captured in other than tentative and speculative terms, and that, furthermore, in any case, the objective of literature might not be so much to-as Antonio Candido has put it-"constatar para explicar" as "inven- tar para sugerir." The meaning of reality is questioned, and after

Riobaldo determines how deceptive its nature truly is, Guimaraes Rosa decides that his literature must seek new vistas from which to

posit the complexity of this concept-searching for reality within illusion rather than trying to differentiate categorically between the

two. Eneida Maria de Souza believes that Tutameia represents a "car-

nivalization of art"-with the author's literature no longer devoted

high frequency of narration or dialogue terminating in suspended points further complicate or confuse the version or vision of life

emerging from these texts, with all the factors above-mentioned

producing a "reality" less than coherent and intentionally partial. In characterizing the narratives of Tutameia, Paulo R6nai states that

plot "e mais entremisturado que contado; o autor da a entender

que conhece toda a hist6ria a fundo, mas s6 libera dela uma parte. Suas senten,as carregavam-se de um sentido excedente pelo que nao diziam, num jogo de anacolutas, reticencias, e subenten- didos."'8

In comparing the prose of Euclides da Cunha to that of Gui- maraes Rosa, Antonio Candido notes a similar preoccupation with three basic elements-man, land, and struggle. How the authors

employ these elements is completely different, however, for "a atitude euclidiana e constatar para explicar, e a de Guimaraes Rosa, inventar para sugerir."19 Guimaraes Rosa's first works might be classified as works that generally attempted to "constatar para explicar," for, basically similar to most traditional realist writers, he demonstrated a strong desire to fashion a fictional world both similar to the regional world it was modeled on, yet representative of the universe which surrounded it. The fundamental objective was one of re-creation, and the implication was that, though the exact events portrayed in the narratives might never have oc-

curred, life, or reality, was very closely parallel to the image produced. The narratives published after Grande Sertdo:Veredas, however, evidence a new attitude by the author toward the rela-

tionship of life and art. Though many narratives are still re-crea- tions of verisimilar worlds, others are creations of new imaginative constructs. The author is no longer attempting to define life, or

"truth," or "reality," in specific terms in these prose selections, but, rather, imply through various narrative techniques and themes that reality and truth are far too complex to be captured in other than tentative and speculative terms, and that, furthermore, in any case, the objective of literature might not be so much to-as Antonio Candido has put it-"constatar para explicar" as "inven- tar para sugerir." The meaning of reality is questioned, and after

Riobaldo determines how deceptive its nature truly is, Guimaraes Rosa decides that his literature must seek new vistas from which to

posit the complexity of this concept-searching for reality within illusion rather than trying to differentiate categorically between the

two. Eneida Maria de Souza believes that Tutameia represents a "car-

nivalization of art"-with the author's literature no longer devoted

high frequency of narration or dialogue terminating in suspended points further complicate or confuse the version or vision of life

emerging from these texts, with all the factors above-mentioned

producing a "reality" less than coherent and intentionally partial. In characterizing the narratives of Tutameia, Paulo R6nai states that

plot "e mais entremisturado que contado; o autor da a entender

que conhece toda a hist6ria a fundo, mas s6 libera dela uma parte. Suas senten,as carregavam-se de um sentido excedente pelo que nao diziam, num jogo de anacolutas, reticencias, e subenten- didos."'8

In comparing the prose of Euclides da Cunha to that of Gui- maraes Rosa, Antonio Candido notes a similar preoccupation with three basic elements-man, land, and struggle. How the authors

employ these elements is completely different, however, for "a atitude euclidiana e constatar para explicar, e a de Guimaraes Rosa, inventar para sugerir."19 Guimaraes Rosa's first works might be classified as works that generally attempted to "constatar para explicar," for, basically similar to most traditional realist writers, he demonstrated a strong desire to fashion a fictional world both similar to the regional world it was modeled on, yet representative of the universe which surrounded it. The fundamental objective was one of re-creation, and the implication was that, though the exact events portrayed in the narratives might never have oc-

curred, life, or reality, was very closely parallel to the image produced. The narratives published after Grande Sertdo:Veredas, however, evidence a new attitude by the author toward the rela-

tionship of life and art. Though many narratives are still re-crea- tions of verisimilar worlds, others are creations of new imaginative constructs. The author is no longer attempting to define life, or

"truth," or "reality," in specific terms in these prose selections, but, rather, imply through various narrative techniques and themes that reality and truth are far too complex to be captured in other than tentative and speculative terms, and that, furthermore, in any case, the objective of literature might not be so much to-as Antonio Candido has put it-"constatar para explicar" as "inven- tar para sugerir." The meaning of reality is questioned, and after

Riobaldo determines how deceptive its nature truly is, Guimaraes Rosa decides that his literature must seek new vistas from which to

posit the complexity of this concept-searching for reality within illusion rather than trying to differentiate categorically between the

two. Eneida Maria de Souza believes that Tutameia represents a "car-

nivalization of art"-with the author's literature no longer devoted

high frequency of narration or dialogue terminating in suspended points further complicate or confuse the version or vision of life

emerging from these texts, with all the factors above-mentioned

producing a "reality" less than coherent and intentionally partial. In characterizing the narratives of Tutameia, Paulo R6nai states that

plot "e mais entremisturado que contado; o autor da a entender

que conhece toda a hist6ria a fundo, mas s6 libera dela uma parte. Suas senten,as carregavam-se de um sentido excedente pelo que nao diziam, num jogo de anacolutas, reticencias, e subenten- didos."'8

In comparing the prose of Euclides da Cunha to that of Gui- maraes Rosa, Antonio Candido notes a similar preoccupation with three basic elements-man, land, and struggle. How the authors

employ these elements is completely different, however, for "a atitude euclidiana e constatar para explicar, e a de Guimaraes Rosa, inventar para sugerir."19 Guimaraes Rosa's first works might be classified as works that generally attempted to "constatar para explicar," for, basically similar to most traditional realist writers, he demonstrated a strong desire to fashion a fictional world both similar to the regional world it was modeled on, yet representative of the universe which surrounded it. The fundamental objective was one of re-creation, and the implication was that, though the exact events portrayed in the narratives might never have oc-

curred, life, or reality, was very closely parallel to the image produced. The narratives published after Grande Sertdo:Veredas, however, evidence a new attitude by the author toward the rela-

tionship of life and art. Though many narratives are still re-crea- tions of verisimilar worlds, others are creations of new imaginative constructs. The author is no longer attempting to define life, or

"truth," or "reality," in specific terms in these prose selections, but, rather, imply through various narrative techniques and themes that reality and truth are far too complex to be captured in other than tentative and speculative terms, and that, furthermore, in any case, the objective of literature might not be so much to-as Antonio Candido has put it-"constatar para explicar" as "inven- tar para sugerir." The meaning of reality is questioned, and after

Riobaldo determines how deceptive its nature truly is, Guimaraes Rosa decides that his literature must seek new vistas from which to

posit the complexity of this concept-searching for reality within illusion rather than trying to differentiate categorically between the

two. Eneida Maria de Souza believes that Tutameia represents a "car-

nivalization of art"-with the author's literature no longer devoted

high frequency of narration or dialogue terminating in suspended points further complicate or confuse the version or vision of life

emerging from these texts, with all the factors above-mentioned

producing a "reality" less than coherent and intentionally partial. In characterizing the narratives of Tutameia, Paulo R6nai states that

plot "e mais entremisturado que contado; o autor da a entender

que conhece toda a hist6ria a fundo, mas s6 libera dela uma parte. Suas senten,as carregavam-se de um sentido excedente pelo que nao diziam, num jogo de anacolutas, reticencias, e subenten- didos."'8

In comparing the prose of Euclides da Cunha to that of Gui- maraes Rosa, Antonio Candido notes a similar preoccupation with three basic elements-man, land, and struggle. How the authors

employ these elements is completely different, however, for "a atitude euclidiana e constatar para explicar, e a de Guimaraes Rosa, inventar para sugerir."19 Guimaraes Rosa's first works might be classified as works that generally attempted to "constatar para explicar," for, basically similar to most traditional realist writers, he demonstrated a strong desire to fashion a fictional world both similar to the regional world it was modeled on, yet representative of the universe which surrounded it. The fundamental objective was one of re-creation, and the implication was that, though the exact events portrayed in the narratives might never have oc-

curred, life, or reality, was very closely parallel to the image produced. The narratives published after Grande Sertdo:Veredas, however, evidence a new attitude by the author toward the rela-

tionship of life and art. Though many narratives are still re-crea- tions of verisimilar worlds, others are creations of new imaginative constructs. The author is no longer attempting to define life, or

"truth," or "reality," in specific terms in these prose selections, but, rather, imply through various narrative techniques and themes that reality and truth are far too complex to be captured in other than tentative and speculative terms, and that, furthermore, in any case, the objective of literature might not be so much to-as Antonio Candido has put it-"constatar para explicar" as "inven- tar para sugerir." The meaning of reality is questioned, and after

Riobaldo determines how deceptive its nature truly is, Guimaraes Rosa decides that his literature must seek new vistas from which to

posit the complexity of this concept-searching for reality within illusion rather than trying to differentiate categorically between the

two. Eneida Maria de Souza believes that Tutameia represents a "car-

nivalization of art"-with the author's literature no longer devoted

58 58 58 58 58

South Atlantic Review South Atlantic Review South Atlantic Review South Atlantic Review South Atlantic Review

to copying life or defining distinctions between opposites such as truth and falsehood, etc. To the contrary, in Tutameia, Guimaraes Rosa begins to mix opposities, and abolishes "distinctions between the sacred and the profane, the sublime and the insignifi- cant .. . "-producing a confused illusion of "reality" which is quite removed from the objective portrayal of life rendered by a traditional realist.20 In evolving such compact fictional worlds as those contained in Primeiras Estorias and Tutameia and intentionally weaving partial and incomplete narratives that either have no end or admit gaps in the depiction of character and event, the author leaves to the reader the task of completing these images and creating his or her own vision of reality.

It must be reaffirmed, in conclusion, that the tendency remains strong throughout the literary production of Guimaraes Rosa to evolve narratives that are intended to mirror life. In total, the author's literature spins a vast tapestry whose intricate patterns reflect a panoramic vision of existence on both particular and universal levels, repeatedly entering the realm of the metaphysical. Placed in opposition, or, perhaps better, complementing these narratives, is a set of tales whose texts do not produce a statement of "what reality is," but rather induce speculation on the question of "what is reality?" The prose fiction of Guimaraes Rosa leaves its readers in the middle of a "whirlwind"-with God and the devil, or illusion and reality figuratively spinning in confusion to the point of being indistinguishable one from the other.

University of South Carolina

NOTES

Joao Guimaraes Rosa (1908-1967) was born in Cordisburgo, Minas Gerais, Brazil. He was a doctor of medicine, a public servant, and a foreign diplomat. His obsession for learning diverse foreign languages led him to acquire a reading knowledge of fourteen tongues, and the expressive potential of language as a medium of communication was, for him, forever a most fascinating preoccupation. His first venture into creative writing-"Magma," a volume of poetry-won an award from the Brazilian Academy of Letters in 1937, but was never published. A second volume of stories, entitled "Contos," likewise won a literary award in 1938, but remained unpublished until 1946, when, after being substantially edited, it appeared under the title of Sagarana. Ten years later, the publication of Corpo de Baile and Grande Sertdo:Veredas attracted national and international attention. Two more volumes of short fiction were published before the author's death in 1967, these works being the subject of this paper. The author was inducted into the Brazilian Academy of Letters shortly before his passing.

The critical bibliography on Guimaraes Rosa is indeed extensive. There are several basic works, however, which might serve as sources for further reference on

to copying life or defining distinctions between opposites such as truth and falsehood, etc. To the contrary, in Tutameia, Guimaraes Rosa begins to mix opposities, and abolishes "distinctions between the sacred and the profane, the sublime and the insignifi- cant .. . "-producing a confused illusion of "reality" which is quite removed from the objective portrayal of life rendered by a traditional realist.20 In evolving such compact fictional worlds as those contained in Primeiras Estorias and Tutameia and intentionally weaving partial and incomplete narratives that either have no end or admit gaps in the depiction of character and event, the author leaves to the reader the task of completing these images and creating his or her own vision of reality.

It must be reaffirmed, in conclusion, that the tendency remains strong throughout the literary production of Guimaraes Rosa to evolve narratives that are intended to mirror life. In total, the author's literature spins a vast tapestry whose intricate patterns reflect a panoramic vision of existence on both particular and universal levels, repeatedly entering the realm of the metaphysical. Placed in opposition, or, perhaps better, complementing these narratives, is a set of tales whose texts do not produce a statement of "what reality is," but rather induce speculation on the question of "what is reality?" The prose fiction of Guimaraes Rosa leaves its readers in the middle of a "whirlwind"-with God and the devil, or illusion and reality figuratively spinning in confusion to the point of being indistinguishable one from the other.

University of South Carolina

NOTES

Joao Guimaraes Rosa (1908-1967) was born in Cordisburgo, Minas Gerais, Brazil. He was a doctor of medicine, a public servant, and a foreign diplomat. His obsession for learning diverse foreign languages led him to acquire a reading knowledge of fourteen tongues, and the expressive potential of language as a medium of communication was, for him, forever a most fascinating preoccupation. His first venture into creative writing-"Magma," a volume of poetry-won an award from the Brazilian Academy of Letters in 1937, but was never published. A second volume of stories, entitled "Contos," likewise won a literary award in 1938, but remained unpublished until 1946, when, after being substantially edited, it appeared under the title of Sagarana. Ten years later, the publication of Corpo de Baile and Grande Sertdo:Veredas attracted national and international attention. Two more volumes of short fiction were published before the author's death in 1967, these works being the subject of this paper. The author was inducted into the Brazilian Academy of Letters shortly before his passing.

The critical bibliography on Guimaraes Rosa is indeed extensive. There are several basic works, however, which might serve as sources for further reference on

to copying life or defining distinctions between opposites such as truth and falsehood, etc. To the contrary, in Tutameia, Guimaraes Rosa begins to mix opposities, and abolishes "distinctions between the sacred and the profane, the sublime and the insignifi- cant .. . "-producing a confused illusion of "reality" which is quite removed from the objective portrayal of life rendered by a traditional realist.20 In evolving such compact fictional worlds as those contained in Primeiras Estorias and Tutameia and intentionally weaving partial and incomplete narratives that either have no end or admit gaps in the depiction of character and event, the author leaves to the reader the task of completing these images and creating his or her own vision of reality.

It must be reaffirmed, in conclusion, that the tendency remains strong throughout the literary production of Guimaraes Rosa to evolve narratives that are intended to mirror life. In total, the author's literature spins a vast tapestry whose intricate patterns reflect a panoramic vision of existence on both particular and universal levels, repeatedly entering the realm of the metaphysical. Placed in opposition, or, perhaps better, complementing these narratives, is a set of tales whose texts do not produce a statement of "what reality is," but rather induce speculation on the question of "what is reality?" The prose fiction of Guimaraes Rosa leaves its readers in the middle of a "whirlwind"-with God and the devil, or illusion and reality figuratively spinning in confusion to the point of being indistinguishable one from the other.

University of South Carolina

NOTES

Joao Guimaraes Rosa (1908-1967) was born in Cordisburgo, Minas Gerais, Brazil. He was a doctor of medicine, a public servant, and a foreign diplomat. His obsession for learning diverse foreign languages led him to acquire a reading knowledge of fourteen tongues, and the expressive potential of language as a medium of communication was, for him, forever a most fascinating preoccupation. His first venture into creative writing-"Magma," a volume of poetry-won an award from the Brazilian Academy of Letters in 1937, but was never published. A second volume of stories, entitled "Contos," likewise won a literary award in 1938, but remained unpublished until 1946, when, after being substantially edited, it appeared under the title of Sagarana. Ten years later, the publication of Corpo de Baile and Grande Sertdo:Veredas attracted national and international attention. Two more volumes of short fiction were published before the author's death in 1967, these works being the subject of this paper. The author was inducted into the Brazilian Academy of Letters shortly before his passing.

The critical bibliography on Guimaraes Rosa is indeed extensive. There are several basic works, however, which might serve as sources for further reference on

to copying life or defining distinctions between opposites such as truth and falsehood, etc. To the contrary, in Tutameia, Guimaraes Rosa begins to mix opposities, and abolishes "distinctions between the sacred and the profane, the sublime and the insignifi- cant .. . "-producing a confused illusion of "reality" which is quite removed from the objective portrayal of life rendered by a traditional realist.20 In evolving such compact fictional worlds as those contained in Primeiras Estorias and Tutameia and intentionally weaving partial and incomplete narratives that either have no end or admit gaps in the depiction of character and event, the author leaves to the reader the task of completing these images and creating his or her own vision of reality.

It must be reaffirmed, in conclusion, that the tendency remains strong throughout the literary production of Guimaraes Rosa to evolve narratives that are intended to mirror life. In total, the author's literature spins a vast tapestry whose intricate patterns reflect a panoramic vision of existence on both particular and universal levels, repeatedly entering the realm of the metaphysical. Placed in opposition, or, perhaps better, complementing these narratives, is a set of tales whose texts do not produce a statement of "what reality is," but rather induce speculation on the question of "what is reality?" The prose fiction of Guimaraes Rosa leaves its readers in the middle of a "whirlwind"-with God and the devil, or illusion and reality figuratively spinning in confusion to the point of being indistinguishable one from the other.

University of South Carolina

NOTES

Joao Guimaraes Rosa (1908-1967) was born in Cordisburgo, Minas Gerais, Brazil. He was a doctor of medicine, a public servant, and a foreign diplomat. His obsession for learning diverse foreign languages led him to acquire a reading knowledge of fourteen tongues, and the expressive potential of language as a medium of communication was, for him, forever a most fascinating preoccupation. His first venture into creative writing-"Magma," a volume of poetry-won an award from the Brazilian Academy of Letters in 1937, but was never published. A second volume of stories, entitled "Contos," likewise won a literary award in 1938, but remained unpublished until 1946, when, after being substantially edited, it appeared under the title of Sagarana. Ten years later, the publication of Corpo de Baile and Grande Sertdo:Veredas attracted national and international attention. Two more volumes of short fiction were published before the author's death in 1967, these works being the subject of this paper. The author was inducted into the Brazilian Academy of Letters shortly before his passing.

The critical bibliography on Guimaraes Rosa is indeed extensive. There are several basic works, however, which might serve as sources for further reference on

to copying life or defining distinctions between opposites such as truth and falsehood, etc. To the contrary, in Tutameia, Guimaraes Rosa begins to mix opposities, and abolishes "distinctions between the sacred and the profane, the sublime and the insignifi- cant .. . "-producing a confused illusion of "reality" which is quite removed from the objective portrayal of life rendered by a traditional realist.20 In evolving such compact fictional worlds as those contained in Primeiras Estorias and Tutameia and intentionally weaving partial and incomplete narratives that either have no end or admit gaps in the depiction of character and event, the author leaves to the reader the task of completing these images and creating his or her own vision of reality.

It must be reaffirmed, in conclusion, that the tendency remains strong throughout the literary production of Guimaraes Rosa to evolve narratives that are intended to mirror life. In total, the author's literature spins a vast tapestry whose intricate patterns reflect a panoramic vision of existence on both particular and universal levels, repeatedly entering the realm of the metaphysical. Placed in opposition, or, perhaps better, complementing these narratives, is a set of tales whose texts do not produce a statement of "what reality is," but rather induce speculation on the question of "what is reality?" The prose fiction of Guimaraes Rosa leaves its readers in the middle of a "whirlwind"-with God and the devil, or illusion and reality figuratively spinning in confusion to the point of being indistinguishable one from the other.

University of South Carolina

NOTES

Joao Guimaraes Rosa (1908-1967) was born in Cordisburgo, Minas Gerais, Brazil. He was a doctor of medicine, a public servant, and a foreign diplomat. His obsession for learning diverse foreign languages led him to acquire a reading knowledge of fourteen tongues, and the expressive potential of language as a medium of communication was, for him, forever a most fascinating preoccupation. His first venture into creative writing-"Magma," a volume of poetry-won an award from the Brazilian Academy of Letters in 1937, but was never published. A second volume of stories, entitled "Contos," likewise won a literary award in 1938, but remained unpublished until 1946, when, after being substantially edited, it appeared under the title of Sagarana. Ten years later, the publication of Corpo de Baile and Grande Sertdo:Veredas attracted national and international attention. Two more volumes of short fiction were published before the author's death in 1967, these works being the subject of this paper. The author was inducted into the Brazilian Academy of Letters shortly before his passing.

The critical bibliography on Guimaraes Rosa is indeed extensive. There are several basic works, however, which might serve as sources for further reference on

59 59 59 59 59

Allan Englekirk Allan Englekirk Allan Englekirk Allan Englekirk Allan Englekirk

a general level on Guimaraes Rosa: (1) Jose Carlos Garbuglio, O Mundo Movente de Guimardes Rosa (Sao Paulo: Editora Atica, 1972). A comprehensive review of the ambiguous nature of "reality" in Grande Sertao: Veredas. Though the study focuses on the author's novel, it allows for a better understanding of all the author's literature. (2) Gunter Lorenz, Didlogo cor a America Latina (Sao Paulo: Editora Pedag6gica e Universitaria Ltda., 1973). By far the most informative interview granted by Guimaraes Rosa to any literary critic. A useful tool for relating the author to his work from diverse perspectives. (3) Franklin de Oliveira, "Joao Guimaraes Rosa," in A Literatura no Brasil, ed. Afranio Coutinho (Rio de Janeiro: Editorial Sul Americana, 1969). A good introductory study of thematic aspects of Guimaraes Rosa's works. (4) Jon Vincent, Jodo Guimardes Rosa (Boston: Twayne Publishers, 1978). Though condensed into 172 pages of text, including footnotes, this study of Guimaraes Rosa's fiction represents a scholarly effort of the first order. A broad, yet selectively-detailed analysis of each of the author's volumes of prose fiction.

'Erik Heller, "The Realistic Fallacy," in Documents of Modern Literary Realism, ed.

George J. Becker (Princeton: Princeton University Press, 1963), p. 596. 2Guilhermino Cesar, "No Mundo Moral do Riobaldo," Correio do Povo, 7 June,

1975, p. 67. A most thorough analysis of linguistic aspects of the prose fiction of Guimaraes Rosa is contained in Mary Lou Daniel's Jodo Guimardes Rosa: Travessia Literdria (Rio de Janeiro: Livraria Jose Olympio Editora, 1968)

3Wilson Martins, "Um Novo Valdomiro Silveira," Estado de Sao Paulo, 30 Aug. 1956, n.pag.

'Gunter Lorenz, Didlogo con America Latina (Santiago: Ediciones Universitarias de

Valpa:aiso, 1972), p. 336. SFrancisco de Assis Almeida Brasil, Jodo Guimardes Rosa (Rio de Janeiro: Organiza-

qao Sim6es, editora, 1969), p. 17. 6Luis Harss and Barbara Dohmann, Los Nuestros (Buenos Aires: Editorial Suda-

mericana, 1971), p. 446. 7Augusto de Campos, "Um Lance de 'des' do Grande Sertao," Revista do Livro, No.

12 (1958), p. 27. 8The term "est6ria," as employed by Guimaraes Rosa, suggests a distinct per-

spective on the relationship between life and art: "A est6ria nao quer ser hist6ria. A est6ria, em rigor, deve ser contra a hist6ria." (Tutameia, p. 30) The implication is clear, by the use of the term in the titles, that the tales of both Primeiras Est6rias and Tutameia (Terceiras Est6rias) represent more of a creation, as opposed to a re-creation, of life in literature.

9Gunter Lorenz, Didlogo cor a America Latina (Sao Paulo: Editora Pedag6gica e Universitaria Ltda., 1973), p. 321.

'OJoao Guimaraes Rosa, "Arroio-das-Antas," in Tutameia, (Rio de Janeiro: Livraria

Jos6 Olympio Editora, 1976), p. 19. "'Willi Bolle, F6rmula e Fdbula (Sao Paulo: Editora Perspectiva, 1973), p. 93. 12Paulo R6nai, "O Conto de Guimaraes Rosa," Correio do Povo, 17 Mar. 1973, p.

46. '3Jon Vincent, Jodo Guimaraes Rosa (Boston: Twayne Publishers, 1978), p. 169.

4Rosa, "Reminisaio," in Tutameia, p. 81. 5Rosa, "Reminisaio," in Tutameia, p. 81.

16Rosa, "Reminiscao," in Tutameia, p. 83. "Vincent, p. 120. 18R6nai, p. 46.

a general level on Guimaraes Rosa: (1) Jose Carlos Garbuglio, O Mundo Movente de Guimardes Rosa (Sao Paulo: Editora Atica, 1972). A comprehensive review of the ambiguous nature of "reality" in Grande Sertao: Veredas. Though the study focuses on the author's novel, it allows for a better understanding of all the author's literature. (2) Gunter Lorenz, Didlogo cor a America Latina (Sao Paulo: Editora Pedag6gica e Universitaria Ltda., 1973). By far the most informative interview granted by Guimaraes Rosa to any literary critic. A useful tool for relating the author to his work from diverse perspectives. (3) Franklin de Oliveira, "Joao Guimaraes Rosa," in A Literatura no Brasil, ed. Afranio Coutinho (Rio de Janeiro: Editorial Sul Americana, 1969). A good introductory study of thematic aspects of Guimaraes Rosa's works. (4) Jon Vincent, Jodo Guimardes Rosa (Boston: Twayne Publishers, 1978). Though condensed into 172 pages of text, including footnotes, this study of Guimaraes Rosa's fiction represents a scholarly effort of the first order. A broad, yet selectively-detailed analysis of each of the author's volumes of prose fiction.

'Erik Heller, "The Realistic Fallacy," in Documents of Modern Literary Realism, ed.

George J. Becker (Princeton: Princeton University Press, 1963), p. 596. 2Guilhermino Cesar, "No Mundo Moral do Riobaldo," Correio do Povo, 7 June,

1975, p. 67. A most thorough analysis of linguistic aspects of the prose fiction of Guimaraes Rosa is contained in Mary Lou Daniel's Jodo Guimardes Rosa: Travessia Literdria (Rio de Janeiro: Livraria Jose Olympio Editora, 1968)

3Wilson Martins, "Um Novo Valdomiro Silveira," Estado de Sao Paulo, 30 Aug. 1956, n.pag.

'Gunter Lorenz, Didlogo con America Latina (Santiago: Ediciones Universitarias de

Valpa:aiso, 1972), p. 336. SFrancisco de Assis Almeida Brasil, Jodo Guimardes Rosa (Rio de Janeiro: Organiza-

qao Sim6es, editora, 1969), p. 17. 6Luis Harss and Barbara Dohmann, Los Nuestros (Buenos Aires: Editorial Suda-

mericana, 1971), p. 446. 7Augusto de Campos, "Um Lance de 'des' do Grande Sertao," Revista do Livro, No.

12 (1958), p. 27. 8The term "est6ria," as employed by Guimaraes Rosa, suggests a distinct per-

spective on the relationship between life and art: "A est6ria nao quer ser hist6ria. A est6ria, em rigor, deve ser contra a hist6ria." (Tutameia, p. 30) The implication is clear, by the use of the term in the titles, that the tales of both Primeiras Est6rias and Tutameia (Terceiras Est6rias) represent more of a creation, as opposed to a re-creation, of life in literature.

9Gunter Lorenz, Didlogo cor a America Latina (Sao Paulo: Editora Pedag6gica e Universitaria Ltda., 1973), p. 321.

'OJoao Guimaraes Rosa, "Arroio-das-Antas," in Tutameia, (Rio de Janeiro: Livraria

Jos6 Olympio Editora, 1976), p. 19. "'Willi Bolle, F6rmula e Fdbula (Sao Paulo: Editora Perspectiva, 1973), p. 93. 12Paulo R6nai, "O Conto de Guimaraes Rosa," Correio do Povo, 17 Mar. 1973, p.

46. '3Jon Vincent, Jodo Guimaraes Rosa (Boston: Twayne Publishers, 1978), p. 169.

4Rosa, "Reminisaio," in Tutameia, p. 81. 5Rosa, "Reminisaio," in Tutameia, p. 81.

16Rosa, "Reminiscao," in Tutameia, p. 83. "Vincent, p. 120. 18R6nai, p. 46.

a general level on Guimaraes Rosa: (1) Jose Carlos Garbuglio, O Mundo Movente de Guimardes Rosa (Sao Paulo: Editora Atica, 1972). A comprehensive review of the ambiguous nature of "reality" in Grande Sertao: Veredas. Though the study focuses on the author's novel, it allows for a better understanding of all the author's literature. (2) Gunter Lorenz, Didlogo cor a America Latina (Sao Paulo: Editora Pedag6gica e Universitaria Ltda., 1973). By far the most informative interview granted by Guimaraes Rosa to any literary critic. A useful tool for relating the author to his work from diverse perspectives. (3) Franklin de Oliveira, "Joao Guimaraes Rosa," in A Literatura no Brasil, ed. Afranio Coutinho (Rio de Janeiro: Editorial Sul Americana, 1969). A good introductory study of thematic aspects of Guimaraes Rosa's works. (4) Jon Vincent, Jodo Guimardes Rosa (Boston: Twayne Publishers, 1978). Though condensed into 172 pages of text, including footnotes, this study of Guimaraes Rosa's fiction represents a scholarly effort of the first order. A broad, yet selectively-detailed analysis of each of the author's volumes of prose fiction.

'Erik Heller, "The Realistic Fallacy," in Documents of Modern Literary Realism, ed.

George J. Becker (Princeton: Princeton University Press, 1963), p. 596. 2Guilhermino Cesar, "No Mundo Moral do Riobaldo," Correio do Povo, 7 June,

1975, p. 67. A most thorough analysis of linguistic aspects of the prose fiction of Guimaraes Rosa is contained in Mary Lou Daniel's Jodo Guimardes Rosa: Travessia Literdria (Rio de Janeiro: Livraria Jose Olympio Editora, 1968)

3Wilson Martins, "Um Novo Valdomiro Silveira," Estado de Sao Paulo, 30 Aug. 1956, n.pag.

'Gunter Lorenz, Didlogo con America Latina (Santiago: Ediciones Universitarias de

Valpa:aiso, 1972), p. 336. SFrancisco de Assis Almeida Brasil, Jodo Guimardes Rosa (Rio de Janeiro: Organiza-

qao Sim6es, editora, 1969), p. 17. 6Luis Harss and Barbara Dohmann, Los Nuestros (Buenos Aires: Editorial Suda-

mericana, 1971), p. 446. 7Augusto de Campos, "Um Lance de 'des' do Grande Sertao," Revista do Livro, No.

12 (1958), p. 27. 8The term "est6ria," as employed by Guimaraes Rosa, suggests a distinct per-

spective on the relationship between life and art: "A est6ria nao quer ser hist6ria. A est6ria, em rigor, deve ser contra a hist6ria." (Tutameia, p. 30) The implication is clear, by the use of the term in the titles, that the tales of both Primeiras Est6rias and Tutameia (Terceiras Est6rias) represent more of a creation, as opposed to a re-creation, of life in literature.

9Gunter Lorenz, Didlogo cor a America Latina (Sao Paulo: Editora Pedag6gica e Universitaria Ltda., 1973), p. 321.

'OJoao Guimaraes Rosa, "Arroio-das-Antas," in Tutameia, (Rio de Janeiro: Livraria

Jos6 Olympio Editora, 1976), p. 19. "'Willi Bolle, F6rmula e Fdbula (Sao Paulo: Editora Perspectiva, 1973), p. 93. 12Paulo R6nai, "O Conto de Guimaraes Rosa," Correio do Povo, 17 Mar. 1973, p.

46. '3Jon Vincent, Jodo Guimaraes Rosa (Boston: Twayne Publishers, 1978), p. 169.

4Rosa, "Reminisaio," in Tutameia, p. 81. 5Rosa, "Reminisaio," in Tutameia, p. 81.

16Rosa, "Reminiscao," in Tutameia, p. 83. "Vincent, p. 120. 18R6nai, p. 46.

a general level on Guimaraes Rosa: (1) Jose Carlos Garbuglio, O Mundo Movente de Guimardes Rosa (Sao Paulo: Editora Atica, 1972). A comprehensive review of the ambiguous nature of "reality" in Grande Sertao: Veredas. Though the study focuses on the author's novel, it allows for a better understanding of all the author's literature. (2) Gunter Lorenz, Didlogo cor a America Latina (Sao Paulo: Editora Pedag6gica e Universitaria Ltda., 1973). By far the most informative interview granted by Guimaraes Rosa to any literary critic. A useful tool for relating the author to his work from diverse perspectives. (3) Franklin de Oliveira, "Joao Guimaraes Rosa," in A Literatura no Brasil, ed. Afranio Coutinho (Rio de Janeiro: Editorial Sul Americana, 1969). A good introductory study of thematic aspects of Guimaraes Rosa's works. (4) Jon Vincent, Jodo Guimardes Rosa (Boston: Twayne Publishers, 1978). Though condensed into 172 pages of text, including footnotes, this study of Guimaraes Rosa's fiction represents a scholarly effort of the first order. A broad, yet selectively-detailed analysis of each of the author's volumes of prose fiction.

'Erik Heller, "The Realistic Fallacy," in Documents of Modern Literary Realism, ed.

George J. Becker (Princeton: Princeton University Press, 1963), p. 596. 2Guilhermino Cesar, "No Mundo Moral do Riobaldo," Correio do Povo, 7 June,

1975, p. 67. A most thorough analysis of linguistic aspects of the prose fiction of Guimaraes Rosa is contained in Mary Lou Daniel's Jodo Guimardes Rosa: Travessia Literdria (Rio de Janeiro: Livraria Jose Olympio Editora, 1968)

3Wilson Martins, "Um Novo Valdomiro Silveira," Estado de Sao Paulo, 30 Aug. 1956, n.pag.

'Gunter Lorenz, Didlogo con America Latina (Santiago: Ediciones Universitarias de

Valpa:aiso, 1972), p. 336. SFrancisco de Assis Almeida Brasil, Jodo Guimardes Rosa (Rio de Janeiro: Organiza-

qao Sim6es, editora, 1969), p. 17. 6Luis Harss and Barbara Dohmann, Los Nuestros (Buenos Aires: Editorial Suda-

mericana, 1971), p. 446. 7Augusto de Campos, "Um Lance de 'des' do Grande Sertao," Revista do Livro, No.

12 (1958), p. 27. 8The term "est6ria," as employed by Guimaraes Rosa, suggests a distinct per-

spective on the relationship between life and art: "A est6ria nao quer ser hist6ria. A est6ria, em rigor, deve ser contra a hist6ria." (Tutameia, p. 30) The implication is clear, by the use of the term in the titles, that the tales of both Primeiras Est6rias and Tutameia (Terceiras Est6rias) represent more of a creation, as opposed to a re-creation, of life in literature.

9Gunter Lorenz, Didlogo cor a America Latina (Sao Paulo: Editora Pedag6gica e Universitaria Ltda., 1973), p. 321.

'OJoao Guimaraes Rosa, "Arroio-das-Antas," in Tutameia, (Rio de Janeiro: Livraria

Jos6 Olympio Editora, 1976), p. 19. "'Willi Bolle, F6rmula e Fdbula (Sao Paulo: Editora Perspectiva, 1973), p. 93. 12Paulo R6nai, "O Conto de Guimaraes Rosa," Correio do Povo, 17 Mar. 1973, p.

46. '3Jon Vincent, Jodo Guimaraes Rosa (Boston: Twayne Publishers, 1978), p. 169.

4Rosa, "Reminisaio," in Tutameia, p. 81. 5Rosa, "Reminisaio," in Tutameia, p. 81.

16Rosa, "Reminiscao," in Tutameia, p. 83. "Vincent, p. 120. 18R6nai, p. 46.

a general level on Guimaraes Rosa: (1) Jose Carlos Garbuglio, O Mundo Movente de Guimardes Rosa (Sao Paulo: Editora Atica, 1972). A comprehensive review of the ambiguous nature of "reality" in Grande Sertao: Veredas. Though the study focuses on the author's novel, it allows for a better understanding of all the author's literature. (2) Gunter Lorenz, Didlogo cor a America Latina (Sao Paulo: Editora Pedag6gica e Universitaria Ltda., 1973). By far the most informative interview granted by Guimaraes Rosa to any literary critic. A useful tool for relating the author to his work from diverse perspectives. (3) Franklin de Oliveira, "Joao Guimaraes Rosa," in A Literatura no Brasil, ed. Afranio Coutinho (Rio de Janeiro: Editorial Sul Americana, 1969). A good introductory study of thematic aspects of Guimaraes Rosa's works. (4) Jon Vincent, Jodo Guimardes Rosa (Boston: Twayne Publishers, 1978). Though condensed into 172 pages of text, including footnotes, this study of Guimaraes Rosa's fiction represents a scholarly effort of the first order. A broad, yet selectively-detailed analysis of each of the author's volumes of prose fiction.

'Erik Heller, "The Realistic Fallacy," in Documents of Modern Literary Realism, ed.

George J. Becker (Princeton: Princeton University Press, 1963), p. 596. 2Guilhermino Cesar, "No Mundo Moral do Riobaldo," Correio do Povo, 7 June,

1975, p. 67. A most thorough analysis of linguistic aspects of the prose fiction of Guimaraes Rosa is contained in Mary Lou Daniel's Jodo Guimardes Rosa: Travessia Literdria (Rio de Janeiro: Livraria Jose Olympio Editora, 1968)

3Wilson Martins, "Um Novo Valdomiro Silveira," Estado de Sao Paulo, 30 Aug. 1956, n.pag.

'Gunter Lorenz, Didlogo con America Latina (Santiago: Ediciones Universitarias de

Valpa:aiso, 1972), p. 336. SFrancisco de Assis Almeida Brasil, Jodo Guimardes Rosa (Rio de Janeiro: Organiza-

qao Sim6es, editora, 1969), p. 17. 6Luis Harss and Barbara Dohmann, Los Nuestros (Buenos Aires: Editorial Suda-

mericana, 1971), p. 446. 7Augusto de Campos, "Um Lance de 'des' do Grande Sertao," Revista do Livro, No.

12 (1958), p. 27. 8The term "est6ria," as employed by Guimaraes Rosa, suggests a distinct per-

spective on the relationship between life and art: "A est6ria nao quer ser hist6ria. A est6ria, em rigor, deve ser contra a hist6ria." (Tutameia, p. 30) The implication is clear, by the use of the term in the titles, that the tales of both Primeiras Est6rias and Tutameia (Terceiras Est6rias) represent more of a creation, as opposed to a re-creation, of life in literature.

9Gunter Lorenz, Didlogo cor a America Latina (Sao Paulo: Editora Pedag6gica e Universitaria Ltda., 1973), p. 321.

'OJoao Guimaraes Rosa, "Arroio-das-Antas," in Tutameia, (Rio de Janeiro: Livraria

Jos6 Olympio Editora, 1976), p. 19. "'Willi Bolle, F6rmula e Fdbula (Sao Paulo: Editora Perspectiva, 1973), p. 93. 12Paulo R6nai, "O Conto de Guimaraes Rosa," Correio do Povo, 17 Mar. 1973, p.

46. '3Jon Vincent, Jodo Guimaraes Rosa (Boston: Twayne Publishers, 1978), p. 169.

4Rosa, "Reminisaio," in Tutameia, p. 81. 5Rosa, "Reminisaio," in Tutameia, p. 81.

16Rosa, "Reminiscao," in Tutameia, p. 83. "Vincent, p. 120. 18R6nai, p. 46.

60 60 60 60 60

South Atlantic Review 61

g1Ant6nio Candido, "Guimaraes Rosa e seu Grande Sertdo:Veredas," Jornal do Brasil, 21 Nov. 1967, n pag.

20Eneida Maria de Souza, "Ficcao, Realidade e Humor em Tutameia," Suplemento Literdrio de Minas Gerais, 10 Aug. 1974, p. 9, quoted in Vincent, p. 170.

South Atlantic Review 61

g1Ant6nio Candido, "Guimaraes Rosa e seu Grande Sertdo:Veredas," Jornal do Brasil, 21 Nov. 1967, n pag.

20Eneida Maria de Souza, "Ficcao, Realidade e Humor em Tutameia," Suplemento Literdrio de Minas Gerais, 10 Aug. 1974, p. 9, quoted in Vincent, p. 170.

South Atlantic Review 61

g1Ant6nio Candido, "Guimaraes Rosa e seu Grande Sertdo:Veredas," Jornal do Brasil, 21 Nov. 1967, n pag.

20Eneida Maria de Souza, "Ficcao, Realidade e Humor em Tutameia," Suplemento Literdrio de Minas Gerais, 10 Aug. 1974, p. 9, quoted in Vincent, p. 170.

South Atlantic Review 61

g1Ant6nio Candido, "Guimaraes Rosa e seu Grande Sertdo:Veredas," Jornal do Brasil, 21 Nov. 1967, n pag.

20Eneida Maria de Souza, "Ficcao, Realidade e Humor em Tutameia," Suplemento Literdrio de Minas Gerais, 10 Aug. 1974, p. 9, quoted in Vincent, p. 170.

South Atlantic Review 61

g1Ant6nio Candido, "Guimaraes Rosa e seu Grande Sertdo:Veredas," Jornal do Brasil, 21 Nov. 1967, n pag.

20Eneida Maria de Souza, "Ficcao, Realidade e Humor em Tutameia," Suplemento Literdrio de Minas Gerais, 10 Aug. 1974, p. 9, quoted in Vincent, p. 170.