The dialogue, however, is incomplete, because the replies sent by M\u00e1rio to Oswald are not included in the edition. Possibly, the author of Manifesto antrop\u00f3fago<\/em> (\u201cThe Anthropophagic Manifesto\u201d) did not keep the correspondence that he received, unlike M\u00e1rio, who over the course of his life collected more than 7,000 letters from writers, artists, musicians, and intellectuals with whom he corresponded to 1945 \u2014 the year of his passing \u2014 now under the guardianship of the University of S\u00e3o Paulo\u2019s Brazilian Studies Institute (IEB-USP). The book in question is the eighth volume from the collection Correspond\u00eancia <\/em>(M\u00e1rio de Andrade correspondence) whose forthcoming releases are set to collate exchanges between the S\u00e3o Paulo native writer with politician Carlos Lacerda (1914\u20131977), anthropologist Arthur Ramos (1903\u20131949), and composer Luciano Gallet (1893\u20131931).<\/p>\n In an effort to fill the gaps and reconstruct the dialogue between M\u00e1rio and Oswald, the organizer of the volume, Dr. G\u00eanese Andrade, an expert in Oswaldian works and not blood-related to the writers, added copious footnotes to supplement the content of the letters. She consulted a variety of sources to this end, including correspondence between M\u00e1rio and others, such as painter Tarsila do Amaral (1886\u20131973), who was married to Oswald between 1926 and 1929. \u201cOswald\u2019s writing style is very synthetic, cryptic, and peppered with wordplay. The footnotes aim to contextualize what he writes in the correspondence, and shines a different light on the history of modernism,\u201d explains Andrade, literature professor at the Armando \u00c1lvares Penteado Foundation (FAAP) in S\u00e3o Paulo.<\/p>\n Reproduction from book Correspond\u00eancia M\u00e1rio de Andrade & Oswald de Andrade<\/em>\u2009\/\u2009M\u00e1rio de Andrade Archive, IEB-USP<\/span>Correspondence sent by Oswald in May 1928, while en route to Paris: \u201cCannibalism is a fact\u201dReproduction from book Correspond\u00eancia M\u00e1rio de Andrade & Oswald de Andrade<\/em>\u2009\/\u2009M\u00e1rio de Andrade Archive, IEB-USP<\/span><\/p><\/div>\n By way of example, the edition deciphers a letter sent from Paris in 1925, jointly signed by Oswald and writers Yan de Almeida Prado (1898\u20131987) and Se\u0301rgio Milliet (1898\u20131966). Playful in style, the manuscript mentions the characters dubbed \u201cDesgrac\u0327a Mosca,\u201d \u201cSanto Heitor Fura-Bolos,\u201d and \u201cSa\u0303o Villa-Buarque da Haya,\u201d references to writer Gra\u00e7a Aranha (1868\u20131931), classical composer Heitor Villa-Lobos (1887\u20131959), and historian Se\u0301rgio Buarque de Holanda (1902\u20131982), respectively. \u201cM\u00e1rio knew the historical importance of his correspondence, which provided an insight into the \u2018underground life\u2019 of the modernist movement,\u201d comments Marcos Antonio de Moraes, professor at IEB-USP and editorial coordinator of the collection, alongside independent researcher Tatiana Longo Figueiredo and Tele\u0302 Ancona Lopez, also an IEB-USP professor. \u201cThe letter was the means by which intellectuals informally discussed aesthetic, social, and political matters, using curse words and getting creative with the language. For M\u00e1rio de Andrade, these were \u2018pyjama letters,\u2019 as he registered in the Chronicle \u2018Amadeu Amaral\u2019 in 1939.\u201d<\/p>\n Originally penned on a variety of writing surfaces, such as ruled, colored, or silk paper with letterheads from hotels, restaurants, and shipping lines, the letters leave clues about the places Oswald passed through, and are reproduced in facsimile form in the book. Some include sketches and caricatures. \u201cThe correspondence is not the text alone. The dimensions, the type of paper used, and the whole material aspects of the letter suggest meanings, perceived by scholars,\u201d Moraes goes on.<\/p>\n According to critic Antonio Arnoni Prado (1943\u20132022), Oswald and M\u00e1rio, \u201ctwo opposite and complimentary souls of the modernist spirit,\u201d had a tumultuous friendship marked by conflicts of personality and mutual intellectual admiration. The relationship began in 1917, when the then young journalist Oswald was impressed with a speech given by M\u00e1rio at the S\u00e3o Paulo Drama and Music Conservatory. In 1921, influenced by the verses of Pauliceia desvairada <\/em>(Frantic S\u00e3o Paulo<\/em>), a book that would be released the following year, Oswald publicly praised M\u00e1rio in the article \u201cO meu poeta futurista\u201d (My futuristic poet), published in the Jornal do Commercio <\/em>(Trade Journal). Shortly thereafter, in 1922, both were active participants in Modern Art Week at the Sa\u0303o Paulo Municipal Theater. Their friendship, however, soon began to falter as their intellectual differences emerged.<\/p>\n \u201cIn 1924, M\u00e1rio diverged on certain points of Manifesto da poesia pau<\/em>–brasil <\/em>(Manifesto of Brazilwood Poetry<\/em>), published by Oswald in the newspaper Correio da Manh\u00e3<\/em>, due to its analytical view of Brazil, and for this reason he travels to the country\u2019s Northeast to research popular culture and analyze elements which, for him, were a constituent part of Brazilian culture. Oswald, on the other hand, was intuitive. He had a more immediate outlook on the national reality,\u201d observes Eduardo Jardim, a retired philosophy professor at the Pontifical Catholic University of Rio de Janeiro (PUC-RIO) and author of the biography Eu sou trezentos: M\u00e1rio de Andrade: Vida e obra <\/em>(I am three hundred: M\u00e1rio de Andrade: Life and work) (Edi\u00e7\u00f5es de Janeiro, 2015). According to Jardim, Oswald\u2019s letters to M\u00e1rio primarily illustrate the interest among modernists in making contacts with the European avant-garde. \u201cOswald wanted to get Brazil into the \u2018concerto of cultured nations,\u2019 which at that time he considered to be France,\u201d the researcher goes on.<\/p>\n In 1925, M\u00e1rio dedicated the book A escrava que na\u0303o e\u0301 Isaura<\/em> (The slave who is not Isaura) to Oswald, who sent thanks from Paris with a letter parodying his friend\u2019s style: \u201cIt was a commotion for me, your offring [sic<\/em>] your book to me,\u201d wrote the traveler. In this same period, the two created a poem between them, \u201cHomenagem aos homens que agem\u201d (Homage to men who act) (1927), signed by \u201cMarioswald,\u201d which would be part of an original-release book, Oswald\u00e1rio dos Andrades<\/em> (Oswaldary of the Andrades). The permanent break between the two came in 1929, for reasons not clear to date. In the hypothesis of researchers such as Aracy Amaral, M\u00e1rio is said to have been the target of a series of attacks and provocations in Revista de Antropofagia <\/em>(Anthropophagy journal) then in its second phase. One of these, the article \u201cMiss Macuna\u00edma,\u201d published in June of that year, alluded to his homosexuality, a taboo subject at the time.<\/p>\n \u201cOswald was a joker who at times used very malicious wordplay against his friend. The letters document his boyish, playful, sometimes cruel spirit, with no measurement of the consequences of his attitudes. M\u00e1rio, in correspondence with poet Manuel Bandeira [1886\u20131968], commented how much this troubled him,\u201d says G\u00eanese Andrade. \u201cAfter their break, their mutual intellectual admiration survived; their shared respect continued in the world of ideas, reading and appreciating each other\u2019s works, but Oswald\u2019s attempts at reconciliation were never accepted by M\u00e1rio,\u201d concludes the researcher.<\/p>\n","protected":false},"excerpt":{"rendered":"Writers corresponded between 1919 and 1928, a year before their friendship broke down","protected":false},"author":734,"featured_media":531268,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[165],"tags":[245],"coauthors":[4472],"class_list":["post-531263","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-humanities","tag-literature","position_at_home-sumario"],"acf":[],"_links":{"self":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/posts\/531263","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/users\/734"}],"replies":[{"embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/comments?post=531263"}],"version-history":[{"count":1,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/posts\/531263\/revisions"}],"predecessor-version":[{"id":531272,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/posts\/531263\/revisions\/531272"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/media\/531268"}],"wp:attachment":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/media?parent=531263"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/categories?post=531263"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/tags?post=531263"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/coauthors?post=531263"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/revistapesquisa.fapesp.br\/wp-content\/uploads\/2024\/09\/rpf-Mario-e-Oswald-bilhete-1140.jpg\")