Fragmentos de textos e imagens catadas nesta tela, capturadas desta web, varridas de jornais, revistas, livros, sons, filtradas pelos olhos e ouvidos e escorrendo pelos dedos para serem derramadas sobre as teclas... e viverem eterna e instanta neamente num logradouro digital.
Desagua douro de pensa mentos.
20 Years Later, the Long-Awaited Companion to a Classic Graphic Novel
As Shaun Tan reminds us with his stand-alone follow-up to “The Arrival,” some truths are so enormous, so beautiful, they can be told only through myth.
By John Hendrix
HOMETOWN, by Shaun Tan
G.K. Chesterton wrote that fairy tales “make rivers run with wine only to make us remember, for one wild moment, that they run with water.” It is a simple truth, but easy to forget: The great myths give us eyes to see our own lives anew, by gilding the familiar with the fantastic.
It has been 20 years since Shaun Tan published his astonishing wordless graphic novel “The Arrival.”Equal parts atmospheric immigration allegory and surreal ride on a chiaroscuro carousel, the book instantly became a classic. Dauntless and strange, it shimmered like a new kind of myth — one whose primary language was not textual but visual.
When a modern mind reads the word “myth,” it might be tempted to substitute the word “falsehood.” Sadly, this is part of our hangover from the Enlightenment. It seems natural to us to assume that the best way to understand a rose is by putting it under a microscope — rather than by writing (or reading) a sonnet. But as Tan reminds us with his new opus, “Hometown,” some truths are so enormous, so beautiful, so elusive they can be told only through myth.
In “Hometown,” Tan doesn’t ask the pictures to do all the storytelling. With spare and clever prose, he poses some of the same transcultural questions he did in “The Arrival,” but from an inverted point of view.
The first-person story follows a girl who lives in, to our eyes, a bizarre and unusual land yet feels right at home. She is a human being, but the reader immediately sees that her world is not human in size, color, type or shape; its scenery is fantastical and monstrous. In the book’s most delightful passages, her down-to-earth words playfully contrast with what the reader sees alongside them. (“Little sister” and “big sister” are quite the understatement!)
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Credit...Shaun Tan
We don’t know how the girl got there, but the paradise of her extraordinary found family is disrupted when a colossal visitor falls through a “big hole” that opens up in the sky. For a few pages, this gargantuan robotic astronaut is stepping on buildings and, it seems rather innocently, messing everything up. The residents are surprisingly understanding of the megalodon’s blunders: When the intruder is swallowed by a cross between a whale and a giant squid, they feel sorry for the “stupid sky thing.”
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Credit...Shaun Tan
After the girl tells the “rudest joke” she knows in order to abort the whale-squid’s digestion, it becomes clear that the visitor is actually a humanoid-shaped spacecraft, from which a smaller humanoid astronaut steps out — comically, in the exact same shape as the spacecraft but at the scale of our young heroine.
The story turns when he takes off his helmet and she is struck by his physical similarity to her. Face to face with another human being, she begins to ask questions: Who is my actual family? What is the meaning of home? Like an alien satellite, “Hometown” orbits these questions over and over again. Each pass gives us a new perspective on the terrain below.
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Credit...Shaun Tan
On one level, this book is a well-worn narrative of cross-cultural exchange.
But “Hometown” goes far beyond calling us to a confident pluralism. With monsters and moon men, it asks us to consider where our real identity comes from. Is it something we can’t choose, like what we look like, or does true kinship come from the community that made us? The lure of this tale is that it takes these universal questions and gives us a new, kaleidoscopic lens with which to view the answers.
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Credit...Shaun Tan
Visually stunning as well, “Hometown”is a formal masterpiece, showcasing an artist at the height of his powers. Tan’s work is a deft push and pull of line and tone. Each image vibrates with glyphic drawing — yet at key moments those lines are submerged in lush washes of pure color. Imagine if the comic artist Moebius had been taught to paint by Caravaggio.
As an artist who has admired Tan for many decades, I have always wanted him to take a swing at treating the typographical spaces in his books with the same lavish world-building as he does the imagery. While he doesn’t do that here, his signature gestalt of pictures, story and sparse words still makes this book the highest form of art.
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Credit...Shaun Tan
“Hometown” wraps the mundane things we all experience in a strange and wondrous veneer. In the foreground, it immerses its readers in mysterious objects, landscapes and creatures; yet, as with an exotic campfire, a familiar ache crackles in the background.
“Gravity keeps me here,” our protagonist declares as the story closes. “Or love, which is kind of the same thing.”
In an age when there are so many picture books helping young readers think about identity, “Hometown”brilliantly plants its feet on solid ground. This new myth reminds us that with the choice of love — a technology both ancient and ordinary — we can create belonging for ourselves.
Profissional forjado no calor do fotojornalismo, Bruno Veiga é hoje um artista consagrado da fotografia que não esconde em seus trabalhos resquícios do olhar sensível de fotojornalista, mesmo afastado há mais de duas décadas das redações. “Meu método de trabalho é simples, eu olho o mundo que nos cerca. Olho novamente. E olho mais uma vez, até achar o que eu não sabia que estava buscando.” Foi assim que nasceu o projeto da exposição O Estado das coisas (Lisboa, 2025), basicamente sobre as cicatrizes do fenômeno da gentrificação na capital portuguesa, onde Bruno vive desde 2018. Ruínas e tapumes, muito além das marcas aparentes de uma transformação urbana, revelam neste recorte de imagens cedidas ao Pasmado vestígios de um passado arrancado da paisagem, feridas sociais e afetivas, último estágio antes do apagamento total da vida como ela era.
The Mysterious and Lonely Final Decade of Yayoi Kusama’s Life
The Japanese artist spent the last seven years in isolation and declining health. Still, it was the most prolific chapter of her career.
"Pumpkins were once a symbol of vitality for the artist.
It was a bountiful comfort of Kusama’s childhood in Matsumoto, a Japanese city about 100 miles northwest of Tokyo that was relatively untouched by the devastation of World War II. Despite having eaten pumpkins to the point of nausea in her adolescence, by her own account, the artist maintained an attachment to them into adulthood. She produced enormous, bronze, polka-dot sculptures honoring them."
Throughout her career, she was known for her unfiltered honesty and from the 1960s forward, used her words to inspire and bring together women who also wanted to see a change in their lives.
Devastated by floods and overwhelmed by bodies, Nepalis weep for what remains of their home
"In an effort to speed up the identification exercise, local officials have adopted a macabre approach of simply asking people to go through pictures of the bodies and look for identifying features: a necklace, a wedding ring, a tattoo, a scar. Photos of those recovered have been placed on to PowerPoint slideshows, for relatives to sit patiently through, and have been uploaded to the Nepal police website. Outside the morgue in the capital, Kathmandu, photographs of the dead inside have been posted on the walls."
Sim, ele foi informado por mais de uma fonte. Hoje uma matéria do Haaretz traz novidades sobre isso. Só pra poupar comentários: ninguém alega conspiração, ele está sendo acusado de irresponsabilidade e negligência.
Os jornalistas Shlomi Eldar e Ruthy Yovel acabaram de publicar o livro “Reféns – 843 Dias de Abandono”. Eles tiveram acesso a informações sigilosas, de diversas fontes, e a mais nova é a de que Netanyahu foi avisado no dia 23/09/2023 sobre a intenção do Hamas (
A reportagem sobre esse caso é muito longa, eu farei aqui um resumo.
01/2023, logo depois de eleito, Netanyahu negociava a soltura de 2 reféns vivos e 2 corpos que estavam sob o domínio do Hamas em Gaza. As negociações se estenderam bastante,, mas houve um acordo em agosto: 30 presos palestinos soltos, entrada de gás natural, alimentos e materiais de construção em troca dos reféns e de uma udna (trégua) de longa duração. Os dois lados aprovaram, mas Netanyahu não levou à votação no gabinete.
Sinwar perdeu a paciência em setembro, e disse ao intermediário (um palestino do Fatah) que tava fora do acordo, e que faria um terremoto em Israel. O intermediário levou a informação ao emir de Abu Dhabi, Mohammed Bin-Zayed, que não quis se meter a princípio.
Sinwar disse ao intermediário que transmitisse suas palavras a Israel, de forma incisiva. Ele, então, no dia 15/09, procurou o chefe do Shin Bet, Ronen Bar, que logo informou Netanyahu. O gabinete considerou aquilo uma fraude de Sinwar, e decidiu ignorar a informação.
Aqui vem a parte mais importante: ao saber do desleixo, em 23/09, Bin-Zayed telefonou diretamente a Netanyahu e lhe transmitiu a mensagem. Netanyahu não se impressionou e, em uma conversa de 45 minutios, disse que estava tudo sob controle.
Netanyahu optou por não contar sobre a ligação de Bin-Zayed para nenhum dos chefes das forças de segurança, nem para o ministro da Defesa.
No dia 01/10, Ronen Bar insistiu para uma ação preventiva contra o Hamas, que não foi autorizada.
Vale lembrar que há informações de que o chanceler egípcio teria avisado Netanyahu dos planos do Hamas, algo que ele também ignorou. Mas o que essa nova informação muda na história?
Um oficial do alto escalão do Shin Bet disse que quando mais de uma fonte trazem a mesma informação, um sinal de alerta é ligado. Eles poderiam estar mais preparados. Ocultar o alerta dos especialistas é uma gravíssima irresponsabilidade.
Isso tudo acontece menos de dois meses antes das eleições, justamente quando Netanyahu estava desenvolvendo em sua campanha um discurso que insinuava uma conspiração das forças de segurança contra ele, que teria acarretado no massacre de 07/10/2023.
O jornalistas Shlomi Eldar e Ruthy Yovel acabaram de publicar o livro “Reféns – 843 Dias de Abandono”. Eles tiveram acesso a informações sigilosas, de diversas fontes, e a mais nova é a de que Netanyahu foi avisado no dia 23/09/2023 sobre a intenção do Hamas (
A reportagem sobre esse caso é muito longa, eu farei aqui um resumo.
1. 01/2023, logo depois de eleito, Netanyahu negociava a soltura de 2 reféns vivos e 2 corpos que estavam sob o domínio do Hamas em Gaza. As negociações se estenderam bastante,, mas houve um acordo em agosto: 30 presos palestinos soltos, entrada de gás natural, alimentos e materiais de construção em troca dos reféns e de uma udna (trégua) de longa duração. Os dois lados aprovaram, mas Netanyahu não levou à votação no gabinete.
Sinwar perdeu a paciência em setembro, e disse ao intermediário (um palestino do Fatah) que tava fora do acordo, e que faria um terremoto em Israel. O intermediário levou a informação ao emir de Abu Dhabi, Mohammed Bin-Zayed, que não quis se meter a princípio.
Sinwar disse ao intermediário que transmitisse suas palavras a Israel, de forma incisiva. Ele, então, no dia 15/09, procurou o chefe do Shin Bet, Ronen Bar, que logo informou Netanyahu. O gabinete considerou aquilo uma fraude de Sinwar, e decidiu ignorar a informação.
Aqui vem a parte mais importante: ao saber do desleixo, em 23/09, Bin-Zayed telefonou diretamente a Netanyahu e lhe transmitiu a mensagem. Netanyahu não se impressionou e, em uma conversa de 45 minutios, disse que estava tudo sob controle.
Netanyahu optou por não contar sobre a ligação de Bin-Zayed para nenhum dos chefes das forças de segurança, nem para o ministro da Defesa.
No dia 01/10, Ronen Bar insistiu para uma ação preventiva contra o Hamas, que não foi autorizada.
Vale lembrar que há informações de que o chanceler egípcio teria avisado Netanyahu dos planos do Hamas, algo que ele também ignorou. Mas o que essa nova informação muda na história?
Um oficial do alto escalão do Shin Bet disse que quando mais de uma fonte trazem a mesma informação, um sinal de alerta é ligado. Eles poderiam estar mais preparados. Ocultar o alerta dos especialistas é uma gravíssima irresponsabilidade.
Isso tudo acontece menos de dois meses antes das eleições, justamente quando Netanyahu estava desenvolvendo em sua campanha um discurso que insinuava uma conspiração das forças de segurança contra ele, que teria acarretado no massacre de 07/10/2023.
And, sometimes, the coyote catches the road runner.
In the classic “Looney Tunes” cartoons featuring the Road Runner and Wile E. Coyote, which first appeared in 1949, the coyote is foiled again and again in his efforts to catch the puckish bird in the deserts of the American Southwest.
But a photographer in the Chatsworth Nature Preserve in Los Angeles on Saturday captured a real-life image of something you would never see in that cartoon: a coyote who successfully nabbed a road runner, instead of falling from a cliff, getting hit by a train or having an anvil land on him.
The photographer, Alexander deBarros, snapped the photo while out with a survey team from the San Fernando Valley Audubon Society for a monthly check of the ecosystem at the preserve, a 1,325-acre space in northwestern Los Angeles. (The photograph was reported by the Los Angeles TV news station KTLA.)
There is no indication that this coyote effected the capture through the use of an Acme jet-propelled pogo-stick, Acme rocket-powered roller skates or Acme dehydrated boulders (“Just add water!”).
Also, there were no reports of the road runner saying, “Beep, beep.”
Gee, it looks as if he’s finally going to catch him this time.Credit...Warner Bros, via Everett Collection
While the image proved that coyotes do sometimes come out on top against road runners, it’s not a common occurrence. “It is considered very rare for a coyote to catch a road runner,” said Scott E. Henke, a professor at the Caesar Kleberg Wildlife Research Institute at Texas A&M University, Kingsville.
Road runners can run about 20 miles an hour and are agile, he said. “Physically they can outrun a coyote,” he said, and they “can fly up into tree branches to escape attacks.”
Mr. deBarros said in an interview that he initially thought the prey might be a ground squirrel. “When we confirmed that it was, in fact, a road runner in that coyote’s mouth, we freaked out a little bit,” he said. In 17 years of birding, he said, it was the first time he had seen the cartoon antagonists together.
When Mr. deBarros spotted the coyote, it already had the road runner in its mouth. He did not see any chase or kill.
Dr. Henke said this particular road runner might have been caught because it was distracted hunting its own prey, or perhaps it had been hit by a vehicle and was scavenged by the coyote.
Scavenged? Maybe Wile E. didn’t catch the road runner after all.
Another coyote expert, Stanley D. Gehrt, a professor of wildlife ecology at Ohio State University, agreed that the scavenger theory could be true. “But I have learned to never underestimate coyotes,” he said. “They can do anything, even catch a road runner.”
In an odd coincidence, Mr. deBarros’s father, Brian Mainolfi, is an animator who worked with Chuck Jones, a creator of the coyote-road runner cartoons, on the 1994 cartoon “Chariots of Fur.”
Mr. Jones, who died in 2002, once said he got the idea for the coyote character from a travel book by a classic novelist. “I first got interested in the coyote as an animal while perusing Mark Twain’s ‘Roughing It’ at the age of 7,” he said in a 1989 interview with The New York Times. “I thought of it as a sort of dissolute collie. And actually, that’s just about what a coyote is! No one saw it more clearly than Mark Twain.”
The cartoon has been back on the radar since the American release last Friday of the movie “Coyote vs. Acme,” in which the coyote sues the Acme Corporation for its defective products.
(It is fictional.)
(Oh, and by the way, cave men didn’t propel cars made of rocks with their feet, either.)
Quando ela chega de bandeja, é muito sem noção Abala o baile, em cada cara o queixo cai no chão Quando ela surge de lambuja dentro do salão Nem o doutor percebe tanta contra-indicação
+ An exasperated Sigmund Freud famously (or notoriously, depending on your point of view) asked, “What does a woman want?” Having read most of Freud, I never ran across this passage and have long been curious about the origin of the quote. It didn’t sound like something the Viennese know-it-all would commit to writing. And now I know, thanks to fellow Hoosier Emily Eakin’s fascinating book, The Frenchmen…or My Life in Theory. The full quote goes like this: “[A question] that has never been answered and which I have not yet been able to answer, despite my thirty years of research into the feminine soul: What does a woman want?” To be clear, Freud never wrote this. Rather, it was recorded in the diary of one of Freud’s most famous patients and students, the Parisian psychoanalyst, Marie Bonaparte, great-grandniece of the wild Corsican marauder and one of the people who yanked Freud out of Vienna before the Nazis could nab him and send him to the death camps, as they did to two of his sisters.
Even as recorded by Bonaparte, Freud’s question, long taken as evidence of his misogyny, may not refer to all women, but to “a woman” in particular, Marie Bonaparte, after she informed the aghast advocate of the “talking cure” that she had twice undergone surgeries to move her clitoris closer to the opening of her vagina in order to help her achieve a satisfactory orgasm. Bonaparte must be something of a Patron Saint to the women who run with billionaires, now eager to get “designer vaginas,” through the surgical magic of labiaplasty and vaginoplasty. Most American men these days, having learned the little they know of female anatomy from watching Andrew Tate videos, have enough trouble locating the clitoris and the G-Spot without them moving around.
Speaking of the merger of Eros and Thanatos, the self-described “human Barbie” announced last month she was getting her “puff tightened” in a procedure using fat from human cadavers, which will give new meaning to the Stones’ notorious lyrics in Start Me Up (“You, you make a dead man cum.”)
"O disco Alucinação é para ser ouvido inteiro, de cabo a rabo. A ordem das músicas constrói um roteiro elaborado e cria um contexto maior. Os arranjos, pensados de forma a construir uma unidade narrativa, ajudam a criar uma atmosfera que permeia todo o disco. Uma experiência completa.
Tudo isso contribui para que o ouvinte embarque numa viagem pela desilusão política, comportamental e libertária que acometeu a geração dos anos 1970 e que ecoa em ondas até hoje. O discurso, coeso, é encadeado faixa a faixa, desde a primeira até a décima."
A rica plumagem do estilo e a assombrosa erudição do cubano Alejo Carpentier (1904-1980) estão disponíveis de novo. Num momento em que Cuba está assediada por pressões imperiais, saudosas de cassinos e hotéis que rescendiam a luxo cafona e predatório, é oportuno lembrar dele. Filho de pai francês e mãe suíça, Carpentier foi para Cuba com dois anos e lá decantou para sempre sua alma. Em agosto de 2024 a Editora 34 lançou “A Cidade das Colunas” (tradução de Samuel Titan Jr), breve e cativante ensaio motivado por fotos esplêndidas de Havana do italiano Paolo Gasparini, hoje com 92 anos. “No princípio foi o mestre de obras, o homem do prumo e da argamassa”, diz Carpentier logo na abertura. E a arquitetura que veio depois das primeiras edificações corresponde a variada fisionomia urbana e humana de Havana. “Desde sempre a rua cubana foi buliçosa e falastrona, com sua litania de pregões, seus camelôs intrometidos, seus confeiteiros anunciados por sinetas maiores que o próprio tabuleiro de doces...” A rua de alegria mestiça o tempo todo conversa com inconfundíveis marcas arquitetônicas. Uma arquitetura marcada por tantas colunas, mas também por sombras e penumbras, defesas da intimidade e anteparos para o sol.
Mas Carpentier está de volta também com “O Recurso do Método”, caprichada reedição com nova tradução (André Aires) lançada pela Editora Pinard em dezembro de 2025. “Recurso...” inscreve-se na linhagem de romances latino-americanos sobre ditadores, como “Eu o Supremo”, do paraguaio Augusto Roa Bastos, “O Senhor Presidente”, do guatemalteco Miguel Ángel Asturias, ou “O Outono do Patriarca”, do colombiano Gabriel Garcia Márquez. Neles o que parece anedótico ou caricato é simplesmente veraz. O ridículo premia tiranos. O ditador de Carpentier, com manhas e ares aristocráticos dialoga com “O Discurso do Método”, de René Descartes (1596-1650), um dos fundadores da filosofia moderna. Mas apenas para malversar seus princípios e encobrir com este verniz malvadezas e violentos arroubos autoritários. O livro começa com preguiçoso despertar... “mas eu acabei de me deitar. E já toca a campainha. Seis e quinze. Não pode ser. Sete e quinze, talvez. Mais perto. Oito e quinze. Esse despertador será um prodígio da relojoaria suíça, mas seus ponteiros são tão finos que quase não se veem. Nove e quinze. Também não. Os óculos. Dez e quinze. Isso sim”. Ditaduras não dispensam comodidades das elites em que se espelham.
Para ler mais Carpentier: “O Reino deste Mundo”, “O Século das Luzes”, “O Cerco” e “Concerto Barroco”. Livraços.
'He was a violent socialist': How Superman started out as a radical rebel
"Some of the people who are roughed up by this boisterous outlaw are pistol-packing racketeers, but usually they are a less glamorous brand of villain – a domestic abuser, an orphanage superintendent who is cruel to children – and the majority are so wealthy that they don't need to rob banks: there is the mine owner who skimps on safety measures, the construction magnate who sabotages a competitor's buildings, the politician who buys a newspaper in order to turn it into a propaganda sheet. Rather than being a typical costumed crime-fighter, then, the Superman of 1938 was a left-wing revolutionary."
He talks about you in his sleep And there's nothin' I can do to keep From cryin' when he calls your name, Jolene And I can easily understand How you could easily take my man But you don't know what he means to me, Jolene
What Is ‘Narrative Art’? The Lucas Museum Finally Shows Us Its Vision.
"To get the obvious question out of the way — is this just a museum of “Star Wars” stuff? — the answer is that Lucas’s cultural juggernaut of a film franchise makes up only about seven percent of the museum’s gallery space. That said, an enormous Naboo N-1 Starfighterdoes greet visitors in one of the lobbies. And fans can encounter Luke Skywalker’s landspeeder in the cinema gallery and a statue of Yoda atop a fountain in the gardens.
The rest of the museum’s content is largely 20th-century American art organized into broad categories like “family,” “work” and “sports.” There are Norman Rockwell scenes of everyday life; a Pikachu from Pokémon; art from the world of fantasy (“The Lord of the Rings” to Conan the Barbarian); and an entire gallery of graphic art and comic book images.
Also on display is a strip of “Alley Oop,” a comic about a time-traveling cave man; it’s the first artwork Lucas ever acquired. Lucas so reveres comic strips that the filmmaker once tried to make a version of the comic “Flash Gordon,” explained the senior curator, Ryan Linkof. But someone else got the rights, he said, so Lucas made “Star Wars.”"
Filmmaker Joel Coen Puts His Spin on the Photos of Lee Friedlander
"Although the subjects of Friedlander’s black-and-white photographs since the early ’60s have been wide-ranging — public monuments, motel rooms, party scenes, portraits, self-portraits, nudes and landscapes — what unites them is his unerring sense of composition. In his ability to create harmonious wholes out of urban fragments, he is the contemporary heir to Eugène Atget, who memorialized Paris in the early 20th century. Like Atget, too, Friedlander finds unexpected juxtapositions in the reflections in plate-glass windows."
+ On June 21, Israeli forces raided the home of Dr. Mazen Al-Rantisi. Rantisi is known throughout the West Bank as the Doctor of the Poor, nicknamed for the low-cost and often free medical care he provides Palestinians living in Ramallah. Rantisi was arrested and jailed in the notorious Ofer Prison after being indicted for chairing a non-profit health care service that had been banned by Israel. According to an account in Haaretz, the 71-year-old doctor was imprisoned in an overcrowded cell, tear-gassed and denied essential medications. Dr. Al-Rantisi told lawyers with the Public Committee Against Torture in Israel that he had been blindfolded and forced to walk bent over. He said that he and other detainees had been repeatedly beaten and tear-gassed by guards during raids on his prison cell. During the first 10 days of his confinement, Al-Rantisi was denied his prescribed medications and denied repeated requests to be evaluated by a doctor.
+ More than 300 Palestinian children in Gaza have been killed by Israeli forces in the 300 days since a ‘ceasefire’ went into effect on October 10, 2025. UNICEF’s Regional Director for the Middle East and North Africa, Edouard Beigbeder: “A ceasefire that leaves an average of one child dead each and every day is failing children. With hundreds more children injured, many severely, children in Gaza are still waiting for the end to the violence they were promised.”
+ Palestinians with cancer living in Gaza are dying at two-to-three times the rate before Israel’s genocidal invasion and destruction of the Strip’s health care system. An estimated 17,000 cancer patients in Gaza still have no access to chemotherapy or advanced care inside the Israeli-occupied enclave, according to a report in Reuters. There are at least 5,000 cancer patients in Gaza registered for emergency treatment abroad, but who the Israelis have not been permitted to leave. Many are just waiting to die.
+ The Times of Israel reported this week that at least 191 Palestinian children were being held in “administrative detention” in Israeli prisons in March 2026. This is an increase of 88 kids from 103 being locked up in January of 2025, according to data collected by Parents Against Child Detention.
Sliman Mansour, Artist Who Depicted Palestinian Struggle
"Mr. Mansour painted idealized images of heroic Palestinian women, men and children against the backdrop of a landscape — filled with olive groves, orange trees, terraced gardens, stone houses — that he had known as a child but that now in many cases no longer exists, after years of Israeli settlement.
His brightly colored canvases — reminiscent of the Mexican muralist Diego Rivera, whom he admired, and with hints of Chagall — were explicitly political. The symbolic images that bedecked his paintings, including olive branches, guns and doves, were easily understood and translated readily into widely reproduced posters."
Ódio a Moraes empolga mais a direita do que amor a Flávio
LEONARDO SAKAMOTO
Há 130 milhões de razões para criticar o relacionamento promíscuo entre o ministro Alexandre de Moraes e o banqueiro Daniel Vorcaro, tal como há 130 milhões de razões para criticar a grana que o senador Flávio Bolsonaro recebeu do mesmo Vorcaro. Mas só uma estará na pauta dos protestos bolsonaristas neste 7 de setembro.
Como falta amor no mundo, mas também falta interpretação de texto, aviso que este artigo não defende Moraes, pego em conversas em que era tratado como advogado particular e consiglieri do bilionário. Longe disso, o ministro precisa se explicar e se tiver cometido crimes, pagar por eles. O que quero aqui é entender como o caso está sendo usado do ponto de vista eleitoral.
Para encher os protestos da direita no 7 de setembro, a campanha de Flávio Bolsonaro à Presidência da República escolheu Moraes como inimigo, como era de se esperar. Copia uma fórmula já testada e que funcionou na Lava Jato (aliás, tem tanta gente copiando a Lava Jato por esses dias, mostrando que nada foi aprendido, que eu me sinto num grande Dia da Marmota, voltando a 2016).
A campanha de Flávio busca colar que a tentativa de golpe perpetrada por seu pai não existiu e foi tudo uma armação do STF para devolver Lula ao poder. Provavelmente, com a ajuda de cavaleiros templários, dos illuminati, de laboratórios chineses, bilionários comunistas e, claro, Leonardo Di Caprio, tudo conspirado na borda da Terra plana.
O timing é uma mão na roda para o bolsonarismo porque Flávio, sozinho, não empolga muita gente, nem dentro do seu campo ideológico.
E é fácil entender o porquê: Flávio não é Jair. Pode ter herdado o sobrenome, a estrutura política, parte do eleitorado e a máquina de comunicação construída pelo pai, mas não o principal ativo eleitoral de Jair, a capacidade de falar diretamente com sua base e produzir identificação emocional, isso ele não transfere para o primogênito.
Bolsonaro pai pode ser rejeitado por metade do país e ainda assim é impossível negar sua capacidade de mobilização. Ele fala, provoca, cria conflito e transforma ressentimento em presença física nas ruas. Flávio não. É por isso que Moraes se torna tão importante para sua candidatura. O ministro funciona como aquilo que o senador não consegue ser: um elemento capaz de despertar paixão política. Neste caso, paixão negativa. O ódio a Moraes agrega mais gente do que o entusiasmo pelo senador.
Mas não é o único ministro que ajuda a dar um grau na sua campanha. Enquanto Moraes ocupa o papel de grande vilão, André Mendonça começa a ser promovido pela extrema direita à condição de herói ao atropelar regras e sendo seletivo para investigar o colega e deixar para as vésperas do primeiro turno algo que poderia ter feito seis meses antes, interferindo no processo eleitoral. Continua após a publicidade
Ou seja: na manifestação cujo objetivo real é fortalecer um presidenciável, dois ministros do STF despertam mais emoção que o próprio.
É uma situação curiosa para quem pretende comandar o país. Flávio precisa do pai para herdar votos, de Moraes para produzir indignação e de Mendonça para oferecer algo ao seu rebanho. Falta apenas descobrir qual é exatamente a função de Flávio nessa história.
+ The French novelist Honoré de Balzac hid from his creditors for nearly seven years on the top floor of a house on the Rue Berton in the Passy district of Paris, keeping his location secret from nearly everyone except his mistress, the Polish countess, Madame (Ewelina) Henska. He could rarely venture outside because his Balzacian girth made him instantly recognizable to the bailiffs who were looking to arrest him and toss him into debtor’s prison. So he wrote and he wrote, his swelling body swaddled in a monk-like white cashmere hooded gown and fueled by 50 cups of coffee a day
In a letter to Henska he described his writing routine: “Working, dear Countess, is to get up every night at 12, write until 8, take breakfast for a quarter of an hour, then work until 5, dine, go to sleep, wake up at midnight and start all over again.” In his seven years in the house, he wrote the novels: The Black Sheep, Cousin Bette, A Murky Business, Cousin Pons and Lost Illusions. Not bad for a hedonist.
If you’re lying in bed at Fitzgerald’s witching hour (3 am, unable to get back to sleep (nearly every night for me these days) you might try another book Balzac wrote in his secret garret, the novella Sarrasine, about a young French sculptor who goes to Rome to become the next Michelangelo and falls madly in love with a singer who turns out to be a castrato.
In Balzac’s story, Sarrasine attends the opera one night and becomes obsessed with the beauty of one of the singers, who goes by the flamboyant stage name La Zambinella. Sarrasine rushes back to his studio and, in a lustful frenzy, begins molding a clay statue of the singer, viewing her as the very model of modern femininity. He attends the same play over and over again and ultimately tries to seduce her, but she resists his advances without offering a convincing explanation.
Finally, he plots to abduct her during an appearance at the French embassy in Rome, where La Zambinella appears dressed in men’s clothing. Surprised, but intrigued by her appearance, Sarrasine is told that Zambinella is not a young woman, but a male castrato, whose testicles had been hacked off as a young teen to sustain the soprano registers of his voice.
Humiliated and enraged, Sarrasine grabs Zambinella and drags “her” to his studio, where he plans to kill the object of his desire, only to discover, too late, that he/she has other admirers, less unnerved by her transgendered nature, including a cardinal of the Church, who has sent his agents to stab Sarrasine to death before he can slit Zambinella’s throat. The whole story is pretty far-out, particularly for 1830.
The novella formed part of Balzac’s La Comédie humaine series but had been suppressed for obvious reasons until 1970, when Roland Barthes took it apart almost sentence by sentence in his book S/Z. The Barthes book is barely readable, but Balzac roars along as immediate as ever and nearly 200 years later almost perfectly captures the gender hysteria of our time. The Crying Game has nothing on this story.
