Marriage

And Dribble, Sergio Rodriguez’s almost perfect book

“O Dribble” (Companhia das Letras, 2013), the third novel by Rio de Janeiro author Sergio Rodríguez, is the authentic son of “Dom Casmuro” by Machado de Asis. The book accommodates literal and encrypted genetic traits. Neto, the protagonist, son of Escobar, ancestor of soccer star Peralvo, unquestioned father. Until the age of fifty, Neto Murillo harbored darkish ideas of killing Filho, whom he believed to be his organic father. The motive for a lot hatred is that Neto blamed Murillo for the suicide of his mom, an irrepressible ponytail who ruined his son’s marriage by turning into the lover of his personal daughter-in-law, Ludmila Godoy.

In addition to being a scoundrel, Murillo is married to Elvira Lobo, a well-known sports activities columnist from Rio de Janeiro between the 60s and 80s. His nice obsession is soccer, a really cosmic pressure from which he seeks to clarify Brazil and its conflicts. On the verge of dying, Murillo gave his son a typed book in regards to the black star Peralvo, who was believed to be higher than Pele. It was he, not the King of Tres Corasses, who established a pact between the world of the ball and the “world of magic”. As his story is informed by the chronicler in “O Dribble”, Peralvo was a metaphor for Brazil within the Nineteen Sixties, maybe for all eras of the nation, a large whose promise was not fulfilled. Born within the fictional Merkendu, Murillo and Peralvo are countrymen associates, however there’s mutual betrayal: the primary to disclose the participant’s miraculous skills to the sports activities world; Elvira’s lover, participant to develop into Murillo’s spouse. It’s too late when Neto — nicknamed Tjiu — discovers the reality in a novel about betrayal, selfishness, heartache and forgiveness. Sergio Rodríguez stands out as a proficient author in a really Rio de Janeiro book — Umbanda, Satta, Pie da Luz — and on the identical time deliciously Brazilian, as a result of his background is the nationwide sport. And no anarchy!

Called Dickens de Campos Sales by Nelson Rodríguez within the newsroom of “Journal dos Sports”, Murillo wished Neto to be a soccer participant and assist America. Neither one nor the opposite occurs: the bastard turns into a proofreader, musician, and flamenguist: “The predictable result’s that Neto turns into a gelatinous American simply ready to get to the warmth supply, to soften. It got here a number of years later within the type of a volcano referred to as Zico. It’s gone purple and black.” He and the alleged father by no means actually acquired alongside. Their successive encounters because the first chapter (within the media race) are makes an attempt at reconciliation. Neto and Murillo, middle-aged approaching eighty, carry their very own ghosts. The yr 2010. The narrative unfolds between current time and flashbacks that, web page after web page, reveal the foundation causes of discord between father and son. This one, furthermore, has been crushed, insulted and scolded since childhood. Rebellious, Neto isolates himself for twenty-six years. and repeatedly thinks about killing Murillo, even after they re-establish contact. To be killed? Not to be killed? For those that need to know the top of this plot, set partially within the Nineteen Sixties and Eighties, here is a pleasant novel beneficial by Rock and Affected by tv.

And Dribble, by Sergio Rodriguez (Companhia das Letras, 218 pages)

In “O Dribble,” Sergio Rodríguez stands out amongst Brazilian writers of his technology in a single high quality: imagery. Images are frequent on this novel: “…the stream’s lyre echoes in music”; “Breast espresso cup dimension”; “Nicky Topper Haydn’s drums have been his coronary heart”, and many others., and many others. An unconscious metaphor, nonetheless, could be the lake in Recanto dos Curios, earlier than which father and son meet to settle their variations, across the useless mom Elvira. From the orphan Neto’s standpoint, it might be a maternal image. However, writing by picture — good photographs — is normally a top quality of the very best writers. Prose is a distinct literary style from poetry as a matter of diploma. Writers equivalent to Guimarães Rosa and António Lobo Antunes, for instance, develop these boundaries. And prose additionally differs from science in extraordinary or impartial language, as a result of it makes use of (or ought to use) intensive figures of speech, equivalent to metaphor itself, metagoge, metonymy. It is that this that gives the literary language, the “opaque”, which permits interpretation, provides aesthetic worth to the creator’s work. “O dribble” is a really nice novel as a result of it has these and different qualities: a superb story, good narration, good narration and good dialogue – though it has a doable flaw “Why did Peralvo not play the cup (1)” . No drawback that the creator envisioned two well-bounded narrative voices with two registers. The drawback is that one in all them is irregular.

Arranged in six chapters, greatest described as omniscient within the third individual. Because there are additionally two chapters described first (by Murillo Filho), devoted to Peralvo. The final one can be within the first individual, however right here all we hear is the pasty echo of Neto’s shocked conscience. The comparability between Murillo and the third-person narrator favors the latter voice. He is liable for telling us three tales: the battle between father and son (Murillo and Neto); Neto’s love affair with “Belacap Pharmacy Cashier” Gliss Kelly and, lastly, with the rock band Neto is concerned with within the Eighties, Kopos Delesh. The fourth story within the book stars Peralvo. A genius of the sports activities chronicle, Murillo achieves the fictional standing of the hidden narrator of “O Dribble”, however he can not fairly maintain himself. At instances he is simply a median author, whereas at his greatest, “O Dribble” is high-level practical prose, typically harking back to Ian McEwan’s refined cadence: simply “pop has no historical past, solely revivals” (the very best a part of the book, the place Neto 1980 goes again to the center of the nineteenth century), and examine them with the pages of maybe the best English author of our time.

Perhaps Sergio Rodríguez was serious about demarcating the 2 narrative types in his novel. Ironically, unhealthy moments have boosted Murillo Filho’s persona. The drawback is that Murillo’s prose would not fairly measure as much as the hidden narrator. Twice (in two chapters of the book) Seu Peralvo interrupts the movement of his narrative, however the ace is extra unlikely than the legendary metropolis of Merekendu, the place the chronicler and the participant have been born. For a second of doable indiscretion, we do not really feel as flesh and blood as Peralvo Murillo, a lot much less Neto, for instance. It exists solely within the unbelievable realism and mischief essay of a wordy admirer: “Poydara, who would later be recognized as Damazio and the Damazio brothers, colonel Bento Teixeira’s escort, fired ten lead rounds at Peralvo, one for every objective he scored. The first 4 once they have been greater than ten meters from the goal, the opposite 4 to 5 meters, the final at almost level clean vary. Among all of them, Merekendu’s golden son escaped the grace of a prize-winning bullfight.”

Here Peralvo just isn’t an actual character, nor does the prose match the hidden narrator or Murillo at his greatest—principally, actually. But, whatever the non secular excuse, Murillo lowers himself to the extent of second-rate vernacular writers, the place some slurs of language are so frequent that he solutions so nicely (“…he was taking liberties with the woman”; “…a beating that may endlessly go down within the annals of pageantry). keep”, “hateful disgrace” and many others.). Apart from the above-mentioned citation, this relapse runs by way of some pages and compromises the general steadiness of the work.

Murillo is sort of attention-grabbing in his conversations with Neto, as is his evaluation of the match by which Brazil misplaced the 1950 World Cup. And even higher at theoretical hypothesis, when he outlines a brief sociology of Brazilian soccer. He contends with “an inestimable aversion to black tradition”, the “gangerism of narrators” and the “mismatch between phrases and issues” with radio that forces the athlete to be on the stage of radiophonic demand. Based on this final assumption, Murillo raises the curious speculation that decadence got here with TV, devoid of half the blind creativeness that radio gives. It’s a truth: those that solely take heed to historical past assume the objective is vital, whereas the identical photographs seen on TV are typically playable within the first 28 minutes of the sport between Brazil and Uruguay within the 1950 World Cup (defined by Murillo’s son Neto partially three).

The drawback raised illuminates the next, and vital, query: Does this clumsiness of language not represent a Brazilian specialty within the imaginary: our speech? Cases abound even amongst common writers from throughout the nation: they solely appear to know the best way to write with guile. In different contexts, Hemingway, Robert Frost and Whitman, for instance, can be profoundly regionalist within the sense of adopting the frequent language of the common American; A mode in comparison with Murillo’s “play of some touches at proper angles” (even in poetry). The Brazilian creator additionally has his personal linguistic supply, which appears to be secondary prose, with an archaic taste, configured (in Sergio’s soccer phrases) into “Garincha’s poetic-picaresque prose”, which appears to be Murillo’s. But what makes it good prose? As for Chronicler, within the early elements of Peralvo’s story, not precisely.

The transition from Ian McEwan to second-rate vernacular prose in a single book is nearly a loop. If Murillo had resisted the temptation of cacoetes and maintained the identical melodic chord from starting to finish, he would have prevented the sound and made the track louder with the hidden narrator of “O dribble.” It would additionally assist the novel develop into an undisputed excessive level within the fiction produced by Sergio Rodríguez’s technology of writers, whose narrative wealth honors Machado de Asis.


Books: dribble
Author: Sergio Rodriguez
Publishing House: Companhia das Letras
Page: 218
Evaluation: 9/10

Leave a Reply

Your email address will not be published.