Você não vai amadurecer enquanto não passar pelo Inferno | Olavo de Carvalho

Summary

The speaker announces a personality training course, delving into the relationship between culture and personality, emphasizing the importance of profound experiences in shaping great cultures. They critique the superficiality of Brazilian literature, advocating for genuine artistic expression that captures the depth of human experience. The talk also addresses the need for writers to master language and understand their subjects deeply, drawing from personal and imaginative experiences to create authentic, transcendent works of art.

Takeaways

• 📚 The speaker is announcing a personality training course to be held from May 18th to May 23rd.
• 🌐 The relationship between culture and personality is highlighted as fundamental, with high culture being shaped by individuals with radical or abysmal experiences.
• 🏛️ European nations' high culture is exemplified as being created by those who have deeply experienced life's extremities, such as death and human fragility.
• 🎭 The authenticity of experiences is underscored as essential for great cultural works, as opposed to superficial or imitative ones.
• 📖 The importance of literature in recording a nation's fundamental experiences is noted, with a lack of such literature indicating a failure to capture the depth of human experience.
• 🇧🇷 The speaker reflects on Brazilian literature, noting a decline since the 1950s and a lack of works that capture the Brazilian people's experiences authentically.
• 🎵 The role of the 'epic of memory' in civilization is mentioned, where experiences are stored and condensed, giving individuals like the blind singer in a novel a deeper understanding of their surroundings.
• 🤔 The limitations of social sciences and political sciences in countries lacking a rich literature are discussed, as they fail to synthesize experiences into meaningful understanding.
• 📉 The current state of Brazilian literature is criticized as being presumptuous and lacking depth, with a turn towards science fiction and intergalactic themes as a sign of creative impotence.
• 📝 The necessity for writers to master language technically and to understand the society they write about deeply is emphasized for a renaissance in fiction literature.
• 🌟 The potential for a writer to transcend their environment through deep exploration and understanding of their experiences, even if they are banal, is illustrated with the example of Machado de Assis.

Q & A

What is the main theme of the personality training course being announced?

The main theme of the personality training course is the relationship between culture and personality, with a focus on how radical and abysmal experiences shape the high culture of European nations.

Why are radical experiences important in the development of a great culture according to the speaker?

Radical experiences are important because they provide the depth and authenticity that are essential for creating original works of high culture, as opposed to superficial or imitative experiences.

What is the significance of the Divine Comedy, Shakespeare's plays, and the works of Goethe in the context of the script?

These works are significant because they are examples of cultural artifacts that have recorded the most extreme and authentic human experiences, showcasing the depth and originality required for great culture.

What is the role of the old blind man in the novel 'Alin's' and how does it relate to the theme of the script?

The old blind man in 'Alin's' serves as a repository of the region's history and experiences, symbolizing the epic of memory and the capacity to store and condense human experiences, which is a fundamental function of culture.

How does the lack of literature in a country affect the development of social sciences and human sciences according to the speaker?

The lack of literature hinders the development of social sciences and human sciences because it prevents the creation of an intermediate synthesis that can effectively discern and understand the reality of situations, leading to the use of stereotypes and superficial analysis.

What is the speaker's view on the current state of Brazilian literature?

The speaker believes that Brazilian literature has disappeared in terms of its ability to capture and express profound human experiences, with the exception of some signs of revival in poetry.

Why does the speaker consider the works of Yuri Vieira notable?

Yuri Vieira's works are considered notable because they are humorous and fantastic yet centered on the real Brazilian experience, showing that he is a survivor and an intermediary figure in the decline of Brazilian literature.

What does the speaker suggest as a prerequisite for a renaissance in fiction literature?

The speaker suggests that a renaissance in fiction literature requires technical mastery, historical and technical mastery of literature, and a deep personal mastery of language, including its nuances and communicative impact.

How does the speaker describe the importance of a writer's understanding of the society and people they write about?

The speaker emphasizes that a writer must know the society and people they write about deeply, including their experiences, to create authentic and meaningful works that reflect the reality of human life.

What is the significance of the experiences of Dante in the Divine Comedy to the speaker's discussion on literature and personal experience?

Dante's experiences in the Divine Comedy, which are purely visual and imaginative, demonstrate the power of intellectual and cognitive suffering to convey the depth of human experience without the need for physical suffering, highlighting the role of imagination in literature.

Outlines

00:00

📚 The Nexus of Culture and Personality

The speaker introduces a forthcoming personality training course and delves into the relationship between culture and personality. They argue that profound cultural works are born from individuals who have undergone radical or abysmal experiences, such as confronting death or extreme human fragility. The speaker contrasts this with superficial or imitative experiences, citing 'The Divine Comedy' and Shakespeare's plays as examples of authentic cultural expressions. They also touch upon the importance of literature in recording a nation's fundamental experiences, using Brazilian literature as an example, and discuss the role of an old blind singer in a novel as a metaphor for the epic of memory and cultural function.

05:06

📖 The Decline of Brazilian Literature and the Rise of Poetry

The speaker laments the disappearance of Brazilian literature, noting a lack of depth in contemporary works and a reliance on stereotypes. They express concern over the inability of individuals to record their real experiences, even superficially, and criticize the prevalence of science fiction and intergalactic characters as signs of cultural impotence. The speaker highlights the importance of a deep inner experience in poetry, mentioning Érico Nogueira and Adril Jorge as examples of high-quality poetic works, and contrasts this with the superficiality of much fiction literature, save for Yuri Vieira's short stories that capture real Brazilian experiences.

10:09

🎭 The Essence of Great Poetry and the Mastery of Language

The speaker emphasizes the knowledge and mastery required to be a great poet, using Érico Nogueira's study on Greek poetry as an example of the necessary depth of work. They discuss the importance of understanding the poetic tradition and language deeply, and the need for a writer to pay attention to each word's semantic and communicative value. The speaker also stresses the importance of knowing the society one writes about, in its deepest sense, and the transformative power of experiencing both the heights and depths of human experience.

15:13

🧘‍♂️ The Role of Experience in Literary Creation

The speaker explores the necessity of experiencing the extremes of human experience for a writer to create profound literature. They discuss the idea that most individuals' experiences tend to be downward rather than upward, and the importance of not isolating oneself from the suffering of others. The speaker uses the case of a friend involved in the anti-abortion struggle to illustrate the weight of witnessing others' suffering and the transformative power of empathy. They also mention the ability of some writers, like Dante, to experience suffering imaginatively, allowing them to create works of immense depth without personal physical suffering.

20:15

🎨 The Banality of Evil and the Depth of Machado de Assis

The speaker discusses the deficiency in Brazilian literature to portray the radical and terrible aspects of human experience, instead often focusing on banal experiences. They highlight the work of Machado de Assis, who managed to see the depth of evil behind the banality of life, using his observations to create works of art that transcend the understanding of the people involved. The speaker suggests that writers should not shy away from the banality of their environment but instead should explore it to reveal the underlying demonic aspects.

25:16

🌐 The Psychological Impact of Social Change and the Absence in Literature

The speaker reflects on the psychological changes in the Brazilian population due to social transformations, such as increased insecurity, and the lack of documentation of these experiences in literature. They criticize the focus on stereotypes, such as the lumpen proletariat, instead of exploring the real environment of the middle and upper classes. The speaker calls for writers to accept their social condition and explore it deeply, suggesting that the banality of their environment is a potential source of material for profound literature.

Keywords

💡Personality Training

Personality Training refers to a course or program designed to enhance an individual's personality traits, behaviors, and social skills. In the video, the speaker announces a forthcoming course by this name, indicating that it will delve into themes related to personal development and cultural understanding.

💡Culture

Culture, in this context, is the collection of customs, arts, social institutions, and achievements of a particular nation or people. The speaker discusses the deep connection between culture and personality, suggesting that high culture is shaped by individuals who have undergone radical or profound experiences.

💡Radical Experiences

Radical Experiences are intense, transformative events that significantly alter an individual's perspective on life. The speaker uses this term to describe the deep, often extreme life experiences that inform and enrich the cultural works of great artists and thinkers.

💡Authenticity

Authenticity in the video refers to the genuine and original nature of experiences that are reflected in cultural works. The speaker argues that it is this authenticity of experience that gives cultural works their depth and significance, as opposed to superficial or imitative experiences.

💡Divine Comedy

The Divine Comedy is an epic poem by Dante Alighieri that depicts a journey through Hell, Purgatory, and Heaven. It is mentioned in the script as an example of a cultural work deeply rooted in the author's profound and radical experiences, reflecting the human condition and destiny.

💡Cangaceiros

Cangaceiros were Brazilian bandits, and the term is used in the script to describe a novel that portrays a conflict involving these figures. The speaker uses this example to illustrate how literature can capture and convey the fundamental experiences of a people.

💡Memory

Memory, in the context of the video, is the capacity to store and condense experiences, which is a fundamental function of culture. The speaker discusses the epic of memory, suggesting that the ability to remember and recount experiences is crucial for understanding and conveying the depth of human situations.

💡Imitative Experiences

Imitative Experiences are those that are copied or derived from others' experiences rather than being original or deeply personal. The speaker contrasts these with radical experiences, suggesting that great cultures are not formed from superficial or imitative experiences.

💡Science Fiction

Science Fiction is a genre of literature that deals with imaginative and futuristic concepts. The speaker criticizes the use of science fiction in literature as a sign of impotence when it is not grounded in a scientific culture or authentic experiences, suggesting it is often a second-hand, artificial construct.

💡Poetic Experience

Poetic Experience refers to the deep, inner experiences that are expressed through poetry. The speaker distinguishes this from other forms of experience, noting that it does not require a comprehensive understanding of society or culture but rather a personal, linguistic exploration of inner life.

💡Yuri Vieira

Yuri Vieira is a Brazilian writer mentioned in the script for his short stories that blend humor and fantasy with real Brazilian experiences. The speaker uses Vieira as an example of a writer who has managed to continue producing interesting work amidst the decline of Brazilian literature.

💡Bruno Tolentino

Bruno Tolentino is a Brazilian poet and writer known for his mastery of language and poetic tradition. The speaker cites him as an example of a great poet who absorbed the poetic culture of multiple countries, emphasizing the hard work and deep knowledge required to achieve poetic greatness.

💡Machado de Assis

Machado de Assis is a prominent 19th-century Brazilian writer. The speaker discusses his ability to transcend the banality of his social environment by observing and internalizing it, then expressing its moral and metaphysical aspects in his work, thus revealing the depth of evil behind everyday mediocrity.

💡Banality of Evil

The Banality of Evil is a concept that suggests evil can be perpetrated by ordinary people without any extraordinary motives. The speaker refers to this idea when discussing how even in a seemingly banal environment, one can perceive the demonic aspect of human nature, as exemplified by Machado de Assis's work.

💡Insecurity

Insecurity, in the context of the video, refers to the societal fear and anxiety caused by factors such as crime and violence. The speaker notes the lack of literature documenting the psychological changes and experiences of the Brazilian population due to increased insecurity over the past 50 years.

Highlights

Announcement of a personality training course scheduled from May 18th to May 23rd.

The fundamental relationship between culture and personality, with high culture being shaped by individuals with radical or abysmal experiences.

The necessity of deep, authentic experiences for the creation of great culture, as opposed to superficial or imitative ones.

The importance of originality and authenticity in cultural works, exemplified by The Divine Comedy and Shakespeare's plays.

The contrast between the profound cultural experiences of European nations and the superficiality in Brazilian literature post-1950s.

The role of literature in recording and synthesizing the extreme and radical experiences of a society.

The novel 'Alin's People' as an example of Brazilian literature capturing fundamental national experiences.

The concept of the epic of memory and its role in civilization, as illustrated by the story of the old blind singer.

The critique of the lack of depth in Brazilian literature, leading to a reliance on stereotypes in social sciences.

The disappearance of Brazilian literature and the emergence of science fiction as a sign of cultural impotence.

The importance of having a deep understanding of language and poetic tradition for creating great poetry.

The resurgence of literature in the form of poetry by poets like Érico Nogueira and Adril Jorge.

The need for a comprehensive experience and understanding of society for a renaissance in fiction literature.

The significance of technical mastery and historical understanding for a writer to achieve literary depth.

The transformative power of literature in turning personal experiences, even of suffering, into art.

The exploration of banality and its moral and metaphysical implications in the works of Machado de Assis.

The absence of documentation of the psychological changes in the Brazilian population due to increased insecurity.

The critique of the focus on the lumpen proletariat in literature, neglecting the experiences of the middle class.

The call to embrace and explore one's social environment, even if banal, to create meaningful literature.

Transcripts

So let's go, good evening everyone, welcome, hey, I'm announcing a course

that I'm going to give next, which is called personality training, when

you remember the date May 18th to May 23rd, May 18th to 23rd, uh, but in today's class I

would like to announce some themes that will be explored in more depth

during this course, they are not exactly the same themes but they are things that have to do with each other

and the first of them is the relationship that seems fundamental to me between culture and personality if you

study it a little history of the culture of the Nations is European and I say the European nations

because they are the ones I know best, you will see that the high culture of these Nations is made entirely

by people who have had what we can call radical experiences or

abysmal experiences. They are people who know the life in its most extreme aspects means death the

confrontation with heaven and hell is the whole problem of human destiny eh PST death aa

weakness fragility aa Total impotence of the human being in the face of destiny who have experienced

this very deeply and very intensely you you will not find a single great culture

that has been made with superficial or imitative experiences, on the contrary,

that is to say, it is precisely this originality or originari, right, or authenticity of the

experiences that are recorded in works such as, for example, The Divine Comedy, Shakespeare's plays,

and the works of get and so on you will see that what the material you have there is

experience taken in its most extreme, most radical, most dangerous and most frightening sense,

always in a country where literature is not capable of recording these experiences That's right,

probably until record of more superficial experiences will be falsified, we have, of course

, we have some works, at least until the 1950s, they appeared with a certain regularity where

you saw, in an imaginative version, some fundamental experiences of the Brazilian people

, right? There is a novel that I really like the Alins, what they call cangaceiros

, in which there is a war between one of the colonels from the Sertão and a group of cangaceiros

and the poor peasants who are in the middle understand absolutely nothing, they get beaten

without knowing where they come from and they live. in a kind of state of perpetual terror and there is a young couple

who are one of them who are the main characters they end up saving themselves because a

fair singer appears there who is an old blind man Okay and the old blind man he goes from city to city He

asks about people's lives and he makes songs telling the characters' lives, so

he has the entire history of the region in his head, he knows everything that's going on, right, and so the

old man knows where to take them to where they are safe so it ends in the end that

little couple is saved because the old man leads them to a place where they don't run, they don't run any more

risk So this is what this is, it's the epic of memory at the beginning of civilization, that is to say,

it's the capacity of you store the experience and you can condense it ever more comprehensively which gives

precisely to this blind person a greater understanding of the situation than the one who has the

victims of the situation and this is the basic function of culture, that is to say, it is the individual who knows what happens

that knows what real human experience is and that somehow condenses it as it condenses

the first possible condensation is evidently in artistic symbols when you witness a

situation any phenomenon any fact that you don't understand intellectually what

you do you tell this fact you don't need to understand it to tell it you just need to record it and be

able to synthesize it into images Then you get home look I saw this plus this plus ISO

plus this plus this without this In this first imaginative synthesis, there is no

intellectual work possible, which means that in a country where you don't have a vast literature, the

Social Sciences, the political sciences, human science is all nonsense, right? Why are they simply going to use

ready-made scientific concepts, stereotyped on the one hand and the raw reality of the other's facts

they don't have that intermediate synthesis so they can't think simply So what

you'll see are just stereotypes where there is no effective discernment of the situation's reality

We all know, I have already pointed out many times in articles in classes, etc. that

Bras literature has disappeared, now we see some signs, especially in poetry, I'll tell you, I

haven't read the only good novel yet, people sent me the novel, I didn't even I'm going to mention the name,

there's none that can help because individuals are not capable, they don't have enough language to

record their real experience, not even in its most superficial aspect, which would be

purely sociological, the more profound experiences, so what does it do

? intergalactic Extra planetary characters science fiction etc etc This is a

sign of impotence Hum so you that science fiction only works when it is

first produced by people for whom science is an everyday experience hum are the great

science fiction writers all of them they are people close to a scientific profession

so it is what their imagination speaks so it is like saying science fiction without

scientific culture it is a totally artificial thing because the individual is talking about experiences

that he did not have and could not have if he did not have the experiences Where did he get the material from?

It can only be a copy and a poorly made copy made as a result of rectally, he took a little bit from a film, a little bit

from a TV program, a little bit from a book, etc., etc., and composed that rubbish. So it's all second-hand.

Now, the poetic experience itself is more elementary and it does not depend on

such a comprehensive experience, it only depends on a deep inner experience Um, so it

does not imply any understanding, let's say more comprehensive, of society, culture, etc.,

etc., the individual goes in his inner experience works on the language of that and expresses it is through ISO

that we see this and yet modest reinvigoration of literature appear in the form of poetry and

not in works of fiction, no this is in works of fiction the only notable thing that I have

read but that I I read many years ago, they are Yuri Vieira's short stories, which are humorous stories,

absolutely half-humorous, half-fantastic, but always centered on the

real Brazilian experience, that's right, so let's say Yuri, he's not even a man from the great

phase of Brazilian literature. and not a promising debut he is an intermediary he is someone who

in a way he is a survivor he managed to continue writing very interesting things at

the extreme of the decadence around he was still in his corner producing

the little things maybe there are others writers like that have also survived, that's right, but we

don't know them, they don't. In fact, Yuri, I don't even know if he has any published books,

I know his Stories because he sent them to me. That's right, and I always have an absolutely

wonderful story that I think the man with the big guy is a guerrilla fighter who hides under

the big guy for 30 years thinking that

he is still being persecuted by the dictatorship

. comical, but there's one of mine that was hidden for a long time after the end of

the dictatorship, it wasn't in Minhocão, but that really happened, right, and it's not a laughing matter

at all. It's another

wonderful story, there's a lot of good stuff, but it's an isolated and completely atypical case.

In general, fiction literature is over and the novels you've been sending me are very presumptuous

and silly, after all, if you know any of it is from you, I'm saying there's not one that

's good, right? But in poetry we have, for example, Érico Nogueira and Adril Jorge, they have

produced things of very high quality, even if they are real poets, they're not

kidding, right? And in the case of Érico Nogueira he has a book, a study on Greek poetry,

that shows, let's say, the depth of work that is necessary to make a

great poet, a great poet doesn't come out just like that, you have to work a lot, you

have to know the language deeply and you have I have to know the poetic tradition

and he knows it perfectly, right? Adriles, I don't know what the measure of literary culture is.

his, but through his production we see that he has to know what he's doing, he knows what he's

talking about, but that means how to make a great poet, how to make Bruno Tolentino,

Bruno knew poetry by heart from about four or five countries, right, you spoke about bodeler to him,

you recited five sonnets B, he spoke about John butle AES, he William butle, AES, he also recited,

and so on, right, so it was by absorbing the poetic culture that he became what

he was then doing. a great poet is a huge job Okay then and but we

have already started to see these fruits for a renaissance like this to emerge in fiction literature it

takes something more it takes someone who has all this training In other words who knows what there is

there novel, short story by 1 author, I don't know, who absorbs each person's technique, each person's vocabulary, who

knows the Portuguese language in its functionality, when I know the language, it means the following:

a writer, he has to pay attention to each word, pay attention to it in its

meanings It's semantic in the psychological sense and in the sense of communication He doesn't know how

to weigh each word, what is its semantic value, how will it reach your listener

or reader? In other words, what impression will it give in this environment? sociological in the other in the

other in the other in the other in the other all of this has to be calculated every word but you I I

highly recommend the study of the da of Flobert's works of the works of Flobert's life who was the individual who

perhaps most developed this art in the 19th century of weighing each word before writing it,

so for a renaissance to emerge in fiction you first need this technical mastery

historical and technical mastery of literature And mastery of language in this personal sense Think mastery

of language just study grammar speech but what to study Grammar is something you have

to do at the age of 10 10 12 years old, that is, when you reach 13 you have

to master grammar. Understood. In other words, you have to write without error. Writing without error will not

make you a writer. About you a guy a correspondent from a company to do

business correspondence talks about you maybe even a Journalist but he doesn't talk about you a

writer the writer is the individual for whom in language each word has a specific function

that goes beyond its meaning dictionaryized, right, the writer plays with nuances that are not

and could not be dictionaryized because there is no time because let's say these nuances

vary according to the medium, according to the time, etc., etc., and in addition to these two conditions, he has to have

another one, he has to know the people he is going to write about, that is, he has to know

the society where he is and know it in its deepest sense, I'm not saying that the

individual has and that he personally goes through certain radical experiences, right? For example,

let's say the experience of a deep depression the experience of having participated in a Guerrilla the

experience of being part of a gang of thieves Okay, the experience of let's

say da da da eh of perdition of the sexual anarchy of drugs etc etc sometimes some people have

to delve deeply into this and also having the opposite experience, that is to say, the experience

of devotion to the asesis of sanctity, etc., etc., that is, you have to stretch from hell to heaven, right?

In the end, every real writer makes the entire journey of the Divine Comedy and reads

The Divine Comedy is doing exactly that, you go from the bottom of hell to the last heaven, so

many writers go through experiences and radicals in the degrading, destructive sense and

sometimes they can't get out of them but they can at least express verbally what is already a

victory either if the individual managed to condense his experience into a verbal symbol he is no longer

a slave to it in some way if he lives a little longer he ends up freeing himself personally but you and I

was not able to free him personally at least he frees himself literarily what already is eh um um step

, right, if he can come down imaginatively, yes, yes, there is also the case of the individual who, because

he has an extraordinary imagination, does not need to personally go through any experience Like

Dante himself, right, Dante, he points out that he is there in hell as an observer, right, he doesn't

he is suffering the pains of hell he is taken by his master Virgílio to look, right look, what

is happening there or or or that is to say, Dante's experience is purely visual, which means that

it was lived entirely in imagination without the counterpart, right, epidermal muscle etc. etc., in other words,

without the suffering, it is an intellectual suffering, an immense cognitive suffering, um. In fact,

if he had to go through this experience physically, he obviously wouldn't be able to bear it.

So let's say about Dante's power of imagination and his

openness to the extremes of human experience allows him to experience all this immensity of

Suffering as a cognitive suffering as an intellectual suffering without

having to go through it personally but not all of us are Dante that's not it so

Eh in most cases I experience the circle of experience of the individual

when it goes a little beyond the sphere of everyday banality it goes downwards not

upwards that's not it and that means that this elaboration, this creation of one of one by a

narrative artist, it has a structure similar to that of initiations where you have a preliminary

descent to hell as you had and then you go up Um so from the descent to hell you

never escape Okay if you are a strict Saint Then you will experience the descent to hell

through other people's sin which you will endure in monstrous amounts, isn't it ISO So you see

for example, my friend's case, right, I'm not going to give a name other than D, a name that has been involved

in an anti-abortion struggle for 40 years, right, the number of abortion cases he's seen the number of children

killed for nothing he's ever seen the number of desperate mothers is I don't know how he can handle all

this so he's not having any abortions he's not to blame for that but He carries this

weight and that's why he knows this dimension of existence you can know this dimension

The most hellish thing in existence is remaining innocent and simply suffering the impact

of it you can be a victim Okay then you can suffer Persecution suffer violence

suffer humiliation through no fault of your own but you are experiencing evil up close, right

Eh now There are several ways to If you participate in the experience, if you consider

yourself a victim, if you cognitively isolate yourself from those who are doing you

harm, you will learn absolutely nothing, that is why the church recommends that you

pray for whoever does you whatever harm you want. good to those who do you harm, otherwise you won't

learn anything from it, isn't that what it means when they do you harm, the first

thing you have to understand is that you could do the same thing and that it is by luck

that you he's not doing what you are, instead you're suffering innocently,

that 's not it, but without this identification with whoever does evil you won't learn

anything.

a way for you to delve deeper into the experience without you personally getting dirty

This is very difficult to happen in general let's say the dive into the deeper experience

is accompanied by It takes the form of a dive into evil into sin into perdition etc etc ET

how it happened with innumerable writers you read the life of Rambo bodler

and Dostoyevsky himself with his addiction to gambling and all that and then the individual

works on it imaginatively and if he manages to give it a literary verbal form he is, in a certain

way, already free from that evil, um, he got rid of, at least imaginatively, which

is a condition for him to get rid of himself in the real Sphere. But sometimes there isn't time, right? That means

the individual, for example, in the case of this Hilbert Hilbert, who is a

wonderful writer who he wrote the Demon book that I have recommended so many times here

Celbi was a drug addict Marginal a guy completely lost when you look at

his photo the guy looks like he weighs 20 kg he is practically destroyed but and he however

he managed to get the strength to get out of that and write these absolutely incredible novels, right?

So, it's clear that the majority of people who went into that hole didn't come out of there to write anything,

they didn't write anything, their girlfriend died there, right, but it's the lived experience.

physically or imaginatively without this dive into the most radical and terrible aspects

of the human experience there is no knowledge of the human being of the human soul That's right then

Eh, this let's say is perhaps the biggest deficiency of Brazilian literature at the

time when it was good either say that in general the experience portrayed in

Brazilian literature is a banal experience, right, my friend Gerônimo Oscar, who was minister of culture at

Itamar, he said that, right, the themes of Brazilian literature are like that, oh, he used my toothbrush,

he stole my underwear, but this were the subjects so if you will see in general it is the

banal experience lived by banal people but this banality has a weight this banality has

a depressing force and the one who suffers the impact of this banality can transcend it

transforming it into a work of art like This is the case with Machado de Assis Machado de Assis his entire life

he only saw people in this limited Mediocre environment etc etc and let's say that that

mediocrity that banality weighed heavily on him, I mean he suffered that and he absorbed the

impact of the surrounding banality and I saw that this banality had a moral and

metaphysical aspect that transcended the very understanding of the people involved. That's it, so sometimes

he caricatures that, but caricature is banality with such immensely

cruel traits where you see behind the banality there is presence of the devil, I mean the devil is a great

trivialized desensitizer, right, the story of the guy who is there doing an experiment

burning the mouse's paws on the candle just so he can observe says oops, he's a

banal guy Mediocre but there's a devilish streak there in the no no deep inside him, right? I mean, Machado

de Assis won't write, for example, describe, for example, a Morino, a scene of torture,

a stupefaction, nothing like that, he shows, I mean, the monstrosity with the suffering of a rat,

right? So you see the world he's dealing with, it's small but he, behind this small world,

he sees the depth of evil, not coincidentally, he himself led a

routine and mediocre life, where and no one knew what was going on in his head,

but the man was evidently observing these things everyone was impressed, that's

right, and it got to the point of depression of seeing what we could even call the banality of

evil, to use Anna's expression, right? Well, around the age of 40, he had a crisis and stopped

writing those little pink things that he wrote at the beginning and he starts talking about this

other world that I'm not saying that he had discovered at that moment but that he was already seeing and that

little by little it weighs on his soul until a time comes when he is transmuted so

to speak in the new author based on Bros Cubas' great memories and he stands out in such a way

from his contemporary writers that there's no comparison, there's no comparison, right? That's how they are

here, media literature is here, the ax is there here, right, let's say our first

writer of magnitude of Universal value and of interest is Universal, so this is a case

where the experience is lived in a purely interior way and even in a secret or discreet way,

right, and all this can happen I mean, you have the imaginative experience.

You have the physical experience. You have the bodily experience. Even the experience

of bodily suffering was so important throughout the history of literature. What

you can't do is close your imagination in the circle of banality. say if your social environment is banal

That's right, you can't or shouldn't run away from perceiving the Demonic aspect behind

the banality like Machado de Assis did, so that means instead of running away from this banality

you'll have to contemplate it and suffer for her Um, so people who complain about

living in Ah, I live in an oppressive environment, etc., etc. I say, Look, there's your fortune,

there's your material, my son, right, you have to take it in hand, right, accept that

ISO exists accept that this is your condition and explore it until its ultimate consequences, right?

So as literature disappeared, that means that even the exploration of the

banal social events also disappeared and it means that for 50 years or

but the Brazilian population has undergone changes it has undergone enormous psychological changes.

It's not just that the growth, let's say insecurity, was already a thing,

eh Absolut immeasurable, I mean you have a country that was where everyone felt more

or less safe, suddenly no one can leave anymore on the street because they're afraid of a

stray bullet from a robbery, something like that, right? That's it, that experience has never been described in

our literature, what it's like, I do the following, how is the life of a family, a

Mediocre family, right from the 60s, what is it like? that this life is changing as the environment

of insecurity begins to frighten them, irritate them, etc. etc. This has not been documented anywhere, however,

you see some documents about the lives of marginal bandits, um, why? Because ISO,

this is also a stereotype of Brazilian literature you pay attention to the lumpa and

proletariat as if the lumpa proletariat were the people, of course it is easier for you to describe the

lumpa and proletariat than the people, right because the conduct of the lumpa and proletariat is the

standard conduct, crime is repetitive by its very nature, criminality, crime

is all cataloged in the penal code, um, there are no undescribed crimes. That's right, so as

long as you see a writer who is born into the middle class or upper class and who casts his

eyes preferably at the lump proletariat, the criminals, etc. etc. are already showing their

total impotence to say anything about their real environment, that's not it and those who

actually knew the criminal environment up close, most of them don't have the energy to

do so. That's right, in general. the description is made by middle-class people, by students, by

pseudo-intellectuals who already come with a stereotypical idea, already come with a ready-made interpretation

of history, already equalize everything in terms of and formulate everything in terms of class struggle

and create create those stereotypes absolutely eh, imbeciles, when you have, let's say, new ones,

eh, social campaigns like gist or feminist, etc., all you have to do is apply the stereotypes, and a

lot of plot comes out, right, if you ask a question, a lot of plot comes out automatically, right, that's what

Janine said. the sensitive boy who is bullied at school because he is a

little effeminate, right, effeminate doesn't mean he is gay, a little effeminate is Janine himself who

is not gay That's right, and because being effeminate is a sinequanon condition for being a professor at

USP, you have to give one you don't have to be gay but a demon Cadinha a falsetto like Fernando

then you are absolute that Pinheiro what was that professor called I don't know Pinheiro

I forgot his name not some falsettos it's some desmo you have to give it necessarily Because this in this

environment is ,

uh, how do you say, it's an emblem of elegance, right

? more depressing right and

it instills in you a sense of insignificance now if you have no experience of the depth

of life then you have no knowledge of yourself and you have no dimension of

transcendence of an onapi God before whom you can present yourself and who can

judge can give you the true measure and can tell you who you are so the individual doesn't have

this experience not necessarily on the religious scale but it can be on the

artistic imaginative scale as well that's right and he doesn't know who he is and he needs a mirror obviously