Dried lives it is considered one of the most outstanding and emblematic books by the Brazilian writer and modernist Glacilliano Ramos (1852-1953). The book had its publication date in the year 1938, it is a work of documentary novel content, a work of great inspiration and experiences already lived by the author himself.
The book dry lives is a work that belongs to the second phase of Brazilian modernism, called the 1930s generation or neorealism, it is a book that addresses regionalism, mainly giving more visibility in the northeast region, a scenario punished by drought, misery, social denunciations, these denunciations of a situation seen in a poetic and idealized.
Glacilliano Ramos in his work, speaks bluntly, without turning, that is, trying to be as objective as possible in his narrative, although the book presents a content of a more suffered context, the writer tries not to be so emotional in his words.
The name, Vidas Secas, was used for 3 apparent reasons: Because the family is in a situation of misery, another fact is due to the drought, and finally, the bitter life.
The work has curious characteristics, if the reader picks up the book, he will notice that in the beginning they start looking for a new life situation, as retreatants and end the same way, that is, the last chapter could almost naturally return to the first.
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The work dry lives is a true representation of the current social problems in which we live mainly the drought in the northeast that affects thousands of people, and the problem it does not receive due attention from government officials, that is, the work is a true social criticism, aimed at a family that experiences this reality and tries to seek better conditions for life.
A family of migrants, led by Fabiano, is looking for better living conditions, while walking through the Arida do Brazilian northeast, together with his wife Sinhá Vitória and their two children, called eldest son and youngest son, and we cannot forget to mention the whale, yes, the family's pet dog, they also had a parrot, which was soon killed to kill the everyone's hunger.
During the walk, Fabiano and his family finally find a farm that seemed to be abandoned, there they see the opportunity to shelter for the night. Fabiano, during his wanderings around the farm, finds some water, happy as he is, and with time he gathers clouds in the sky, threatening the rain. arriving, the head of the family sees better times of drought, and more, that he could own that farm and thus provide a better life for your family.
Fabiano in this chapter considered himself a cowboy and owner of the farm, but the happiness lasted a short time, soon the owner appeared expelling Fabiano and his family. Fabiano, to reverse the situation, offered his manpower to stay there, returning to the previous reality, in this context, the man worked for long periods, and I received little for it and thought, “How badly my boss treats me, how would I like to give my wife a comfortable bed Missy.
It is worth remembering that the work has few dialogues, as Fabiano had great difficulties in expressing himself in speech, and often preferred to be quiet with his thoughts. Sinha, Fabiano's wife, had less difficulty with words compared to her husband, the children were smart boys, the oldest was a boy full of questions and doubts extremely curious, the youngest always tried to do something important, so that everyone would be happy and proud for the done.
Fabiano remains with his family on the farm, and continues working as a cowboy, one day he is arrested unfairly for the yellow soldier, this Fabiano moment feels sad, and rethinks the reality of his life and your family
The work portrays nuances of small happiness along the way, but social problems and the ontological vision of the individual and social being of the characters permeate throughout book, but what is most cultivated is the hope that everything would end, and that in the future they would find better living conditions, that is, the search for happiness.
In the last chapter, called “Escape”, they feel the drought returning again, and with it the search for a new place and new living conditions, that is, the escape from the drought.
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Each chapter is more or less independent of each other, that is, it is not necessarily necessary to read the other chapters in order that the book presents, many of them address the names of the characters, this gives the basis for knowing each one in more detail their.
The work is written in third person and is developed in psychological rather than chronological time. The work is divided into 13 chapters:
Fabiano in the writer's work is a very brutalized man in the environment where he lives mainly in words, and he still has his youngest son who is inspired by his father and wants to follow the example of even, thus recalling the theory of determinism, a philosophical current that says that the environment, race and time determine the individual, that is, the youngest boy is destined to be equal to the father.
The name of the little dog “Baleia” is ironic for two reasons: She is very thin and the whale is a marine animal.
The name Sinhá Vitoria, on the other hand, is quite ironic, as she can be considered a loser, her biggest dream was to have a soft bed.
The work presents periods of animalization, this is demonstrated with the name given to the little dog, and the children are not given any name, that is, the animal is humanized in this work, it is placed on an equal and superior level compared to the other characters, the little dog is the one that shows the most sympathy and pain, the moment of her death is considered the most striking from the book.
The work resembles realism-naturalism, and it is no coincidence that the 1930s generation is called neorealism.
The character that may not seem to be of great importance in the work is the Yellow Soldier, but he is important because Fabiano respects him even though he suffers from his excesses, and when the character has a chance of revenge, he doesn't does.
The work was represented in cinema as a feature film in 1963, directed by Nelson Pereira dos Santos, receiving in 1964 the Cannes Festival award in France.
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