In Slap-up meal with the Deuses, the writer gaucho divides with the reader 73
chronicles amused, tender and peculiar on its
relation with the art and the culture: It had five years, when he attended the "Passion of Christ", in the col of the employee, in the old cinema of its city. "That marks will have left in the spirit of the author that conjunction of apelos, the martyrdom of the Gentleman and the col of the employee", Veríssimo when remembering itself of the beginning of its great passion for the cinema is asked. For the adolescent one it was the kiss of the actors that intrigued in the films of free censorship: they were of truth or existed some trick? In its literary adventures, the author creates in In the sky a hilária and unusual colloquy between the Ítalo unbeliever Calvin, Jorge Luis Borges and Nabokov while they drink a tea - "the only one drunk to pass the eternity, according to Borges, even so Calvin argues that something stronger would make the eternity to pass more fast". In Allure, it he defends that François Truffaut was the only one of great cineastas of its generation that did not lose the deslumbramento that had for the cinema when he was only one spectator. Already in Woody Allen and the lamentations of the existence it standes out great the small capacity of cineasta American to approach e questions human beings, and still to make to laugh at this (or for cause of this). Miles ahead,
speaks on most revolutionary of the pistonistas trompetistas/of the jazz, Miles Davis. In Porter and Gershwin it compares the lives and the sounds of the two bigger American popular composers. E still, in Torturante band-aid, cites the famous verse of Aldir Blanc in music "Two there pra, two pra here". Beyond cinema and music, Veríssimo speaks very of literature in the
chronicles. In the full known one and of Borgianas citations, for example, it plays chess with Jorge Luis Borges, who already was personage of its Borges romance and the perpetual orangotangos. He also has Oscar Wilde, James Joyce, Edmund Wilson, Aldous Huxley... E more personal visões of some writers, as Jorge Loved, on who, shortly afterwards of the death of the bahian romancista, Veríssimo wrote that he was always called for it "João", because when he was boy Jorge passes a hidden time of the policy politics in the house of Érico Veríssimo and found that the son of the friend did not have face of Luis Fernando, but of João. Still it has the painting, in chronicles as Seios and Rembrandts and the towers of the Morandi. E the theater, as in Interaction, where it speaks, with right the references to the Greek theater and the Shakespeare, of its fear of being apanhado in the auditorium for an actor. What it has, over all, in Slap-up meal with deuses is the marriage between mood and erudição that is in the base of the style of Veríssimo, at the same time popular and sophisticated. What it writes on Woody Allen if applies very well to he himself. Slap-up meal with deuses congregates texts thus. Souvenirs of the sensible boy and its deslumbramento ahead of the magic of the great screen. Confessions of one cinéfilo enthusiastic, speaking of the films, astros and stars that had marked its life. Impressions of the voracious reader throughout its literary adventures. Devaneios of a loving one of music, melodiosos as a good improvisation of jazz. Truffaut, Fellini, Chaplin, Flaubert, Marquis of Sade, Miles Davis, Cartola, Chico Buarque, Chet Baker, Salvador From there are all here, in this book where Veríssimo celebrates its great passions. relation with the art and the culture: It had five years, when he attended the "Passion of Christ", in the col of the employee, in the old cinema of its city. "That marks will have left in the spirit of the author that conjunction of apelos, the martyrdom of the Gentleman and the col of the employee", Veríssimo when remembering itself of the beginning of its great passion for the cinema is asked. For the adolescent one it was the kiss of the actors that intrigued in the films of free censorship: they were of truth or existed some trick? In its literary adventures, the author creates in In the sky a hilária and unusual colloquy between the Ítalo unbeliever Calvin, Jorge Luis Borges and Nabokov while they drink a tea - "the only one drunk to pass the eternity, according to Borges, even so Calvin argues that something stronger would make the eternity to pass more fast". In Allure, it he defends that François Truffaut was the only one of great cineastas of its generation that did not lose the deslumbramento that had for the cinema when he was only one spectator. Already in Woody Allen and the lamentations of the existence it standes out great the small capacity of cineasta American to approach e questions human beings, and still to make to laugh at this (or for cause of this). Miles ahead, speaks on most revolutionary of the pistonistas trompetistas/of the jazz, Miles Davis. In Porter and Gershwin it compares the lives and the sounds of the two bigger American popular composers. E still, in Torturante band-aid, cites the famous verse of Aldir Blanc in music "Two there pra, two pra here". Beyond cinema and music, Veríssimo speaks very of literature in the chronicles. In the full known one and of Borgianas citations, for example, it plays chess with Jorge Luis Borges, who already was personage of its Borges romance and the perpetual orangotangos. He also has Oscar Wilde, James Joyce, Edmund Wilson, Aldous Huxley... E more personal visões of some writers, as Jorge Loved, on who, shortly afterwards of the death of the bahian romancista, Veríssimo wrote that he was always called for it "João", because when he was boy Jorge passes a hidden time of the policy politics in the house of Érico Veríssimo and found that the son of the friend did not have face of Luis Fernando, but of João. Still it has the painting, in chronicles as Seios and Rembrandts and the towers of the Morandi. E the theater, as in Interaction, where it speaks, with right the references to the Greek theater and the Shakespeare, of its fear of being apanhado in the auditorium for an actor. What it has, over all, in Slap-up meal with deuses is the marriage between mood and erudição that is in the base of the style of Veríssimo, at the same time popular and sophisticated. What it writes on Woody Allen if applies very well to he himself. relation with the art and the culture: It had five years, when he attended the "Passion of Christ", in the col of the employee, in the old cinema of its city. "That marks will have left in the spirit of the author that conjunction of apelos, the martyrdom of the Gentleman and the col of the employee", Veríssimo when remembering itself of the beginning of its great passion for the cinema is asked. For the adolescent one it was the kiss of the actors that intrigued in the films of free censorship: they were of truth or existed some trick? In its literary adventures, the author creates in In the sky a hilária and unusual colloquy between the Ítalo unbeliever Calvin, Jorge Luis Borges and Nabokov while they drink a tea - "the only one drunk to pass the eternity, according to Borges, even so Calvin argues that something stronger would make the eternity to pass more fast". In Allure, it he defends that François Truffaut was the only one of great cineastas of its generation that did not lose the deslumbramento that had for the cinema when he was only one spectator. Already in Woody Allen and the lamentations of the existence it standes out great the small capacity of cineasta American to approach e questions human beings, and still to make to laugh at this (or for cause of this). Miles ahead, speaks on most revolutionary of the pis