The interior of Pará, the beginning of the 1980s. Contrast John Amadeus Flynguer the construction of the Pharaonic sanctuary in the heart of the forest. On the eve of the end of the military regime, when the institutions seem more fragile than ever bomb attacks fixed, the organization brings together leading figures to test Tupinilândia for the weekend. What I don’t calculated that the integralistas, the desire to prevent Brazil to be delivered to that consider themselves communist, they ruin the fun. More than 30 years later, the archaeologist returns to the Tupinilândia to understand what happened.
Here’s a short summary of the new novel of Samir Machado de Machado, winner of the prêmio Açorianos 2018 with fashionable men. Now Gaucho invest in more catatau see contemporary issues through the lens of the past. Already comfortable in the romance and adventure, the toxicity of a mixture of references ranging from Spielberg to Uncle Scrooge through the economy of the road, and the commander Aza, Machado invested heavily in creating an absurd world.
Where did the idea of mixing Integralism with Mickey Mouse?
I always say, Partly more, but not too much, if you have two things that are missing in the contemporary literature of Brazil, lost cities dinosaurs. I wanted to write the history of the Lost City. This led me to my childhood in the 1980s, the “lost decade”, the table of Spielberg and Disney, and collect the Firefly. But also at the end of the dictatorship of AIDS and sexual harassment. How was it possible to be nostalgic of childhood in the historical period bad? Tupinilândia this idea was born, and about the last example of lost, as in the cliches of adventure stories, but it always appears fake.
Written by aventurescos but it refers to the social and political issues. How is this listing of the facts in the wefts so amazing?
I mainly write adventure stories, the impact of development work depends on convincing the reader of the verisimilitude of what he reads. More absurd than the proposal, I put the challenge to make it credible. There is some humor in it. The chaos level is only bearable when you laugh of its absurdity. But it doesn’t have as if to escape from reality. Every story, even the most mirabolante, is a reflection of contemporary. In the fashionable men, the novel’s gay encounter issues of homophobia, hate speech and the reaction of the governor to the idea of development. Not in essence more panfletário that the two young Jews to create a Super Hero which gave a punch in the face of Hitler, or black planted slavery in Django for free. Is ease of development. In the case of Tupinilândia, Spielberg, incidentally, said that the Nazis are the bad guys goes, because no one defends, the integralistas as the National version, with anti-Semitism included.
‘Tupinilândia’ seems to contain two books in one. Structure, I said that is something important. How do you think that the way to a story?
Fashionable men was basically the opera, so it was logical to be organized in the acts period. In Tupinilândia, the original idea was to write just the calibration, with a flashback to the 1980s. But she was growing more and more, until they make a plot to part with their own flashback in the 1940s. This assessment was necessary that the concept of the book, which is the ratio of the attachment of the jelly with the culture of consumption. It is as if the first part of the original idea, with cruelty and non-logical at the time, and the second is a remake of the exaltation of the misleading of the past.
I have already said that you would prefer to be accused of writing a bad book is one that is not fun.
It is more a matter of wanting to choose any recipe be xingado. In the worst case, even a bad book can be fun. Some of the novels of Agatha Christie didn’t have anything specific to say, but still give you at least a puzzle to mental. And there are plots of the romance is predictable that acts like chocolate on a bad day. I would feel guilty making the player lose time with something so take away and take always the assumption that I’m two pages lose interest in them.
Why write books mostly in the past, even with the current signals?
We live in an era of information overload, so I’d like to break this feeling exciting show that we live in the best or the worst of times only in terms of the larger concept of the accumulation of history from previous generations.
*How long is a screenwriter, and founder of the platform of the literary ‘review of pocket’