Terry Winters, Title Unknown, 2000


Commentary on the book organized by Rauer Ribeiro Rodrigues

Rauer Ribeiro Rodrigues, professor of Brazilian literature at the Federal University of Mato Grosso do Sul, organized this Micros-Beagá bringing together 55 author(s), with 275 short stories and their respective biographies. According to the organizer, “Mineirity is unveiled and re-veiled” in this selection, and the literature produced in the state “shows the strength, vigor, greatness and diversity of its ethos” (p. 5).

There is a bit of everything in this collection, from renowned short story writers to beginners in the craft, each publishing five mini works. Alongside true gems, very well written and with a high level of humor, there are some that need to be better polished. I will try to highlight gems found in this production that comes from the Geraes and that, unfortunately, here and there, contains several editing naps.

The microstories open with Alciene Ribeiro Leite, born in Ituiutaba and based in Belo Horizonte: “She was Amélia with the beautiful afternoon syndrome” (“Testament”, p. 11) and “Your longing – to have a voice and be heard . How, if the wedding ring tightens around the neck?” (“Divorce,” p. 15). There is “Antônimo”, by Ângela Leite de Souza, from Belo Horizonte (“My friend was the type of guy who was against it, he liked to put everything in dirty dishes”, p. 42) and Antonio Barreto, from Passos, with “ The Raw Material”: “A good man, who had already experienced hunger, got into the habit of recycling all the useless things he found on the streets of the city: paper, newspapers, cans, boxes, bottles, lids, glass, plastic, copper , aluminum, cardboard, wood, rubble. Until the day he came across the open gate of the cemetery ”(p. 51).

Cristina Agostinho, from Ituitaba, author of almost two dozen books, comes up with “Hypochondria” (“He undid the threads of memory before sclerosis broke them. He tore up the sugary notes that were bad for his diabetes. happy to avoid pressure spikes. He looked in the mirror, observed the ravages of sleepless nights, and the tachycardia returned. He made up his mind. He canceled the medical appointments and went in search of a new love", p. 79); Eltânia André, from Cataguases, with “Dólar Furado” (“The Earth collided with the Mint. There were no survivors”, p. 107).

Filmmaker João Batista de Andrade, who wrote when launching one of his books that “literature is the madness that can save the world”, has his “Morto, Mas Vivo”, perhaps inspired by his film doramundo (1978), based on the excellent novel by Geraldo Ferraz: “I loved cinema. I would give anything to participate, appear on the screen. And accepted the strange invitation. It would be an unknown murdered in the mist of the city of Paranapiacaba. Quick scene. Dissatisfied, wanted more. He agreed to be placed in the closed coffin. They wouldn't see him, but he knew he was there, on stage” (p. 141).

Journalist, writer and composer Jorge Fernando dos Santos, with more than 40 books published, comes with his “Fuga” (“The subject left so quickly that the shadow was left behind”, p. 152); the “Cage” (“The hand that caresses you, drowns you. The affection that caresses, terrifies. Who do I sing for?”, p. 157) is by Larissa Valdier, from the Muriaé region. Leo Cunha, from Bocaiúva, has “Aliança” opening his microstories: “Marriage is not a life sentence. I, for example, left earlier, due to bad behavior” (p. 161). By Lou Bertoni, I highlight two cutting writings: “Love” (“She didn't want to cry in the street, Then the rain solved her little daily drama”, p. 176) and “Memory” (“The truth is that all old porcelain has ground will”, p. 177), while the Lavrense Lúcia Serra exposes her “Dilemma” (“Love asks for calm. Maria Eugênia knew it well. And she repeated to herself: I have a handful of peace. Beside him, all resources and security. Remanso. In love one should not commit imprudence of passion", p. 183) and the native of Baependi, Luís Giffoni, makes a shy smile appear on the corners of his lips with "Ovelha Negra" ("The family se had in high esteem. They divided themselves, with pride, between cachaceiros and brewers. As always, there was a black sheep. He liked absinthe", p. 186) and with "Distraído" ("He was so distracted that, on the day he died, went around as if nothing had happened”, p. 187).

Malluh Praxedes, from Pará de Minas, spices up the cuisine with “Quarenta e Cinco” (“I like dating underwater. I learned from you. And you also taught me how to make love in the hammock. . Even when it rains, we are both those who like to learn. I teach you how to cook over a low heat. And you quickly learned what it's like to eat me little by little", p. 201). The Uber-born Marcelo Aparecido, with “Cadeia Alimentar”, talks about the death sentence: “That young zebra was sentenced to death, because the judge, a South African lion, had not had his breakfast before going to court ” (p. 207).

The Neapolitan Maria Pia Monda, resident in Belo Horizonte, bet on “Intuition”: “I was very attracted to him, to the point of almost being in love, but one day he said to her: 'with me you will always be happy' and she didn't want to see it more. She had never liked liars” (p. 217). There is the writer from Cataguases, Ronaldo Cagiano, who describes Heleno’s fate – “It was on a Sunday of mass and families immersed in the sameness and lack of horizons” that he “screamed his message loudly: I leave this city so as not to become smaller than she” (“Escape”, p. 267).

But there are also “Sensações”, by Tilda Carvalho (“Everyday and personal sensations…/–Captured how?/ – From reality./ –Without abstractions./ –Without sentimentality./Poetry without poetry. Writing about writing is the future of writing” (p. 311) and “Vampire”, by Yueh from Amapá, “born in Minas Gerais”: “He wasn’t as tall as I am, not as handsome as I am. But he had something. Long glossy hair, coal-black eyes, pointy white teeth. He never actually sucked my blood, but he was everywhere: under my bed, on the streets I walked, on my cell phone screen. I had a Dracula, and he sucked other things out of me” (p . 330).

I agree with Rauer Ribeiro Rodrigues, when he says that diversity is the hallmark of this volume of microstories: “from themes to literary proposals, from the richness of different generations to the varied aesthetic realization, from reflection to denunciation, from intimacy to the dialogic scene…” ( p. 5). Light reading, thought-provoking, endowed with high spirits.

*Afranio Catani, Retired professor at the Faculty of Education at USP, he is currently a senior professor at the same institution. Visiting professor at UERJ, Duque de Caxias campus.


Rauer Ribeiro Rodrigues (Org.). Micros-Beagá. Uberlândia, Editora Pangeia, 2021, 336 pages.

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