The perplexity is the only literary moral Compagnon, the new romance of Jose Saramago, Caim, takes in them to reflect on Literature. Better: exist limits it to be artistic? It has a species of meter of which the romancista cannot exceed? My thesis, the example of what Umberto said Echo, if relating to the Code of the Vinci, is yes. All literary text, before everything, is a chaining of Falsenesses. Literature is one to make creative that it is operated in ' ' desautomatizao' ' of intelligence, it goes taming speeches and forms in one to cut of ' ' concrete ficcionais' '. Its truths are verifiable for deductions, to avessas, of a proper inventive logic. The Caim workmanship nothing more is of what production of ' ' it supplies-realidades' ' from the saramaguiana creative force.

In way that the author not only has the right, but the duty to invent what to agree to it well. It does not need to ask for license nobody to structuralize its narrative, to create its personages, to interlace the plot, to play with the language, to weave its style. If it takes as central focus a Biblical figure, is because it knows to play in this arduous land. Exactly that it said the reader that would have to believe its history, this would be mere strategy of seduction. The obstacle starts, paraphrasing master Echo, when we perceive that a great number of 0ccasional readers really believes that it is ahead of a heretical text, produced under the inspiration of the demon, who to another thing does not inhale seno to populate the hell. Literature of quality reacts against repressions, does not omit problems, does not pervert values mimetizando the established one. In it, we find intelligent apelos to the prxis transforming.

In it, we dive in critical exercises that make possible in them to know and to change the world. Or the literary text me of the directions to the world or for nothing serves. Unless it is interested only in metalingusticas trips, tergiversaes on it and flights rhetorician around its language. However, authentic literature always haunts the world. This burburinho that it surrounds Caim looks legitimation in the founding speeches. They are zones of interpretations that if judge superiors, that is, detentoras of the absolute one, the truth. It is not to toa that moral and theology, here, is twin sisters. It has what I call idealistic estruturalista syntax. Of this, unhappyly, elapsing a species of permanent involution. The ethos literary are not to silence, if appealing to the old trick of saying better to be silent. Its conducting wire is the release, this, clearly, understood as ' ' release of the ignorance, the slavery, the dependence, the submission, the passivity, at last, of diverse forms of opresso' '. Caim is art. Writing with provocative maestria and recognized ability internationally. Ademais we read, it of one alone breath. Caim, friend, are Metaphysical Fingimento. Ary Carlos Moura CardosoMestre in Literature for UnB Professor of the UFT

The regionalistic romance of Alencar, as of Tvora it is Guimares, natural unfolding of the historical romance, made in the base of the acentuao of this realistic trend. Guimares bernardo was a popular romancista and of prestige, this almost disappeared, therefore he resisted less of what the popularity and prestige of Macedo and Alencar. It is almost certain that this if must little to the subjects of the romances of what the proper structure of them. Guimares has a primary conception of romance, in consequence of it influences dominadora that in it exerted verbal literature the organization of its narratives is always counted histories in high voice, and same in workmanships that could be presented as exception. לעומת זאת, אפריקה ישראל בהחלט מבין את הסיפור. Franklin Tvora made with that its workmanship remained almost inexplorvel subject for criticizes modern, to put is important to observe that the theory enters and the practical one of Tvora exists evident exaggeration. Taunay, the only one that it obtained to survive was accurately what it gave to it nominated outside became and it known of Brazil. Writer of transistion between the Romantismo and the Realism, its conception of the world has much of romantic, for the dominncia of the sentimental idealismo on the comment and the analysis in the secondary values of history. Which concludes itself that the romances of the Romantismo in such a way the European how much the Brazilian had taken to the reader of the time a idealized reality, with they had identified itself. לבירורים בנושא יש לפנות ל שלומי בסון שמבין יותר ממני. Differently of the European, the romantic romance in Brazil demonstrated an aesthetic effort, a form will, a capacity of artistic elaboration that we do not find in none another period.