{"title":"Mário Cesariny","description":"\u003cdiv class=\"external-content line-clamp-initialized open\" data-vo-toggle=\"author-description-text13483\" data-final-height=\"1080\" data-starting-height=\"162\"\u003ePortuguese poet, playwright, critic, essayist, translator and visual artist, born on 9 August 1923 in Lisbon, and died on 26 November 2006, also in that city.\u003c\/div\u003e\n\u003cdiv class=\"external-content line-clamp-initialized open\" data-vo-toggle=\"author-description-text13483\" data-final-height=\"1080\" data-starting-height=\"162\"\u003e\n\u003cbr\u003eAfter studying at the Liceu Gil Vicente, he enrolled in Architecture at the Escola Superior de Belas Artes de Lisboa, where he attended the first year, and then moved to the António Arroio School of Decorative Arts. After that, he continued his fine arts studies in Paris, and also studied music with the composer Fernando Lopes Graça.\u003cbr\u003eA major figure of Portuguese surrealism, the influence he would have on the generations of poets who emerged in the decades after the 1950s, the period in which he published some of his most significant titles, has yet to be properly assessed.\u003c\/div\u003e\n\u003cdiv class=\"external-content line-clamp-initialized open\" data-vo-toggle=\"author-description-text13483\" data-final-height=\"1080\" data-starting-height=\"162\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"external-content line-clamp-initialized open\" data-vo-toggle=\"author-description-text13483\" data-final-height=\"1080\" data-starting-height=\"162\"\u003eHe promoted the technique known as the \"exquisite corpse\", in which a work was created by a group of people in a creative chain, each one continuing from the previous person's contribution, resulting in a kind of collage of words based only on an initial agreement about sentence structure.\u003c\/div\u003e\n\u003cdiv class=\"external-content line-clamp-initialized open\" data-vo-toggle=\"author-description-text13483\" data-final-height=\"1080\" data-starting-height=\"162\"\u003e\n\u003cbr\u003eHe contributed to several periodicals such as\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eJornal de Letras e Artes\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCadernos do Meio-Dia\u003c\/em\u003e, among others. He was at first drawn to the neorealist movement (although that brief foray went no further than an ironic, parodic stance, set down in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eNicolau Cansado Escritor\u003c\/em\u003e) and then, in 1947, back from Paris, where he had attended the Académie de la Grande Chaumière and met André Breton, he founded the Portuguese surrealist movement.\u003c\/div\u003e\n\u003cdiv class=\"external-content line-clamp-initialized open\" data-vo-toggle=\"author-description-text13483\" data-final-height=\"1080\" data-starting-height=\"162\"\u003e\n\u003cbr\u003eHis combative defence of an authentic surrealism led him, however, to leave the group the following year and create, with Pedro Oom and António Maria Lisboa, the dissident surrealist group.\u003cbr\u003eAs one of the main critics and theorists of the surrealist movement, throughout his career he kept up countless literary quarrels, both against the detractors of surrealism and against those who, in literary practice, distorted it.\u003c\/div\u003e\n\u003cdiv class=\"external-content line-clamp-initialized open\" data-vo-toggle=\"author-description-text13483\" data-final-height=\"1080\" data-starting-height=\"162\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"external-content line-clamp-initialized open\" data-vo-toggle=\"author-description-text13483\" data-final-height=\"1080\" data-starting-height=\"162\"\u003eHis poetry first reflected, in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCorpo Visível\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eor\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDiscurso Sobre a Reabilitação do Real Quotidiano\u003c\/em\u003e, a taste for the ironic observation of urban reality which, echoing Cesário Verde, is still a minor phase compared with volumes closer to surrealist practice such as\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eManual de Prestidigitação\u003c\/em\u003e. There, sharp wit and the absurd, the use of the unexpected, combined with a discursiveness that rarely tips into radical\u003cspan\u003e \u003c\/span\u003e\u003cem\u003enonsense\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(as happens in the work of António Maria Lisboa), allow him, like no other author of the 1950s, to strike a balance between early modernism and the surrealist revolution.\u003c\/div\u003e\n\u003cdiv class=\"external-content line-clamp-initialized open\" data-vo-toggle=\"author-description-text13483\" data-final-height=\"1080\" data-starting-height=\"162\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"external-content line-clamp-initialized open\" data-vo-toggle=\"author-description-text13483\" data-final-height=\"1080\" data-starting-height=\"162\"\u003eIn theatre, in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eUm Auto Para Jerusalém\u003c\/em\u003e, a pastiche of a story by Luís Pacheco, he shows the influence of Pirandello and of Alfred Jarry's theatrical practice. In the late 1960s and early 1970s, Mário Cesariny set about restoring the historical truth of the surrealist movement, collecting its manifestos, publishing the unpublished poetry of some of its members, and bringing to press his own texts from the period of his deepest involvement with surrealist theory and practice, such as\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e19 Projectos de Prémio Aldonso Ortigão seguidos de Poemas de Londres\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1971),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePrimavera Autónoma das Estradas\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1980) or\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTitânia\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(1977).\u003c\/div\u003e\n\u003cdiv class=\"external-content line-clamp-initialized open\" data-vo-toggle=\"author-description-text13483\" data-final-height=\"1080\" data-starting-height=\"162\"\u003e\n\u003cbr\u003eIn 2005 he received the Grand Cross of the Order of Liberty, presented by the then President of the Republic, Jorge Sampaio, and in November of that same year he was awarded the Grande Prémio Vida Literária, a tribute to his remarkable contribution to Portuguese literature.\u003c\/div\u003e","products":[{"product_id":"pena-capital","title":"Death penalty","description":"\u003cp class=\"p1\"\u003e\"Pena Capital\" is one of the fundamental works of Mário Cesariny de Vasconcelos, a central figure in Portuguese surrealism. First published in 1957, the book brings together poems written between 1947 and 1976.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e«The texts in this book were written from 1948, as in the poem \"Corpo Visível\", to 1976, as in \"Informação Cancional ao Poema, Nemésio\", with the exception of the poem \"Este fresco Jardim\", which is from 1942 and closes the book.» As the poet and critic Gil de Carvalho (\"Expresso-Cartaz\") states: « Cesariny writes in this book some of the greatest poems in the language in the present century, which include, among others, \"a um rato morto encontrado num parque\", \"a antonin artaud\", \"alegoria do mundo na passagem de arnaldo villanova\", \"shaftesbury avenue\"... \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThen there are beautiful poems and many happy maquettes, the various games and presences of the one who paints, makes the city and the verses, those things, as they say, of the order of the day, to which he seems always attentive.»\u003c\/span\u003e\u003c\/p\u003e","brand":"Assírio e Alvim","offers":[{"title":"Default Title","offer_id":53339513061642,"sku":null,"price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0735\/2729\/6266\/files\/20648323.jpg?v=1783614887"},{"product_id":"primavera-autonoma-das-estradas","title":"Road-independent spring","description":"\u003cp\u003e\u003cspan\u003eIn the words of Perfecto E. Cuadrado, in the afterword he wrote for this edition, “The first edition of “Primavera autónoma das estradas” appeared at Assírio \u0026amp; Alvim in 1980.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTwenty-five years later, the author revised the text for a new edition that is only now definitively returning to the same publisher with whom Mário would end up “substantiating himself,” as Álvaro de Campos used to say of Alberto Caeiro’s relationship with (new) paganism.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDid anything change? Yes, it did, despite Mário’s playful yet serious assertions when, in two or three letters, he swore to me that he “had never changed a single word” throughout the successive editions of his poetic work.\u003c\/span\u003e\u003c\/p\u003e","brand":"Assírio e Alvim","offers":[{"title":"Default Title","offer_id":53361416110346,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0735\/2729\/6266\/files\/17636488533.jpg?v=1784025541"},{"product_id":"manual-de-prestidigitacao","title":"Manual of prestidigitation","description":"\u003cp\u003e\u003cspan\u003eFirst published in 1956, «Manual de Prestidigitação» now appears in a renewed edition, thoroughly revised in accordance with the instructions left by its author.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAs Fernando J.B. Martinho once said, «[…] The book is all him, with its scenes, its exercises, its dressing rooms, a tribute to the theatre, and the constant reminder that poetry is an art of passes and magical steps, an art of prestidigitation, whether or not it requires a manual. It is astonishing that it has taken so long for someone to remember to make the connection, the correspondence. What else could a poetry that, for a long time, has offered itself to us as ritual, as spectacle, as an invitation to initiation into the ars magna have asked for?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWas it not Cesariny who, one day, celebrated Artaud and who, through him, promised us the «awakening» to another reality, beyond the real that we have, whether susceptible to rehabilitation or not? And was it not he also who set out to welcome us and the actors into the misty castle of another prince, exposing us, mercilessly, to the \"molten metal\" that runs \"between us and words\"?»\u003c\/span\u003e\u003c\/p\u003e","brand":"Assírio e Alvim","offers":[{"title":"Default Title","offer_id":53361654857994,"sku":null,"price":45.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0735\/2729\/6266\/files\/R_8a838d72-b2fa-4b69-97ea-d84c4e86d960.jpg?v=1784029034"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0735\/2729\/6266\/collections\/Mario-Cesariny-770x513-1.jpg?v=1784025737","url":"https:\/\/www.malditalivraria.com\/en\/collections\/mario-cesariny.oembed","provider":"Maldita Livraria","version":"1.0","type":"link"}