Exchanging Glances: The Streetcar, Modernity, and the

Transcription

Chasqui: revista de literatura latinoamericana
Exchanging Glances: The Streetcar, Modernity, and the Metropolis in Brazilian Literature
Author(s): Antonio Luciano de A. Tosta
Source: Chasqui, Vol. 32, No. 2 (Nov., 2003), pp. 35-52
Published by: Chasqui: revista de literatura latinoamericana
Stable URL: http://www.jstor.org/stable/29741802 .
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GLANCES: THE STREET?
CAR, MODERNITY, AND THE METROPO?
LIS IN BRAZILIAN LITERATURE
EXCHANGING
Antonio
Brown
"E os bondes
de A. Tosta
Luciano
University/Harvard
urn
como
passam
artificio"
de
fogo
University
de An
(Mario
drade)
streetcar
The
tation
streets"
tions.
is only one of
Its importance
tion
in the experience
tion
much
This
how
Bandeira,
Rachel
de Queiroz
Clarice
the outside,
metropolitan
specifically,
the
Lygia
Fagundes
Telles,
de Alcantara
Machado
give
its problems,
city
at the modern
that
person
for more
"Cronologia";
in real social
cities
individual
and
interac?
its participa?
to it a
given
have
Brazilian
Mario
de Andrade,
Drummond
us access
to some
and,
It analyzes
Portuguese.
de Andrade,
Carlos
in Brazil
de Andrade,
of
the historical,
advent of modernity
in Brazil.
From
part of the complex
allow us to look more
at the emerging
characters
critically
at the contemporary
it has produced,
and, more
society
the streetcar,
1859
transporta?
that were
and
of
modern
of
its dictionary
offers.
definition
a symbol
streetcar
has become
of modernity
Lispector,
issues
or within
In January
the so-called
transpor?
public
means
and
in literature
of metropolitan
geography
life of
that provides
as a simple
than
and Antonio
and economic
cultural
has played
urban
the everyday
its role
for everyday
in contemporary
language
of the streetcar
in the works
of Oswald
the representations
Manuel
that the streetcar
dimension
a source
consequently,
how
of
or car on rails
However,
1325).
in the multifaceted
discusses
essay
(Webster's
the many
semantic
broader
as "a large coach
defined
has been
certain
along
on
inhabits
streetcar
the first
the history
it, who
company
of
streetcars
is at once
and its product.1
its creator
its operations
in Brazil
(Navenh,
see Allen Morrison
in Brazil,
and Emidio
started
Garde's websites). The Cia. Carris de Ferro linked the Praca Tiradentes to Tijuca in Rio de
Janeiro.
Around
twelve
the first months.
The
thousand
passengers
streetcar
first
appeared
rode
on
on
the
this new means
streets
of public
of Recife
in June
transportation
of
1867
and
in
in
Salvador and Belem in 1870. The city of Sao Paulo acquired its first streetcar only in 1872 and
the Cia
Carris
1881. The
da Carioca
and
]I would
Montague,
was
already
transporting
streetcars
in South America
de Ferro
first electric
the Largo
do Machado
to
Enr?e
like
for
their
thank
invaluable
in the city
Bou,
suggestions
around
three
thousand
in 1892.
appeared
of Rio de Janeiro.
They
Coelho
and,
Joaquim-Francisco
and comments.
They
passengers
connected
arrived
especially,
35
per day by
the Largo
in Salvador
Alexandra
in
36
March
of
in August
tion
in Brazilian Literature
Exchanging Glances: The Streetcar,Modernity, and theMetropolis
1897. Manaus,
the capital
of
nine months
was
service
On
Funda.
both Vila
the 27th
the state of Amazonas,
of
before
Sao
first
the electric
streetcars
streetcar
transporta?
electric
and Power
the thirteenth
their
received
and Higienopolis
Buarque
welcomed
whose
Paulo,
on May
Company
the service
of the same month
the Light
by
inaugurated
to Barra
downtown
and on
about
1899,
7,
1900,
to Bom
connecting
streetcars.
electric
started
Retiro
On
June
17 one could ride them on theAvenida Paulista. The linha Avenida opened on June 24 and on
December
31
electric
streetcars
two more
for
a childhood
recounting
Andrade
confesso,
bolso"
and over
tomar
grande,
that streetcars
reveal
words
largava
an integral
already
com
andar
and
de
of adult
achava
da meninice,
two
Mario
as characteristic
fumar,
bonde,
were
a Medicina,
com
1901
While
in Brazil.
million
seventeen
he perceived
em que
momentos
poucos
time
that
to Namoros
"Advertencia"
ser homem
desejava
(7). Andrade's
Augusta
At
twenty-five
day of
there were
the first
On
Paulo.
Penha.
ride as one of the activities
nos
e apenas
life: "Era menino,
desejava,
in his
memory
and
there were
1900
of
in Sao
tramway
in Sao Paulo
inhabitants
the streetcar
mentions
Rua
inaugurated:
thousand
and forty
of
kilometers
the end
At
in Bras.
appeared
twenty-four
were
services
hundred
streetcars
electric
bonito,
no
dinheiro
of
part
important
the everyday life of the inhabitants of Sao Paulo when he was a child. Moreover, by putting the
on a streetcar
act of riding
in different
ways
with
together
with
associated
and carrying
those of smoking
homem
Andrade's
power,
more
implies
grande
been
have
which
money,
than merely
in Brazil were
being an adult; it is also to be independent and successful (cigarette companies
for commercials
famous
ous
featuring
very beautiful
people
Extensions
of Man,
luxuri?
and driving
clothes
fancy
wearing
cars).
relations"
has
its invention,
since
wheel,
He
(181).
The
Media:
In Understanding
explains,
as "expediter
functioned
for
that
instance,
that was
and architect
of tasks,
no
how
the
human
bus
and
shop or factory"
sight
of the electric
streetcar, which was
of
longer within
towns developed
American
housing
the appearance
like Brazil,
countries
In Latin American
(180).
of
of
its
one very
changes
brought
modernity,
sign
important
new
creates
also
as
McLuhan
"every technology
explains,
since,
streetcar,
shown
of ever-new
the horse-drawn
of
the coming
tlwith
has
McLuhan
Marshal
all
sorts.
stresses
This
is not
and needs
surprising
in the human
the
for instance,
in the case of Sao Paulo,
it" (183). Moreover,
engendered
events
a consequence
of-a series of other important
was a part-and
certainly
context
and political
but also the social, economic
alter not only the urban geography,
that would
electric
the
fact
that
the
comes
from
in Portuguese
bonde
of the word
of the city. The origin
and
Power, which
in Brazil was constructed
streetcar
company
Light
by the Canadian
system
versions
other
for
see
website
Garde's
"bonds"
the project by issuing
financed
(Light, "Institute";
immersion
Brazil's
and their bondes marked
of the term). The arrival of the Light
of the origin
but they also promoted
to Brazil,
streetcars
Not
into modernity.
bring
only did the company
a variety
of other Brazilian
it bought
other areas, since
and in several
in Sao Paulo
progress
and
the economic
the
time. The energy distributed
at the same
impelled
Light
by
companies
the
of
a
the
in
and
marked
Sao
Paulo
of
city.
industrial
history
turning point
growth
on Sao
of the bonde eletrico
on the impact of the appearance
comments
de Andrade
Oswald
have
beings
who
arrival
of
Paulo
society:
the bonde
Anunciou-se
a burros,
sempre.
que
que
N&o mais
do condutor.
Sao
Paulo
cortavam
ia ter bondes
a morna
veriamos
E o par de burros
da
[...] o bonde
seguindo
eletricos.
Os
veiculos
puxados
iam desaparecer
para
timidos
cidade
provinciana,
sozinho
descer
depois.
Uma
pelo
equilibrado
de curiosidade
febre
breque
tomou
Antonio Luciano de A. Tosta
as
37
as
familias,
os
casas,
os
seriam
Como
grupos.
novos
bondes
andavam
que
magicamente, sem impulso exterior? (O. Andrade, Urn homem sem profissao 46)
to Andrade,
According
of
the "timid"
cars meant
trolley
dering
rio esse
to the past
and awe-inspiring
ruas da pequena
and fear was
the arrival
an
represented
1900
of
related
of the advent
sabia
e de postes"
de fios
(O. Andrade,
the bondes
the curiosity
surrounding
in
to the numerous
the
appearance
changes
odd-looking
their physical
For many
machines.
Brazilians
Para
sometimes
and
as
isso
sem
turned
of the city brought
streetcars
the electric
as their mode
as well
space,
"Urn miste
Urn homem
why
of
a bewil?
of electricity,
of fear and apprehension:
feelings
e que funcionava.
como era. Caso
evoked
enchiam-se
these
invasion
a result
were
bondes
Ninguem
de
of the reason
Part
46-47).
by
novelty
Sao Paulo
into suspicion
about
The
that also
de eletricidade.
negocio
profissao
and
and progress.
science,
technology,
the entire city. The replacement
of the streetcar excited
as Andrade
by the late electric
explains,
pulled by donkeys,
of a provincial
modern
life with a more
existence,
extravagant
the welcoming
the arrival of
of a new era. Streetcars
signaled
the replacement
is, a farewell
that
the appearance
that were
old vehicles
of
pace
living.
Ex?
changing the donkeys' strength for electric power implied the imposition of a new and faster
rhythm, which would modify not only some of their simplest daily habits but also the nature of
about
In his early cronica
the Bonde
de Santa
interactions.
that the "bonds" were
the pace of daily
life in
recognized
changing
urn bond sobe, outro desce; nao ha tempo em caminho
Rio de Janeiro. "Quando
para uma pitada
de rape; quando muito,
dois sujeitos
fazer uma barretada"
criticizes
the
podem
(363). Machado
social,
professional,
Teresa,
and personal
de Assis
Machado
of time for casual
scarcity
same cronica Machado
afeitos
a subida
interactions
personal
the
e descida
effected
a satirical
creates
do outeiro,
ontem
"esse
reason,
past:
"a diligencia
interessante
quadrupede
the introduction
two
lastimando
este
dialogue
estavam
(364). The steam-running streetcarsMachado
of an old-fashioned
by
between
of
the streetcars.
In
burros,
donkeys:
"Alguns
novo passo do progresso"
is referring to transform the donkeys into figures
e um meio-termo
olhava
a tartaruga
entre
o bonde
para
com
um
e o boi"
olhar
cheio
(364).
For
de
saudade
that
e
humilhacao" (364). Here Machado implies, not only that the animals have lost their usefulness,
but also that the population as awhole (of which the donkeys are representative) is not altogether
pleased
with
these
Machado
knew
changes.
"modern"
is a temporary
since there is always
to
condition,
going
to
at a given
whatever
is up-to-date
time. In light of this, he
something
replace
that in the same way
were
the donkeys
suggests
replaced by the steam, "o vapor ha de ser pelo
e o bateo pela eletricidade,
a eletricidade
baiao,
of
por uma forca nova"
(364). The substitution
more
be
the steam
would
streetcars
undergo
creates
specific
of
multiplicity
mental
of
by
life
[.
that being
modern
by
towards
the electric
ones
becoming
a metropolis.
conditions:
psychological
economic,
. . a
] deep
by Simmel,
"with
town
and
to Sao
add
instance,
of
crossing
creates
in the
more
habitual,
rural existence"
Paulo
such as the "imponderability
of personal
sensory
smoothly
The new
(325).
and metropolitan
the urban
that the city
that the metropolis
the street, with
the tempo and
suggested
life-it
more
the shift
signaled
has
Simmel
every
social
the slower,
small
for
Georg
and
occupational
contrast with
the sensory-mental
phase of
the electric
streetcars
would
discussed
in Sao Paulo,
relationships"
(327)
foundations
flowing
of
rhythm
rhythm
brought
characteristics
and the "blase
outlook" (329); in other words, the "atrophy of individual culture through the hypertrophy of
objective
authors
culture"
like Oswald
phor for modernity
source of a variety
(338).
and
it should
Therefore,
de Andrade
often
its consequences.
of popular
linguistic
times
come
used
It is also
expressions
as no surprise
that some modern
the streetcar
in their literary works
easy
to understand
in Brazilian
why
the bonde
Portuguese.
Brazilian
as a meta?
became
the
38
tells us how
de Andrade
Oswald
the appearance
of
the first
streetcar
electric
was
in Brazil
tomou um aspecto
de revolucao.
Todos
of anxiety
and dread: "A cidade
by feelings
accompanied
ver.
os
se locomoviam,
E
ir ate a temeridade
de entrar no
mais
afoitos
procuravam
queriam
sem profissao
to
andar de bonde
Um homem
eletrico"
48). According
bonde,
(0. Andrade,
Andrade,
source
of
48-49).
the new
with
associate
to come:
times
E matar
trilhos!
todo
o mundo"
together with
as an untamed
and power,
the bonde
of
led to the characterization
(O.
a natural
animal:
Um homem sem profis?
(O. Andrade,
that many would
the danger
an image of danger,
esse
era muito
tinha noticia
perigoso
[...] de que
[...]. La vem o bonde! Toma
the streetcar acquired
Consequently,
o bicho!
"La vinha
dos
of speed
the novelty,
that
was another
of
the streetcar
of
the speed
trails,
saltar
48). This mixture
also
the unknown,
de
to be part
wanted
people
and
"E capaz
sem profissao
homem
fear of
human
but many
wires
the population:
for
Um
hesitant,
the many
slightly
Besides
modern.
fear
Andrade,
sao
was
everyone
is, to become
"Eu
cuidado!"
ficava ali grudado e seria
negocio de eletricidade. Quern pusesse os pes nos trilhos [do bonde]
esmagado
insertion
fatalmente
is mine).
Precisava
bonde.
pelo
Metaphorically
sem profissao
Um homem
46;
(0. Andrade,
streetcar means
the
run over and crushed
by
pular"
being
speaking,
to be incapable of keeping up with modernity.
are rare
bondes
Nowadays
seen one. Due
never
memories
they
to what
evoke,
they
in most
cities.
Brazilian
now
might
are occasionally
be
their
considered
in touristic
used
and
teenagers
Many
even
have
adults
the nostalgic
and
design
quaint
areas. This occurred
in
in Santos
de Engenharia de
January of 2002, when the Bonde Camarao was restored by the Companhia
Trafego
for use on
Caetano
Veloso's
the touristic
(Navenh,
tramway
In many
"Cronologia").
cases,
streetcars
have
become a symbol of the same idea of the past it once repudiated. This is evident in the lyrics of
Urbanos"
"Trilhos
song
o
"O melhor
(1979):
esconde
tempo
/ Longe
muito
a
Bonde da Trilhos Urbanos
longe /Mas bem dentro aqui / Quando o bonde dava volta ali [...]
/ Vao
passando
author's
words,
os anos
In the
e te traduzir"
te perdi
/ Meu
trabalho
13-16).
(1-4;
the poet feels; that is to say,
the
the streetcar
nostalgia
symbolizes
/ E eu nao
of
the absence
a longing for the kind of social and professional interactions, lifestyle, and values of a bygone
era.
In essence,
bonde
to miss
is to translate
the streetcar
the past,
its memories,
it "present."
Thus,
implicit
as such, must be preserved.
make
In "Nao
Pago
o Bonde,"
Leonel
an entire
is to miss
in Veloso's
Azevedo
culture,
lyrics
and
cultural
and values,
is the
J. Cascata's
idea
to translate
period. And
a
in
certain way,
which
is,
that
the streetcar
well-known
is history
1938 Carnaval
the
to
and,
song,
the streetcar's "inaccessibility" is portrayed as the result of economic limitations. The bonde is
out of the reach of the narrator, who nonetheless
gets on the streetcar
and theoretically
expensive
e muito
/ O meu
nao
o
/
bonde
"Nao
ride:
the
for
pagar
to
posso
and refuses
Porque
pago
pay
lado de la / Tern uma porta
casas
rua
/
na
das
Moro
/
/
E
nSo
Daquele
chega pra gastar
pouco
stance
defiant
The passenger's
a Light me cobrar"
/ Mande
"Cultura").
(Light,
janela
he
in
that
an
of
act
civil
to
disobedience,
is tantamount
challenges
the Light Company
towards
he seems
of transportation.
to monopolize
this means
Moreover,
the right of this rich corporation
a
de Bonde,"
In
to
the
of the streetcars'
to insist on the injustice
poor.
"Viagem
inaccessibility
fare. The
to pay the streetcar
one of the passengers
also refuses
de
Rachel
cronica
Queiroz,
by
as a strong black man whose
as a figure
since he is described
of power
is portrayed
character
do Trabalho
of theMinisterio
one
the
leaders
like
of
who
and
looks
Stalin's
resembles
moustache
e uma
in order not to pay for the ride.
the conductors
(54). This man avoids
to financial
"Sei que nao pagou
his act cannot be attributed
hardship:
The
narrator
a passagem
suggests
a nenhum
that
dos
39
e devia
dois
centavos"
fazer
por
aquilo
The man's
(54).
nao
esporte;
se
cara
tinha
de quem precisa
as an amusing way
is explained
dishonesty
por
sujar
to retaliate
cinquenta
the
against
Light: "pois quem e que nao gosta de ver se tirar um pouco de sangue a Light?" (54). The
with
dissatisfaction
popular
after a quarrel breaks
have
them:
out,
conductor
"motorneiro,
later in the text when,
explicit manner
should
and the other Light
employees
in a more
is shown
that the conductor
argues
rather
the people,
em vez de
e fiscal,
with
themselves
aligned
the Light
a man
than
that
the company
com
se aliarem
and
exploits
nao passavam
o povo,
enslaves
de uns
lacaios da Light" (54). This comment upsets the conductor, who challenges theman to a physical
on
out
fight
The man
street.
the
(54), which
refuses,
the people's
demonstrates
out
pointing
se metia
"nao
that he
as an invader,
of the company
view
com estrangeiros"
an imperial
exploiter
that is only seeking profit.
The
"Bras,
Alcantara
is after
death:
nao
Gaetaninho
de um caixao
more
"As
ou
ia na boleia
de nenhum
com
fechado
flores
pobres
the character's
em dia de enterro.
his
dream
dos
opportunity
saiu um enterro
seguinte
carros do acompanhamento.
por
cima"
triumph
the
manipulates
"-Sabe o Gaetaninho?/
in an automobile
for an automobile
la no da frente
in such
e que
-Que
tern?/
because
especially
so as to give
a way
e
dentro
to read Gaetanin?
(58). One may be inclined
over his social determinism,
language
ride
do Oriente
da Rua
dia
do
a rale quando
enterro ou de
De
of riding
he has
the only
in
the bonde
song,
"Ali na Rua Oriente
classes:
fulfill
de Alcantara
in Antonio
reality
and J. Cascata's
s6 mesmo
cannot
Machado
his death:
after
carro
In fact,
horas
economic
Azevedo
the lower
Gaetaninho
dezesseis
that Alcantara
agency
automovel
limitations.
and
Unlike
with
De
as symbolizing
death
to a social
Funda."
is associated
character
socioeconomic
his
it seems
story
The
(55).
to his
ho's
Bexiga
e Barra
de bonde.
casamento"
due
connected
Machado's
andava
muito
is also
streetcar
Machado's
the boy
o bonde!"
-Amassou
(58).
could be read as his destruction
of his socio-economic
restraints.
the streetcar"
How?
"Smashing
to be read as liberating
in this story, why wasn't
the boy run over by an
ever, if death were
a chance?
e ele nao viu o Ford"
o derrubou
automobile
when
there was
"O Ford quase
(54).
that runs over
it is the streetcar
Instead
pegou.
e matou"
Pegou
him
the streetcar
Since
(58).
in the end:
"Antes
is used
as a symbol
de
alcancar
a bola
for all that which
um bonde
o
demarcates
the boundaries of his existence; that is, the poverty and oppression that finally kill him, the
message
ismore
Even
pessimistic.
during
the funeral
the author
reminds
of the charac?
the reader
ter's lower class status by making mention of theflores pobres on top of his coffin (58).
It is also
to read
possible
the story
as a commentary
on modernity,
represented
here
by
the
automobile. The first automobile appeared in Sao Paulo in 1893, imported by Henrique Santos
Dumont
and
"Cronologia").
whether
Naturally,
one may
Therefore,
Azevedo
the first Brazilian
and
represented
of the automobile
link the economic
J. Cascata's
by
song.
Both
the streetcar
Iseta, was
the Romi
automobile,
the arrival
to the modern
texts
show
produced
diminished
both
that
or the automobile,
in Alcantara
the advantages
for many
only
in 1955
the importance
years
Machado's
(Navenh,
of the streetcar.
story
and
in
of modernity
in Brazil,
were
accessible
only to
the elite.
dred
to the Light Company
website,
According
and twenty Brazilian
songs. The electric
(Light,
"Cultura").
are cited
the Light
and their services
in one hun?
streetcar
itself appears
in over seventy-eight
songs
been turned into an
and, consequently,
disappeared
Despite
having practically
so profound
the bondes*
was
the past,
and cultural
social
in
historical,
importance
Brazil
that the phrase o bonde
in multiple
is still used metaphorically
For
popular
expressions.
o bonde
a good profes
someone misses
the well-known
is used when
example,
expression
perder
emblem
of
40
or fails to do something
to Mario
the expression
Prata,
opportunity
important. According
as the result of a historical
event: In Rio de Janeiro
in 1921, Jose Severino
Sanseveri
sional
came
no,
about
do bonde
"motorneiro
e nunca
mais
35 (Lapa-Castelo),
soube
ninguem
dois"
dos
perdeu
um bonde.
Prata
(135).
Saiu para
explains
com o veiculo
trabalhar
that there was
an article
about
the
incident on page 8 of the newspaper 0 globo on April 30th, 1921. After that, people started
joking with their friends before they would engage in a professional deal by saying something
like: "Nao
errado.
tive,
is used when
of a business
a wrong
common
ask. Another
they
as a joke when
is also used
expression
the outcome
one makes
when
simply
The
o bonde?"
"Voce perdeu
This
or
o bonde\"
vd perder
to a meeting.
expression
of many
favorite
arrives
is tomar
or an experience
deal
A
decision.
someone
late
o bonde
is surprisingly
nega?
is tomar (or
Brazilians
pegar) o bonde andando. Older Brazilians usually explain that in cities like Rio de Janeiro the
were
streetcars
as big
not
as those
and were
in Sao Paulo
on
open
It was
the side.
common
for
a passenger who had justmissed the streetcar to run alongside it and hop onto itwhile already
so that he would
in motion
someone
when
a discussion
joins
someone
used when
It is also
for
without
late to a movie,
of Brazil
states
one. Nowadays
the next
in progress
already
arrives
In some
the program.
part of
to wait
not have
misses
consequently,
as slang for a bad business
and,
is used
bonde
the word
of conversation.
the topic
knowing
or meeting
play
is used
the expression
is also slang for "drug
an ugly woman.
In the city of Rio de Janeiro bonde
- um
numero
de
and the bonde do mat "e o arrastao
que, correndo
delinquents
grande
sera
a origem
do
"Bonde
valor"
tudo o que signifique
leva a sua frente
Qual
(Garde,
or to describe
deal
dealer"
a par,
This
termo?").
or people,
use of the word
contemporary
is certainly
in Brazil,
were
the bondes
because
with
associated
of things
aspects
negative
unattractive
considered
generally
which
machines,
de Andrade
frequently broke down. In a poem entitled "0 Combate" (Pau Brasil 121), Oswald
them
calls
cdgados
Furthermore,
modernization
plete
In Oswald
de Andrade's
sees from
narrator
fox
and their
to both their ugly appearance
eletricos"
(14), referring
on the slow or incom?
a commentary
also be making
the author might
as a whole.
or to its late arrival
in all of Latin America
in Brazil,
"Grandes
inefficiency.
trot, a telephone,
Alimaria,"
115).
His
the movie
In this poem,
a horse
and
view
panoramic
theatre,
between
the confrontation
the bondes
"Bengalo,"
poem
his window.
and
the Fords
the modern
the wagon
it pulls
and
get
as part of
the modern
a piano
playing
the newly
Brasil
123).
are cited
includes
(Pau
the "archaic"
stuck
on
city
imported
"Pobre
In Andrade's
a theme
is also
(Pau Brasil
rail. The
the streetcar
the
conductor
gets impatient because he is in the midst of taking lawyers to their offices. They release the
vehicle,
cited
but
the horse
in the title of
gets whipped
the poem.
The
as a punishment,
streetcar,
which
partly
of course,
explains
represents
because
The horse deserves
horse-car.
the old-fashioned
sympathy
of the electric
with
the introduction
form of transportation
useless
and the old cannot
is inevitable
here
is that progress
stop or get
Schwarz
sign
points out that another
reading of this poem, Roberto
the pity
it has become
streetcar.
One
in the way
for the animal
as opposed
to
an outdated
and
modernization,
of
of the messages
the new.
In his
are the lawyers,
of modernity
a rather simple
tramful of legal men
it is only a relative modernity-a
society,
suggests
though
small. We shouldn't
whose
forget that progress
comically
idyllically,
gamut remains
professional
is
of solicitors
is true even today?the
and that in this sense?as
phalanx
really needs engineers,
of 'the posh side, the erudite
in the direction
the wrong
side, the one that
way, pointing
going
The progress
but its limited nature, which
is undeniable,
the right authorities'
quotes
[...].
allows
defined
in the same context
it to be placed
as progress,
is no less undeniable.
as the backwardness
in relation
(112)
to which
it can be
Antonio Luciano de A. Tosta 41
Drummond
Carlos
discussion
another
de Andrade,
the emerging
of
modern
Brazilian
also uses
poet,
e a Nausea,"
In "A Flor
modernity.
a flower
the streetcar
in his
in the middle
blooms
of the street (Drummond, Antologia 24-26). The flower is the anticity, antimodernity symbol. Its
in an improbable
"birth"
unexpected
like
place
the modern
the attention
catches
city
the poet.
of
The flower defies the asphalt, the police, the tediousness, and the hatred of the city full of crimes.
The
"Passem
writes,
poet
The
desbota"
(35-36).
and as such, it must
environments
and a modern
present.
itself
away
Cordeiro
e resultado
historica,
da
also
represents
flower.
como
"a cidade
e do
The
trabalho
como
construido,
city,
natural
an archaic
between
do homem
"iron"
between
opposition
ainda
flor
the artificial
ambiente
coletivo
/ uma
trafego.
to an opposition
corresponds
Gomes,
imaginac&o
do
the antinature,
the "natural"
from
aco
de
rio
onibus,
the bus,
in the poem
to Renato
According
bondes,
longe,
like
keep
and artificial
dade
de
streetcar,
past
necessi
a nature
que desafia
za" (23). Citing Beatriz Jaguaribe, Gomes points out that
o ato
da primeira
fundador
Vem
simbolicamente
como
Indica,
tos primordiais:
com esta ordem
neste
de comeco,
contexto
Com
referenda
perfeita.
o resultado
de duas
disjuncao
que se acopla
it is not
Therefore,
recurrent
mond'
motif
Everyone
was
the world
was
The
modernist
sleeping:
to end
going
writing.
"As
the
pensoes
and nobody
This
image
about
a separacao
antinomicas:
nomade.
e o fato
de uma
a
e natureza
cidade
(80)
the metropolis
occurs
again,
topos
of a drunken
dormiam
alegres
knew
a cidade,
forcas
between
struggle
starts with
poem
still
'sedentario/
that this
surprising
in Brazilian
s "Aurora."
a dicotomia
Paraiso
o antagonismo
entre dois elemen
a ordenacao
e o rompimento
de Deus
do Genesis,
functional,
e produto
de uma maldicao.
e articula
e cidade.
culpa
exilio,
a perda
do
a separacao,
confirmar
um mito
no
criada
cidade,
poet
and nature
for
on
tristissimas"
a streetcar
(3). We
a child, who
it?except
kept
a
is such
in Drum?
instance,
at dawn.
then
learn
that
quiet.
The
tone
of the beginning
of the poem
is tragic and hopeless:
"Tudo era irreparavel.
/ Ninguem
sabia que
o mundo
ia acabar"
This
is
associated
with
which
is what
(5-6).
"drunkenness,"
catastrophe
to "see" and, consequently,
the inability
annuls everyone's
to
The
"know."
generates
capacity
poet cannot literally see the "end of theworld" from the streetcar because he is drunk. The people
see
cannot
it from
their houses
because
they
are
and
sleeping
thus
"drunk":
equally
casas
"As
tambem iam bebedas" (4).
hears an "apelo na aurora: \amos
todos dancar / entre
Despite
being drunk, the poet suddenly
o bonde
e a arvore?"
This "call from the dawn," a kind of divine
(16-18).
intervention,
proposes
a solution:
the appropriate
for the city dweller
is "between"
the "streetcar"
and the "tree."
position
It is here that the poem
reveals
its message:
the commitment
to modernity
leads to and requires
loss of innocence;
which
blurs our "vision"
us from
of the world
and prevents
fully understanding
the dangers of uncontrolled
and heedless
The "end of the world"
the ultimate
progress.
represents
level of danger
for mankind,
which,
too deeply
involved
in it and are,
on one hand modernity,
dialectically,
and salvation.
innocence,
repentance,
naturally,
therefore,
only
also
an
innocent
to blame.
child
As we
can
can
"see."
see,
All
others
the poem
are
places,
and punishment;
and on the other, nature,
danger,
cannot be erased and is inevitable,
the poetic
voice calls for the reconciliation
of the opposites,
the rampant progress
neither
here
alone,
repre?
nor the "tree," a symbol
sented by the "streetcar,"
of the uncivilized
rural setting. The way
out
is a "movement"
between
them. One
cannot miss
the religious
subtext
in the poem.
(a dance)
After
all,
synthesis
Jose,
Helena,
presented
as
Sebastiao
the revelation
sin, guilt,
Since
progress
and Artur
brought
"embarcam
by
para
the aurora's
a eternidade"
call
"saves"
and the
(10-14),
the drunk and blind
42
an opportunity
for all modern
and is
individuals
for contrition
o bonde
e a ?rvore / dan?ai, meus
The tone of
irm?os!"
(19-20).
is one of hope.
in "brotherhood"
is now united
and the message
the poem has changed.
Everyone
as
are
will
Drum?
if
"Death"
still
to
dance
invited
come, writes
communally,
celebrating.
They
in fact,
which,
poet,
symbolizes
to "salvation":
the path
"Entre
mond, but if the modern person finds this position of reconciliation with nature (and God),
"como um sacramento"
is possible:
(29).
one might
voice
the poetic
attribute
of the beginning,
streetcar
the
is
the
and
who
city. One
watching
o?fl?neur
"salvation"
to that of an outside
Because
a kind
could
observer,
it
that
suggest
certainly
is the ubiquitous eye of God observing the community. But it is also possible to designate the
drunken
as the source
poet
of a window
"sees"
the poet
and
street
of
to the "interp?n?tration
attention
From
of enunciation.
which
from
the streetcar
that perspective,
creates
the city. Walter
our
called
has
o? ihe fl?neur
in the experience
and residence"
a kind
becomes
Benjamin
(423).
on the streetcar,
Fittingly, in this poem the gaze is directed not only at the drunken poet himself
but
on
to interior
also
"Jos?,
(3-4):
colocava
que
Helena,
pronomes/
is an observer
on a streetcar
afl?neur
Moreover,
(10-11).
what
also witnesses
he
since
in the community,
spaces
casas
and
the pens?es
inside
homens"
and exterior
que
is going
os
amava
since
by modernity,
guided
is associated with walking, a more "natural" activity. It is also
the original idea of thefl?neur
is "drunk."
that thefl?neur
interesting
particularly
over
the man who walks
long and
aimlessly
the
through
streets"
comes
"an intoxication
to Benjamin,
According
For
(417).
this
Benjamin,
intoxication is anamnestic (417) and characterized by doubt and indecision (425), which in the
poem
is represented
view
the drunkenness
should
what
it is precisely
between
the
not be associated
with
the "dance"
by
the
tree. But
as in my
blindness,
this point
from
of
Rather,
reading.
previous
to "see."
the fl?neur
empowers
and
streetcar
In "Brinquedo" Oswald de Andrade plays with S?o Paulo andwith itsmodernity (O. Andra?
caderno
de, Primeiro
child's
of folkloric
itself,
rotating
the "bondes
da Light"
phones,
automobiles,
and
movement,
also
repetitious
other
among
are
skyscrapers,
a metaphor
form
signs
spinning
for urban
of a "cantiga
and dance,
tiro tiro
like the children
in circles
(11),
a ring
/Manda
roda S?o Paulo
and moving
character,
the children
in which
song
is "Roda
the refrain
Here
the tone
uses
author
The modernist
23-24).
do
l?" (1-3).
de
repeating
city becomes
in the Brazilian
game.
like
of modernity
symbols
in the roda. This
around
the poetic
voice
a sort of
Like
and
life, allows
a refrain.
usually
The
a kind
roda,"
the verse
the
to suggest
tele?
and
fast-paced
a kind
of tour of the city through critical eyes. The poem tells the story of modernization from its slow
like before modern?
the city was
what
It starts by mentioning
to its rapid acceleration.
ruas.
/ Nas
/
Pouca
/ Uma
cidade peque?a
"Da minha
ization:
gente passava
janela eu avistava
little
there
a
is
in
which
small
views
the
window
From
very
his
Era urna pena" (3-6).
city,
poet
the roda, as
in its pre-modernization
era, when
the "old" S?o Paulo
This is probably
movement.
stanza indicates
that the poet is not
would
Andrade
put it, had not yet begun. The last line of the
will be
hints to us that modernization
(6), which
very happy with what he sees: "era urna pena"
in
the poem.
later
in a positive
viewed
way
beginning
our
ciranda
/ Os
streetcar
from
modernization
that had
fast-paced
initial
autom?veis
Andrade
judgment.
correram
the outside.
does
announces
the poem
when
However,
reevaluate
He
about
all
"Os
of modernization
bondes
da Light
we
are
soon
bateram
impelled
/ Telefones
to
na
the
observes
The author
redor da varanda"
(11-14).
his eyes,
at the city as a whole.
at it as he glances
Through
the poetic voice
one would
as perhaps
expect from
unproblematic,
/ Em
glances
not appear
just complained
dance, where
the arrival
writes,
the old S?o Paulo.
the symbols
It is depicted
of modernity
occupy
as a kind
of chaotic,
the same
physical
frenetic,
space,
and
the city,
or rather,
the roda.
lack of order
and
first
is shown
Chaos
sequence,
the streetcars
because
were
streetcars
since
supposed
is a symbol
crash, which
a time
to follow
for
the
and a route.
schedule
If they crash, the content of both the city's time and space are disrupted.
also
Andrade
a "menino
introduces
grand?o"
entrou no brinquedo/
in the city: "Depois
are
c?u" (23-26). We
rodou no meu
Que
ha-c?u/
a metaphor
for the first
arran
Foi o primeiro
as the
the menino
grand?o
in the poem
(24),
Urn menino
grand?o/
skyscraper
to read
tempted
metropolis of today; as opposed to the "little boy" the city was in the past. Here the "big kid"
and
are both metaphors
the skyscraper
sion.
taller
get
Buildings
However,
rhythm.
generating
for each
other
and
and
of modernity
symbols
and the city
taller, the "boy" grows,
the image of a "big kid" also helps
and
rodando
keeps
to suggest
its expan?
in its self
the
idea
an
of
incomplete modernity, for he has grown in size but not yet matured. Considering the Brazilian
modernist project, of which Oswald de Andrade was one of the leading figures, one could also
read
on
this commentary
the
as a criticism
modernization
incomplete
the underdevel?
regarding
oped state of the country's intellectual community at the time. Later the poet looks at the city
as his
from his backyard,
below:
city
sprawling
now
interior window
"Do
eu avistei
quintal
seems
too small
to encapsulate
the vastness
of the
e pontes
como gigantes
/ Rodaram
/
torres
/ Casas
At? que enfim parei" (27-30). The small city from the beginning of the poem is gone. From his
scene
The
next:
"Hoje
that are towers and enormous
that seem to encircle
him.
only houses
bridges
is so overwhelming
that he can no longer look at it, yet he tells us what happens
a roda cresceu
/ At? que bateu no c?u / ? gente grande que roda / Mando
tiro tiro
sees
he
backyard
l?" (24). The "big kid" is gone and the city is now inhabited by gente grande, which is both a
definition of the inhabitant of themodern city and of the capitalist ruling power and its leaders.
The
does
poem
not
in "Aurora,"
world"
say
the roda
Andrade's
similar
to Drummond's
implies
that modernity
but
exploded,
poem
certainly
motif
of
reached
the "end
of
a dangerous
the
limit.
Not only does the roda approach the sky, but "hits" it,meaning that it reaches the limit and at
the same
time
forces
itself upon it. The poet cannot
look any longer, afraid of what
aggressively
see next or perhaps
he knows
the modern
and as such
just because
city itself is sublime
he might
it escapes
representation,
we must
remember
Again
of "blind"
and,
of
functions
artists
an
modernity,
Like
therefore,
(Drummond,
also present
the poet
in Drummond's
Drummond
also
"Jos?,"
what
cannot
is not only
one may
the presence
relates
not
be
represented.
drunk,
but also
sort
infer
that even
the
interference
of
to the
"Aurora."
the streetcar
it does
Rather,
20-22).
to represent
where
the city. Consequently,
are subject
the modern
world,
and
city,
life. In his famous
Antolog?a
it is useless
"Aurora,"
to "write"
in the modern
de Andrade,
of city
progression
unable
implication
Oswald
that
suggesting
Drummond's
does
appear
of
the streetcar
not crash
at all.
like
In one
to the natural
in Andrade's
stanza,
poem
Drummond
characterizes chaos in Brazil by listing things that did not happen that day: "o dia nao veio, / o
n?o veio,
bonde
/ o riso
nao veio
/ nao veio
a utopia"
Some might
read
(20-23;
emphasis
added).
it as the expression
own frustrations
of the author's
as the average
Jos? may
or
also be interpreted
Brazilian,
a means
is lost without
of transportation,
that is, he is without
as an autobiographical
poem
or failures.
the character
However,
"Jos?"
rather,
between
him:
Brazilian,
every
direction,
destiny,
self and
"voce
or
who
and
see
one
identity. Either way,
the streetcar
the world.
Since
of
the
themes
did
not
show
of
up,
the poem
Jos? walks,
is the
but
relationship
the poet asks
Jos?! / Jos?, para onde?"
Jos? keeps moving
on, but he lacks the
(62-63).
the
that
streetcar
the
would
him.
The
not
is
guidance
speed
poem
provide
entirely negative,
since Jos? is not stuck in time and space. He does want
to get somewhere
but all the circumstanc?
es seem
to be against
him: "Com a chave na m?o/
quer abrir a porta/ n?o existe
quer
porta/
marcha,
and
44
Exchanging Glances: The Streetcar,Modernity, and theMetropolis in Brazilian Literature
no mar/
morrer
the choice
of
Another
a certain
implies
the military.
with
read
collective
n?o
Minas
h? mais"
discipline
in his manner
as part
and not
of
of a group,
is problematic.
project,
is the common
of the verb
association
dimension
one
to the poem,
According
Moreover,
(38-44).
and organization
alone
is "marching"
a
as
collective
"jos?"
Jos?
if we
that,
of the poem's
in Portuguese
ir para Minas/
quer
the character
hand,
indication
"marchar"
secou/
"marchar"
a lack of unity
indicates
which
o mar
the other
On
walking.
mas
the verb
cannot
get anywhere
by
"marching." If the poem had been written during the two decades of military dictatorship in
Brazil, and not in 1942, thisword choice would be an aptmetaphor for both theway inwhich
is still
the verb
rule in Brazil. Nevertheless,
and for the tone of its dictatorial
operates
a fascist
that the country was
if one remembers
through
going
appropriate
the army
under
dictatorship
Get?lio Vargas's rule, which promoted censorship and ideological control. Even before the
military
were
citizens
in 1945, Brazilian
Vargas
deposed
already
as soldiers,
to "march"
supposed
that is,move in the direction dictated by the authorities and passively obey their orders. There?
voice
the poetic
fore,
the ruling
and blames
criticizes
subtly
lack of
the nation's
for
machine
direction, since it implies that the path it provided would take Brazil nowhere.
An
reason
additional
it was
because
we
cannot
dismiss
totally
to North
due
that Brazil,
in 1942
the notion
American
is, after
criticism
of military
war
declared
pressure,
all,
on Germany,
was sent to participate in
Italy and Japan. In 1944 the FEB (For?a Expedicionaria Brasileira)
World
II. If Drummond
War
disagreed
with
the way
line of
last
this
the country,
ruled
Vargas
Jos? could just as well have been his response to the dictator's decision to send Brazilian troops
to the war
the poem
equal
that Drummond
I am in no way
arguing
(naturally,
and asks
a strong social and political
criticism
makes
on
intensity
says. After
to get on
allowed
their
is the only
of
the streetcar
option
effective
the Brazilian
left for Jos??and
progress.
case,
reflect
with
Drummond
are not
people?who
the streetcar
Therefore,
In any
society
the agora,
the present,
to think about
It is important
reality.
all, "marchar"
Nazism).
supported
that Brazilian
here
functions
not
as a symbol of the ideal
only as a kind of metaphor for the continuity of everyday life, but also
"direction"
the nation
should
Rachel
de Queiroz
also
Unlike
Bonde
Drummond's
the
"Jos?,"
de Dentro
Engenho
take
uses
arrives
in the social
her
cr?nica
target here
as crowded
and political
spheres.
de Bonde"
"Viagem
is not the army, but
as usual,
says
a political
to make
the Federal
the narrator
criticism.
Government.
(53). Nevertheless,
The
other
But
for those arriving.
seems
to be room on the streetcar
on. There
always
keep getting
ensues:
tinha
"o
bonde
out
a
and
chaos
breaks
to
start
some people
when
get off,
quarrel
trying
no meio
da luz verde aberta para os carros em dire?ao
contraria;
parec?a o dia do ju?zo
parado
os bracos"
e
o
sacudindo
os
o
autom?veis
bonde
(55).
buzinando,
final,
guarda apitando
parado,
"isso tudo
for this confusion:
is to blame
comments
that the government
One of the passengers
constitucional
acontec?a
[...] da mudan
porque o Governo
promete mas n?o cumpre o dispositivo
faced by the city of Rio
of the problems
that many
(53). He argues
?a da capital da Rep?blica"
are due to the bureaucratic
de Janeiro, which was at that time still the capital of Brazil,
machinery
people
such as transportation,
If the capital were moved,
problems
municipal
o Rio com um milh?o
de vagas
overcome:
maravilha
be
"que
supplies
housing,
a menos
um milh?o
de bocas
um milh?o
?as residencias,
de vagas
nos transportes,
[...]. As
Bonde
a
Like
the
o
cruzeiros!"
arroz
baixa
se
acabam
favelas
(55).
autom?ticamente,
quatro
of the Federal
Government.
and
Engenho
de Dentro,
for Rio,
metaphor
deixar este Rio,
agua"
(55),
could
food
but
the city
both
is crowded
and
and
the Government
chaotic:
overpopulated
assim mesmo
superlotado,
apertado,
of
for the people
it is also a symbol
is to blame.
The
streetcar
is a
de
tern coragem
sem luz e sem
sem transporte,
sem comida,
as opposed
to the automo
the lower classes,
"e s? um
corac?o
de
ferro
as in Alc?ntara
bile which,
Machado's
e Barra
"Bras, Bexiga
Funda,"
the elitist
represents
luxury
and power of the Government officials: "Imagine que delicia o Rio ficar livre de toda a laia dos
bur?cratas, dos autom?veis dos politicos e dos politicos propriamente ditos" (55).
In the poem
da perdida
"Soneto
Drummond
esperan?a,"
o bonde
"Perdi
writes,
e a esperan?a.
/ \folto p?lido para casa" (1-2). This time the poet seems to be using the streetcar in both a literal
and a figurative
the streetcar
other
poems,
world.
For
means
narrator
The
way.
time
symbolizes
here Drummond
as one
time
of
and now
lost his way
dilemma.
As
the complex
explores
he uses
this reason,
that he has
an individual
the
of
motifs
This
hopeless.
as in a number
between
connection
the principle
he feels
as well
in "Jos?,"
individual
this poem:
"Vbu
of his
and
the
a
subir
ladeira lenta" (5); "Entretanto h? muito tempo nos gritamos: sim! Ao eterno" (13-14). Another
idea
central
is the
of
importance
the choices
one makes:
"Todos
world
in Drummond's
ao
conduzem
[os caminhos]
principio do drama e da flora" (7-8).
self
The
is also
confronted
with
a challenging
"Poema
de Sete
Faces"
(Drummond, Antolog?a 13-14). Once again the streetcar is the instrument that brings the two
"O bonde
together:
meu Deus,
pergunta
to have
appears
meu
legs of
de pernas:
cheio
passa
brancas
pernas
amarelas.
pr?tas
Para
que
tanta perna,
corac?o"
is the streetcar
crowded
with
but it
(8-11). Not
only
people
and to "run" madly
the modern
individual.
time, as does
against
its own
To look at the streetcar is to look at amirror, but the poetic voice finds his reflection disquieting:
"Para
meu
tanta perna,
que
Deus"
is at once
(10). Drummond
the fast-paced
addressing
rhythm
of everyday life in a metropolis and the difficulty the individual faces in coping with it.
also uses
de Andrade
Oswald
to make
the streetcar
a
statement
personal
in "Poema
? Patri?
cia," dedicated to his new wife "Pagu" (Patricia Galv?o): "Sair?s pelo meu braco gr?vida, de
bonde / Teremos seis filhos / E tr?s filhas / E nosso bonde social / Ter? a compensa??o dos
/ E dos
cinemas
aniversarios
dos
beb?s
/ Seremos
felizes
como
os
/ E os motorneiros
tico-ticos
/ E teremos o cinismo / De ser ba??is / Como os demais /Mortais / Loc?is" (qtd. in Boaventura
157). Here Oswald seems to be planning the kind of life he would have after his marriage to
to Maria
a more
to embrace
Oswald
Boaventura,
Eugenia
Pagu
encouraged
to be as happy as "os motorneiros"
says (Boaventura
(8), as the poem
157).
on the streetcar
a change
in this poem
connotes
in social class, which
is also suggested
Getting
the poetic
voice enumerates,
such as having many
children.
Oswald
by some of the actions
plans
Pagu.
According
proletarian
to be
lifestyle,
like common
"banal"
lifestyle
that one may
ful experiences
es more
than
of
like going
the author's
the bourgeoisie
people
achieve
as the motorneiros.
such
the compensation
But
of happiness,
to the movies
hand-in-hand.
personal
the same
as meaningless
and walking
desire
since, by
and
criticizes
it is only
found
solely
The
a more
in small
but meaning?
poem,
therefore,
it characterizes
token,
its abandonment
through
of
important
the
values
banal
express?
lifestyle
such
as
friendship and family.
Oswald
de Andrade's
how modernity
affected
general
people's
project
lives
has
in public
a collective
and
scope.
in private,
The
as well
shows
"Brinquedo"
as in interior and exterior
poem
even
that the difference
between
these spaces was
perhaps
suggesting
irrelevant
since they appear intersected
in the text (O. Andrade,
Primeiro
caderno
23-24). We see
a ciranda,
tools at the time, playing
which
is a game
telephones,
"private"
generally
played
outside. And
the automobiles,
associated
exterior
with
private machines?but
usually
space?run
spaces
in Sao
Paulo,
the porch, which
is at once a private
and exterior
space. One should note that by making
the automobile
man
is making
and machine
on
which
is a comment
"run," Andrade
analogous,
how modernity
on human
its rhythm
to such an extent
that one becomes
the
imposes
beings
around
other. Moreover,
modernity
also
dehumanizes
us,
as Andrade
seems
to suggest.
46
Mario de Andrade, another leader of theModernist movement
the status
of art in the modern
with
of his preoccupation
their
in Paulic?ia
also
His
book
native
of poems
one
The
architecture,
history,
of
the depiction
such as Charles
of
importance
is a good
modernist
the first Brazilian
of
its inhabitants,
city,
desvairada
Paulic?ia
is unquestionable.
desvairada
in Brazil, like Oswald de
the modern
its images,
S?o Paulo,
in general.
with
concerned
Considered
modernity.
of modernity
experience
experience
world.
de Andrade's
is about Mario
book
was
and the other modernistas,
Andrade
Critics
works,
the
people,
and
urban
the modern
A.
and
example
Perrone
have
rightly pointed out that it "comprises a launching pad of an urban imperative in the modern
of verse initiat?
us that "this multifaceted
collection
of Brazil"
(18). Perrone has reminded
poetry
. . . other
that passes
thread in Brazilian
ed a city/artist-in-the-city
]
[
principal
through
poetry
. . . and finds
the
in
both
modernistas
o?poesia
mid-century
neovanguard
]
expression
pointed
[
of later twentieth-century
texts in the domain
discursive
concreta
and in numerous
lyric" (18).
to his book,
In the preface
means
to represent modern
Andrade
that "in
explains
its externals:
life through
[his]
to write
opinion,
movies,
automobiles,
these
is modern,
[his] book
their reason
have
things
If these words
asphalt.
'modern' with them; but
frequent [his] book; it is not because [he] think[s] that [he] write[s]
since
art never
modern
Halluci?
in it" (M. Andrade,
for being
nated City 16). As he clarifies, it is inevitable tomention and discuss the signs of modernity in
a text
be
that is "modern."
would
what
However,
but a modern
of modernity,
the theme
way
his writing
make
of writing,
one
not necessarily
would
modern
was
which
of the primary
concerns
within Brazilian Modernismo.
"O Domador",
In the poem
both
de Andrade,
Mario
author
and character,
sees
3
the Bonde
writes Mario de Andra?
(M. Andrade, Hallucinated City 46-47). "Na frente o tram da irriga?ao,"
tram
de. The
which
is both
a symbol
will
it creates
in its wake.
of dust
of progress
take root. Mario
modernization
These
itself,
as well
are the "sujidades
that prepares
as the vehicle
of
the movement
observes
do urbanismo"
implexas
The
the streetcar
and
in
the soil
the cloud
is a
(4), which
urban
streetcar?and
of modernization.
on one of the negative
expansion
aspects
in the poem, he also
the narrator does celebrate modernity
the city. Although
in general?"dirty"
dos
saudosos
olhos
oh meus
looks upon the metropolitan
eyes: "Mas...olhai,
city with nostalgic
the
"O
title
the
is
evidenced
of
Domador,"
criticism
This
meaning
ontens"
by
modernity
(17).
the
to the task facing
It is a reference
in the very last line of the poem.
is only revealed
of which
to "tame" modernity.
in this case the son of an immigrant:
modern
individual,
comment
Mario
Brazilian
gets
onto
people:
the
"S?o
streetcar,
cinco
no
pays
banco:
for his
ticket,
urn branco,
a metaphor
and
there
urn noite,
for the city
he
urn oiro,
a composite
joins
urn cinzento
de
or perhaps
also seems
even
for Brazil,
of
the
t?sica
e
since
The streetcar becomes
(13-15).
as
to use the streetcar
de Andrade
the country's
pot." Oswald
"melting
Poes?as
Reunidas
in his short poem "Bonde"
for the city or the country
(O. Andrade,
e esguicha
luz" (2)
mesclado"
"o transatl?ntico
(1) that "Dlendlena
106). The streetcar becomes
To use
movement.
of
its
the rhythm
e famias" bouncing
there are "postretutas
where
along with
means
are
of
both
since
a
streetcar
is
understandable
of
the metaphor
transportation
ship for the
of a transatlantic
the choice
in motion.
that rock and quiver while
ship, an enormous
However,
It might
attention.
the ocean deserves more
very well be a
that transports
vessel
people
through
is
even
of
for
the
S?o Paulo, which
or
a vast country
full of immigrants,
for Brazil,
city
symbol
Mario"
it represents
a metaphor
to countless
the rest of Brazil but is also home
from
foreigners.
by migrants
In
either case, the bonde
of
Brazil.
whole
Paulo
the
and
the
of
S?o
like
city
ship
be
would
e famias,"
in standard
which
or the transatl?ntico
carries
Portuguese
"postretutas
a group representa
e familias,"
and the best of society. By placing
that is, the worst
"prostitutas
not only
inhabited
The
is mesclado,
47
tive of the diverse society inside the streetcar,Andrade also shows how thisfl?neur is able to
position himself both within and at a distance from society. From the streetcar,Mario, the narra?
tive voice inMario de Andrade's "ODomador," is able to see the city, the "espet?culo encantado
da Avenida!"
e
He
(18).
/ loiramente
the city:
observes
the diversity
of
and the future, more modern
(21-22),
tangerina!"
um
domando
autom?vel"
da China!
"laranja
Brazil:
"passa
cambuc?
Abacate,
urn filho
galhardo
de
imigrante,
(25-26).
This poem offers an example of what both Oswald andMario de Andrade would consider
to their modernist
important
in some
levels
of
society,
of
Another
example
an onomatopoeic
gers.
The
cha
luz also
what
verb
that the headlights
be obscured.
invention
when
life. The
this
level,
"Brazilian"
of
spoken
language.
the verb
dlendenar,
to call
it stops
the passen?
that the streetcar
fact
a way
in such
the darkness
a symbolic
On
is the
makes
in everyday
illuminate
de Andrade
Mario
life in a modern
illumination
the use
that we
esgui
can
a better
implies
in the
on
the multiplicity
Hallucinated
(M. Andrade,
a series
linking
the streetcar
of
a commentary
makes
like S?o Paulo
city
as a vehicle
streetcar
resembles
language
the streetcar
the real
call
as it was
written
Portuguese,
would
see
under?
society.
characterize
the
with
the idea of repetition
insinuates
In "Nocturno,"
uses
of nonstandard
de Andrade
the sound
resembling
otherwise
of
standing
Mario
this experimentation
word
implies
would
the use
project:
which
of photographic
1995 Brazilian
of
images
the
that
Andrade
at night.
city
Terra Estrangeira
movie
events
of
54-57).
City
It
Land)
(Foreign
by Walter Salles and Daniela Thomas, which takes place both in Portugal and Brazil. Whenever
the
scene
turns
to Portugal
a pairing
the
of
streetcar
images
setting,
film Orfeu
negro
(Black Orpheus)
the streetcar
functions
in a similar
the author
they
simply
f?go
de artificio,
de's
/ Apenas
um
bonde
"Estavam
The
the night
even
to these
2In the 2000
of
dormindo
in "Nocturno."
Each
then,
"gingam,"
um
fast "como
is always
of images
the stressful,
suggests
repetition
in Mario
the use of the streetcar
de Andra?
In this poem,
"Profundamente."
da noite
um
times
the bondes
First,
their movement
/ N?o
despertei
/ Silenciosamente
/ Como
the most
remote
the streetcar
flight,"
/ Apenas
t?nel"
(7-15).
/ Estavam
todos
rural
Of
de vez
course
deitados
em quando
in Bandeira's
/ Dormindo
Bandeira
nem
vozes
ouvi mais
risos
/ o ruido
poem
de
the city
/ Profundamente"
"is
theorists,
Deleuze
remake
of
environment
and Mario
and F?lix
de Andrade's
Guattari's
could
poems
concept.
this movie
as other
(Orfeu),
forms
"there
is always
the
however,
of transportation
something
streetcar
have
is no
replaced
rary Brazil.
be
line of flight,
the center of the
like a tangent to the circles
of significance
and
It is a line that penetrates
a system which
cannot
system:
also
A
116).
it is also part ofthat
the urban
communities.
in Bandeira
to use Gilles
& Guattari
signifier"
(Deleuze
date it. Nevertheless,
feature
Bandeira's
"No meio
errantes
This
In a way,
of Manuel
todos
of
appearance
as a "line of
according
(5-6).
areas.
three
its movement:
is predominantly
to Mario
de Andrade's
rural, as opposed
city in
sleepless
the streetcar
is the only connection
to modernity.
But the streetcar does not rest
like the people
in town, which
that modernity
stops for no one and will
implies
The
read
appears
in
1958 Oscar-winning
the protagonist
is a motorneiro,
setting
reach
inevitably
in which
the change
In the
and
"Nocturno,"
for
trilhos"
if announcing
Brazilians.
streetcar
but
as
screen,
Camus,
they "riscam"
Jo?o":
o silencio
I Cortava
is "sleeping":
(21-24).
de S?o
/ Passavam
bal?es
way.2
to describe
in urban
is reminiscent
the "noite
The
the
for many
verb
nos
sapateando
nature of life
'T^octurno"
by Marcel
at last
and
"passam"
schizophrenic
describes
a different
uses
time
"crosses"
of the past
evocative
that flows
accommo?
or flees,
longer a central
it in contempo?
48
the resonance
and the overcoding
machine:
apparatus,
organizations,
things
to a 'change
etc." (Deleuze
the mad,
the youth, woman,
& Guattari
in values,'
are offered
crosses
the city, its passengers
its way
and weaves
the streetcar
through
In other words,
the idea of the line
the very public
from
space they are traversing.
that escapes
the binary
that are attributed
216). While
an "escape"
of flight suggests that the public space and the duration of the streetcar ride allow the passenger
a private
a moment
experience,
and
collective
therefore,
of
individual
of modernity.
experience
"public"
as Georg
freedom,
Simmel
would
Although
the
it, within
put
the way
in "Nocturno"
in
which the "line" belongs in the system ismore explicit, in Bandeira's poem it should also be
noted that the presence of the bonde, though totally disconnected from the rest of the scene, is
not
out
in Bandeira's
In fact,
of place.
even
poem
itself may
the night
a line of flight,
suggest
since the idea of "sleep" seems incongruent with modern city life and thus could be viewed in
as an "escape"
part
same
it (the
from
It would
"Aurora."
invalidate
my
be
cannot
the "sleeping"
about
said
in Drummond's
city
interpretation).
previous
In Lygia Fagundes Telles's short story "Dolly" and in Clarice Lispector's "Amor," the
is a means
streetcar
of
from
"escape"
Adelaide,
gets
protagonist,
to share an apartment,
going
on
on
a
rather
"Dolly,"
finding
of her home. Adelaide
the floor
In Telles's
of flight.
a woman
line
after
the streetcar
dead
or
reality,
story,
scene
the crime
leaves
the
she was
whom
with
full
of fear and guilt and gets on the Bonde Ang?lica to go back home. Although Ade does not tell
her
story
to tell
the
for reflection,
space
in a way
scene
de
que
(12).
the role
plays
of an
a Christian
that resembles
An
of
invisivel
subiu
confessional
imaginary
a priest. As
the streetcar
pressa
moves
faster
invisible
which
than her words,
passenger
who
allows
The
name
is set up on
on, we
moves
of her
ao meu
"sin":
e sacolejando
her omission
"descubro
sobre
os
s? nos
lado,
invisible
the gradual
follow
que
? bom
trilhos"
of some
details
the
eu tive a sensa?ao
bonde
and her
the streetcar
to arrange
the narrator
subi neste
"quando
e se sentou aqui
indicates
of
allows
passenger
confession:
comigo
of her guilt through her confession
corre apressado
o bonde
enquanto
release
and change.
imaginary
her need
a
her with
provides
some
the streetcar connotes
streetcar
The
level.
and mental
to fulfill
are enough
on the streetcar
her moments
a spiritual
absolution,
confession,
um passageiro
banco"
else,
on
if only
and her creation
connection
divine
or anyone
to the police
truth, even
(12).
of
neste
dois
passenger
and
therapeutic
sem
falar assim
the streetcar
But
the story.
to tell everything:
"Mas, e esse sangue que pingou
as m?os
sobre as luvas
fundo do meu ouvido. Cruzo
her
It is the
ai na
luva,
e agrade?o
o passageiro
soprando
pergunta
e
eu
ser
tinha
feita
tinha que
a Deus
que responder.
que j? estava esperando,
por essa pergunta
themselves
reveal
and themes
sei que vou falar at? o fim" (14). Other Christian
symbols
Agora
as
an act of
on
in
her
Ade
called
is actually
knees,
the story. "Dolly"
"Maria,"
gets
throughout
a
wear
clothes
ticket-taker
and
the
streetcar
conductor
and
both
the
resembling
(15),
repentance
tam?m
com seu imperme?vel
de chuva. O cobrador
costas
o
de
motorneiro
cassock:
"vejo
priest's
will
lead her to
that her confession
believes
the character
a capa pr?ta" (30). Moreover,
vestiu
does come after the invisible
falando"
salvar
"sei que vou me
salvation:
(13), and forgiveness
the confession
hops off and, naturally,
libertei!"
n?o sei de onde, me
(31).
is not only
the whole
However,
experience
passenger
que vem
concludes:
"Falei
tudo e agora
sinto
essa
aragem
since it portrays
but also developmental
religious,
van Gennep
that
believes
Arnold
that is, a rite of passage.
one
to
from
and
another
a
from
of
series
is
in
"the
age
passages
any society
there are
that "for every one of these events
to another"
one occupation
(2-3). He proposes
to pass from one defined position
the individual
is to enable
essential
whose
ceremonies
purpose
a kind
of age
of coming
life of an individual
to another
which
for Adelaide;
is equally
well
defined"
(3). According
to Gennep,
"a complete
scheme
of rites
49
of passage theoretically includes preliminal rites (rites of separation), liminal rites (rites of
transition), and postliminal rites (rites of incorporation)" (11), which are the very experiences
lived by the protagonist of "Dolly" during her streetcar ride. Her desire to move out of the
her
represents
pension
ter um
tanto
Quer?a
on
riding
the streetcar
nome
"meu
dreams:
? Maria
de verdade
[...] e meu
Dalton
from her community:
sair da pens?o
symbolic
"separation"
"queria
so meu,
sem entrar na melanc?lica
fila do banheiro"
(13-14).
to enter Dolly's,
she leaves her world
which
is one of imagination
[...].
quarto
sonho
o Dolly
on
inventei
Auxiliadora,
ser estrela,
? s? esse,
estrela!"
Back
(29).
e meu
o
inventou
agente
the streetcar,
By
and
when
she
is
confused, afraid, and feeling guilty over Dolly's death, she goes through a period of limbo, the
second phase of a rite of passage,
of the streetcar:
by the fast movement
symbolized
"Aqui estou
no bonde Ang?lica
que corre contra a noite e contra a tempestade
que tomou outro rumo com
suas botas de nuvens"
state she
the streetcar ride she can "escape"
the tormented
(30). During
the traumatic
finds herself
in and, as a result, overcome
of finding Dolly's
corpse. The
experience
matures
character
into her
group,
para
[...].
e me
faz bem
ouvir
tartaruga
mas
\fou
virei
and
period,
the rite of passage:
completing
o bonde
que
se afasta
is reincorporated
"estou
manso
quase
voltando
os
sobre
la
trilhos
que me
o som deslizante
agora
role,
e ouvindo
andando
after her "limbo"
self-confident
a different
with
though
a pens?o
sou
more
and becomes
sem medo
na rua deserta,
Estou
acompanha.
j? sei,
cair as luvas, ByeT
indo firme at? o bueiro onde deixo
(31
lebre
32).
The line of flight emerges as a kind of "daydreaming" in Clarice Lispector's short story
As
"Amor."
not
a housewife,
the protagonist's
and mother,
stop, Ana,
approaches
on out on the streets, but rather within
The physical
herself.
space
the streetcar
at what
is going
to "withdraw"
streetcar
allows
at home,
and her past.
"O bonde
her
her daily
The movements
nos
vacilava
from
trilhos,
the streetcar
of
em
entrava
and
routine
ruas
think
her
The
(21).
"wide
her
family,
the uncertainties
mirror
largas"
about
of her
streets"
looks
of
the
duties
thoughts:
the
represent
breadth of ways inwhich she could have led her life if she had made different choices, and the
"vacillation"
is why
reveals
the validity
convince
of
are no
sempre
fora
This
once
and
for all,
she sees herself
but,
as in the beginning,
with
hostility:
"Ana
she
olhava-o.
a olh?-lo,
cada
estacava"
she could
glance
outside
to accept
a visse
e escolhera"
a Ana
in him. Ana
is reluctant
for as
taken,
suceder?
a sudden
by
reflected
E quern
have
"O que
option;
realizes
For
teria a impress?o
inclinada"
Ana
(22).
She
repeating,
de
ter o
the streetcar.
lar estava
sees
She
the blind man's
this reason
these
Furthermore,
(20; 21).
antes
This
to reject
as if to
struggles
she keeps
she shares
this fact.
a housewife.
becoming
(21). Nevertheless,
ela o quisera
"assim
vez mais
to her final
regard
seguida
paths
is intensified
self-reflection
continuava
em
to her:
longer available
seu alcance"
(20).
de
or rather,
man,
the alternative
herself
options
with
her reservations
se arrastava,
"o bonde
she
stares
de urna mulher
is simultaneously
com
para
a blind
darkness,
at the man
odio.
attracted
Mas
to and
repelled by what the blind man allows her to "see." Her indecision is symbolized by his chewing
gum:
deixar
"o movimento
de
sorrir"
one
At
da mastigac?o
fazia-o
parecer
sorrir
e de
repente
deixar
de
sorrir,
sorrir
e
(21).
the streetcar
her backwards
and thus making
her lose her
lurches,
throwing
of the streetcar
her thoughts:
"o bonde
(22). Once
again the movement
parallels
estacou"
of restricted
the streetcar,
also stands for her personal
(22). As a representation
space,
and symbolizes
are led to
the patriarchal
world
which
confines
her. After
limitations;
that, we
believe
that everything
to
back
"Poucos
a
normal:
instantes
n?o
olhavam
goes
quickly
j?
depois
point
concentration
mais.
O
bonde
sacudia
nos
trilhos
e o
ceg?
mascando
goma
ficara
atr?s
para
sempre"
(22).
50
the protagonist's
feito," writes
However,
o mal
of Ana's
intensification
feel
to her
The
(22).
Lispector
her
self-questioning,
"A rede de tric?
now:
differently
to conform
ability
estava
era
limitations
is immediately
the narrator
refers
"damage"
"Mas
challenged.
to can only
need for self-awareness.
increasing
os dedos,
entre
n?o
?ntima
?spera
the
be
look and
Things
como
a
quando
tricotara" (22). The string bag, a symbol of imprisonmentmuch like the streetcar, does not fit as
her
between
comfortably
o sentido
"A rede perder?
fingers:
e estar num
era um fio parti?
bonde
do" (22), which represents her inability to repress her unwanted thoughts and feelings. Something
in her
changes
tries
cia de
se as coisas
de
chamava
crise
se agarrou
que Ana
t?o s?bito
no longer makes
her self-image
an existential
it is inevitable:
crisis,
sense.
constituted
and avoid
the situation
lei foi
como
that which
and
to manage
pudessem
viera afinal"
ao banco
com
ser revertidas
a result,
(23). As
como
da frente,
a mesma
calma
she rediscovers
she
Although
urna ausen?
"Perceber
se pudesse
com
que
long
forgotten
cair do bonde,
n?o
o eram.
O
places,
spaces,
que
and feelings.
relationships
In the introduction to his English translation o? Lagos de Familia, Giovanni Pontiero rightly
that
proposes
may
in "Amor"
long been
has
that Lispector
of
and purpose
the value
with
associated
nature
that "the mechanical
suggests
Lispector
to question
them
lead
their
existence"
authors.
existentialist
of many
(16).
us
reminds
such as Bene
critics
Brazilian
lives
people's
Pontiero
dito Nunes have linked her toKierkegaard andHeidegger and Pontiero himself connects her to
and Jean-Paul
Camus
Albert
Sartre
suffering,
happiness,
and gets off the streetcar
confusion,
em
olhou
deb?is,
to change
her existence,
and
da noite"
which
(23).
is determined
her with mixed
stop,
um momento
Por
Getting
a sign
off
and constrained
of
feelings
her mental
com
do bonde
"desceu
confused:
suja de ovo.
a rede
leaves
her
fear. She misses
weak
feeling
de
si, segurando
ter saltado no meio
Parec?a
orientar-se.
attempt
torno
and
pity
crisis
existential
Ana's
(15-16).
as extreme
such
pernas
n?o
the streetcar
consegu?a
her
represents
by her roles
of mother
and
housewife. But she holds on to the string bag, which indicates that she is still linked to her
condition.
previous
indicating
means
of the night"
one
Nevertheless,
that some
should
has
of change
a world
entering
level
note
occurred
of darkness,
that the string
after
bag
all. Moreover,
is now
stained
that is, the blind man's
world.
with
egg,
into the middle
"plunging
Let
us not
forget
that in this story it is the blind man who plays the role of guide. Ana is then led into an equally
Garden:
Botanical
symbolic
"dark" garden?"as
como mel"
(25)?
sombras
a guiara
at? ele" (25). Her experiences
no ch?o (24)"; "?as ?rvores as frutas
"o ceg?
vacilavam
reemphasize
the
limbo
state
in which
she finds
in the
eram
idyllic
pr?tas,
but
doces
herself.
that
are haunted
de Familia
in La?os
out that the characters
by a dilemma
points
aware of
comes when man becomes
to him, "anguish
an emotional
crisis. According
between
choose
He must
and his possibilities.
them, and
himself
between
inevitably
or
of her children,
him what he is" (15). In "Amor" Ana's memory
he chooses makes
Pontiero
provokes
the gulf
whatever
rather
home:
her
"love"
her
feel
(26).
in other words,
Her
for them, makes
casa
nova
"que
Bot?nico?"
era essa?"
and rush home, but this time it is a different
guilty
are laid out before
her eyes: "o cego ou o
choices
that had opened
life or the new world
her old "blind"
to go back to
chooses
and lucidity, Ana finally
blindness
between
struggles
urna
se
como
se
a
de
Antes
de
deitar,
her old life: "acabara-se
apagasse
bondade.[...]
vertigem
as a rite
to
read
Ana's
also
dia"
It
is
a
do
flama
experience
possible
vela, soprou
(29).
peque?a
of any role change
and the lack of indication
final choice
the protagonist's
of passage.
However,
Jardim
up
for her? As
(26),
she
of
of a postliminal
the existence
the story lead us to question
stage, and therefore,
to
more
It
is
of
the
rite
of
that, although
the completion
ultimately
recognize
passage.
important
and
domestic
Ana does not free herself from her confined
existence,
Lispector's
psychological,
at the end
of
intimist
narrative
51
comes
that freedom
suggests
an awareness
from
of
and not from
alternatives
the nature of the choice itself.
a constant
artistic culture. By studying
its appear?
image in Brazilian
one has access
to a vivid picture
and art in general,
of the cultural
and
of Brazil.
First as a symbol
of the future and now as an emblem
of the past,
numerous
on the unmerciful,
critical
commentaries
but necessary
inspired
streetcar
The
ance
has been
in literature,
economic
history
streetcar
the
has
of Brazil.
modernization
of Brazilian
it has
and
to make
used
structure.
social
cities,
expressions,
popular
Works
It has been
of the Brazilian
criticisms
streets
music
a symbol
become
in the collective
on class
observations
the streetcar
While
of
and gender,
as well
as
disappeared
from
the
has virtually
of modernity
the project
in literature,
imaginary.
cited
Alc?ntara
1994.
Gamier,
"Br?s,
e Barra
Bexiga
Novelas
Funda."
Rio
paulistanas.
de
47-106.
de. Hallucinated
Mario
Andrade,
de.
Antonio
Machado,
Janeiro:
City
(Pauliceia
Trans.
desvairada).
Jack E. Tomlins.
Kingsport:
\fcnderbilt UP, 1968.
?.
a medicina.
com
Namoros
Oswald
Andrade,
de. Um
tas de Oswald
?.
Pau
?.
Poes?as
Brasil
de Andrade.
4a
S?o
Manuel.
Harvard
de Oswald
de poes?a
Globo:
J. Aderaldo
de Andrade.
Maria
de Estado
da
Presen?a
Castello.
de Andrade,
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"The
1999.
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and
Walter.
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Completas
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Renato
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Exchanging Glances: The Streetcar, Modernity, and the

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