Caetano Veloso's secret, the impossible party

Caetano Veloso released a few days ago Não Vou Deixar's video, one of the twelve songs that make up his recent and very expected album Meu Coco.It lasts a little more than four minutes and far from the stridency, proposes a dispossession: it is barely seen to him, sometimes in the middle plane, sometimes in well -closed shots of his face, with a shirt embroidered that is cut on a backgroundbluish.At times Caetano shows the teeth and smiles, sometimes turns his hands, marks the beat, lifts his fists in the air, dances hypnotized, sings a little and his lips enter synchrony with the song, then closes his mouth or eyesAnd keep dancing.

I admit that I looked at the video many times (as they say on social networks: do not say how I live) and that the former I did it with the very low volume (seriously, do not do it!): I preferred to stay in the beauty of thisEternal man, in his trance, in a discreet ecstasy, in that light sensuality - but also overwhelming like a mazozo - of people very close to their own something.Shine with almost nothing, shine for absence: a body in motion and music.Sitting in front of my computer I felt that I was witnessing a single -person celebration, a private paradise, an enviable secret.

Until a while later I listened carefully.“I'm not going to leave you was what I released before the TV when (Jair) Bolsonaro was elected president.You are not going to do what you want with Brazil, I am not going to leave you, ”he replied about the birth of that song that was, in the end, a protest, the consequence of a tired.A still sang in the voice whispered with the myth of Brazilian music, an I come to offer my heart.

So that image of an intimate celebration that had armed me began to wobble.And not because in his songs in Hymn of resistance Caetano proposes a sad passion - less than speaking of Brazil, where even the carnival can combine that ice cream of two tastes: popular excitement and protest;Drawing and Saudade–: Before a bleak political panorama, he knows - and choosing - singing.

In any case I was thinking about my initial confusion, that I thought I had seen, in the mirage that can become the parties of others.

"When so many ideas are fading and the important thing stops importing.His body is a filament that is about to get rid of something (he doesn't know what) but in the end he never detaches.Sways.It could be like that, ribboning itself, letting each other hug in the condensed air of the shed.Oslo.They told him that in winter the day lasts a few hours and in summer there is almost no night.What will it be like to live in a place like that?The closest thing should be to be as it is now.Legs up, head down.I would always be painted, with the entirely white face and the turquoise star in the left eye.In the right eye a pink moon.The priest lips.Yes, it would go like this.‘Hi Silje’, ‘Hi Olsen’, ‘Hi Hulda’ ”, your friends.‘Hi Jan’, turns on a dry.‘Hi Erik’, a drink at the port of the port.And all of them would also be painted, as in a tattoo contest, looking at life from the fjord ”.

Este fragmento forma parte de la novelaOslo del escritor Martín Caamaño (quédense que abajo les cuento más), un lanzamiento reciente de la editorial Mansalva que me gustó mucho.One of the protagonists of the book is Manuela, a young trapeze player who collects information about the capital of Norway. Para ella,Oslo es una especie de tierra prometida, una zanahoria, el lugar donde se van a terminar sus problemas, la ilusión de un estado de bienestar en todos los sentidos posibles.A distant party that, if it does not make the appropriate and fast movements, will end up losing.

Me fui a mi propiaOslo.For many years that idyllic place did not occupy a city for me, as in the case of Manuela, but a country: Canada.I think it was due to the influence of the rumor that circulated in a town in which I lived part of my childhood: there was spoken - with that mixture of fascination and envy that forms the talk when it does not become gossip at all, when morbid is missing - of thedaughter of a woman from there that she had gone to live in Canada with nothing and that from one day to the next she had a mansion, a car, a job a few hours a day that left her a lot of money, an adorable husband.Everything, according to the popular explanation, because the country opened the doors to young people eager to work.I do not remember how much my glare lasted, I did prime several pages of the Enciclopedia Encarta (the above, but in the past time: do not say how I lived) with the central characteristics of Canada and that I combined them with annotations of a couple of books thatI found in my house.

What interested me most: the possibility of speaking in two languages, the cold much of the year.(An Apostille: The Novel Canada, by Richard Ford, which tells one of those slightly indelible stories.There the country works for the narrator as an escape and a promise of salvation, one day we will resume that book in this space because it is very important).

Viajé una vez aOslo, pero sigo sin conocer Canadá –dedos cruzados, como con la Antártida: algún día, algún día–.However, it is a land that continues to attract me and leading to it every time: of the stories of Alice Munro (we talk about it here) to the novels of Margaret Atwood;of adolescence with Alanis Morissette in the background, at thirty -and peak musicalized by Arcade Fire, to quote quickly.Canada remains my mental refuge and also an optical illusion: the foreign party of which at some point I would like to be part.A sound that comes from afar.(Below, if they stay, I tell you about a very hard series that I am seeing, it takes place in Quebec and click the globe a little in this regard.Another mirage: a pair of black glasses can be a sign of hangover, endless party, but also the perfect hiding place for crying, the veil that covers tears).

The foreign party is a story by the Argentine writer Liliana Heker (an almost cholulo asterisk that I write blushed: I am an intense fan of this author and if it were not for the modestMy house with a shirt that bears his name and face stamped).It is in the book Las Pears of Evil, from 198two, and by force of a powerful story - and perhaps also to that quota of chance that entails any hit - became a kind of machine that became its own life: it has read for almost40 years In all types of educational institutions, it is analyzed in universities, it is translated throughout the world, it is pirate here and there, it is chosen for anthologies, it is represented in school acts.

The beginning is majestic, I leave it here.

It just arrived, went to the kitchen to see if the monkey was.She was and that reassured her: I would haven't liked anything to have her mother right.Monkes on a birthday? He had told him, please!You do believe all the patches that tell you.I was angry but it wasn't for the monkey, the girl thought: it was for the birthday.

For those who did not cross it or to be better understood.The foreign party tells the story of Rosaura, the daughter of a domestic employee who is invited to Luciana's birthday, the patterns' daughter.It is counted with the vertigo of a roller mountain trip in just three pages: as the different instances of the childhood celebration pass (choose the clothes, the arrival, the candles, the magician, the games, the souvenir, the farewell) isa cruel network is revealed, the reverse of birthdays and good intentions.

The interesting thing is that, despite the fact that the difference in social classes is clearly exposed, it is not a classic Ñata scene against glass: Rosaura and the host circulate through the same places, play the same games, they areThey cross in the same rite.But in reality they are separated by a world and in a nutshez.And then, beyond the formalities, a sinister revelation appears: moving along the same track, humming the same songs or eating portions of the same cake does not imply being part of the same dance.

I leave you with a new edition of a thousand lianas, which is like seeing the little brake of joy on the street when one walks engaged in their problems: that nomadic sound that shakes, forced dance;A party that seems to be there, before our eyes, and at the same time it does not stop escaping.

1.Oslo, de Martín Caamaño."Every story always begins with a game or a return. En realidad, es en este punto y no antes que empieza la historia”, intenta explicar Oso, uno de los protagonistas de la novelaOslo (Mansalva, two0two1), del escritor argentino Martín Caamaño.The man wants to rebuild, in a clumsy, a love story that was ruined in his past and ended abruptly.It has how to know that, as the text points out, that "of the forgotten, of the abandoned there is always a rest"."And that rest only rots, does not disappear.And just that rot is a way of demanding care, it is a scream claiming attention ”.

Throughout this book, in which the games, the returns and the crossed stories do not lack over the years, there is anita and is Manuela - the young trapeze player a little lost, of whom we speak above,The person who, with his fierce fantasy, brings the title -.Sometimes it gropes, sometimes without being able to see that it is their own wishes, the three are pulling so that it does not disappear and that at the same time demands action.As a question that insists and puts them to circulate.

I especially liked the agile tone of the novel, which combines some intrigue with small epiphanies that appear, especially in the descriptions of scenes and actions of the characters. Cito lo que escribió Fabián Casas (a quien todos los sábados pueden leer por acá) en la contratapa deOslo: “Para Caamaño, las pasiones se disecan como si fueran un mapa mental, y mientras la novela avanza a un ritmo cardíaco notable, uno puede disfrutar de pequeñas islas de descripciones geniales: El caballo tiene menos suerte que él.At that time he is bogged down in agony, in a painting of pain so intense that he can only cease with death.No choice.If he could see him carefully, he would notice the sad air in his huge eyes and could marvel at the stoic calm of the animal, waiting for his time with elegance and resignation.Everything on the horse at that adverse moment is a lesson about death, a learning of how you should die.Crack ".

Martín Caamaño was born in Buenos Aires, in 1980.He is a translator of Portuguese specialized in Brazilian literature.He was also a guitarist of the Rosal group, a band that I love.He currently works as a screenwriter.

Oslo, by Martín Caamaño, has just left by Editorial Mansalva.

two.Can you hear me?The Canadian do you listen to me?It is a series full of screams, questions, attention orders.Far from the idyllic image, the scenes take place in Quebec, in a neighborhood with social needs and urgencies (yes, there are deficiencies, violent crosses, addictions, a type of marginality at times very underlined) and have as protagonists three young friends who trysubsist, as can.They sing in the subway, sometimes they steal, they move in the car of the premium of one of them that is Dealer.As they say throughout several chapters: they have nothing and at the same time they have themselves.

They are Ada (Florence Longpré, who is also the creator of the series), a true dusty, a girl on the verge of nerve attack;Fabiola (Mélissa Bédard), the believer, who has good intentions although the world mistreats her;and Carolanne or Caro (ève Landry), the most mysterious and withdrawn.The three face very hard family conflicts, heartbreak, violent relationships and also the fights that distance them between them.But even at that extreme, in situations that no one could be unharmed, irony and laughter are allowed.

La serie, con capítulos que duran cerca de two0 minutos, fue estrenada en two018 en Canadá y se convirtió en un éxito rotundo.Netflix has on its platform the first two seasons (this year the third arrived on Canadian screens, we hope that soon it can be seen here).

The first two seasons of the series do you listen to me?(M'ennds-tu?) They are available in Netflix.

3.A wonderful World.“Four people who do not know anything, talking about everything and with a single certainty: this is a wonderful world.Debates, fictions, unpublished songs, Invitadxs and a lot of uncomfortable silence, ”says the description that can be read on the cover. Con las voces de Martín Garabal, Adrián Lakerman, Charo López y Alexis Moyano como anfitriones, a veces actores interpretando un papel o conductores poco ortodoxos,A wonderful World es un podcast diario de humor producido por Spotify que, a poco más de una semana de su estreno, se convirtió en uno de los más escuchados de esa plataforma.

Cada entrega dura como máximo 1two minutos y combina algo del delirio generacional que de alguna manera nuclea a los cuatro protagonistas –cada cual en su estilo y en su propia actividad– con la idea de sketch más clásico. En días en carne viva, como contábamos por acá,A wonderful World me hizo reír a carcajadas.A party as extraordinary as impossible.

El podcastA wonderful World está disponible en Spotify.

Until next time!

TO THE

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