Causos da Roça (Portuguese Edition)

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With regards to a possible alignment between the causos from Buracos and ethnographic narratives, we could at this stage ask, following Csordas Or, drawing on Latour If the knowledge thus produced is necessarily relational, it depends on the coordinate lines that situate the narrator on a given map. Hence, the truth that a causo attempts at testifying is evaluated by the listeners, taking into account the continuous transformation of a particular set of personal relations.

In order to understand what a causo is about, more than defining its boundaries, it deems necessary to grasp the process of familiarization and unfamiliarization Comerford, in which it is brought into being: How it becomes apparent in the narrative form of the causo? When it comes to telling and listening to causos, what moral dimension intercedes in the articulation between word and kinship? The answer to those questions are not within the limits of this paper, however, they will remain in the background as issues to be reflected upon, with the purpose of observing the differences as well as the points in common between the oral universe of Buracos and that of academic writing.

What in the end is there to gain or to lose by attempting to incorporate in our writing the underpinnings of the knowledge at play in the oral genre? What is possible to effectively appropriate from the causo to integrate the anthropological descriptive procedure? This is only made explicit in the manner of speech, in its performatic dimension, with looks, silences, tones of voice, body movement, and other non-verbal signifiers.

Such expressive modes, absent in any written text, necessarily make up the causo narrative form, while they also enhance the dramatic effects which help transport the listeners to the play of perceptions and impressions lived by the narrator. In a written text, however, we cannot resort to non-verbal narrative methods. In the thesis, the passage from the oral to the written form resulted in occasional zones of indistinction between the native voices that I heard, and my own voice as the author of a theoretical systematization.

Between one narrativity and another, however, there is an important, and seldom explored, difference.

In order to pursue this reflection further I shall include an extract from a causo told by Dona Lili about the first time she saw a television. In this extract she says: That is a television, sister! When I went back, I had a look Is it or not a television? Between the two voices that contradict each other, a third one emerges, that of Lili now, our narrator. After all it is not surprising that the situation should evoke in the narrator a reflection on the different modes of speech and memory. Because what happened to me The causo is not a story or a joke, the causo is what actually happened.

Will be left as a story, Lili repeated after telling us the television story, and then she emphasized: And it happened to me! And this will be left…For my grandchildren, for the grandchildren of my grandchildren…They will say: Therefore, it is necessary to say, adds Lili: It will not contain the evidences of present relations which attest and constitute the happenings in the narratives. If in its daily existence it is a chain of versions in continuous transformation, if it only exists as it circulates, the attempt of attaching formal definitions to it leaves us with an apparently unsolvable problem.

Would it be indeed necessary to set, establish or define a form? Perhaps it is not the case, but, as I mentioned earlier the conversation with D. Lili prompted me to resume this reflection, sensing in it the possibility of new pathways.

As founder members of the NGO and anthropologists, we helped with a series of activities of Institute Rosa. The idea for the workshop emerged in this context, and was motivated by my own research interest. The reason I am saying this is to clarify that, though I was not present at the recording session with Lili, my active participation from the very start of the workshop places me in a position of participant in the controversy I am about to explore9.

Dona Lili is one of these characters who is often called in to speak. Quotations from the book, the style of which incorporates both the vocabulary and the syntax of the oral narrative modes found there, are displayed on banners and a variety of crafts trimming the stands of the Encounter of Peoples Fair. Tiana took into consideration this previous repertoire while selecting the story tellers for the workshop, and, while trying to think of a thread to weave the documentary with, as we were in June, suggested that the workshop should focus on causos related to the St.

This was the first and less relevant misunderstanding in our communication circuit with Dona Lili. And went about, delving into her memory. For Lili, as for her people, the junine festivity is not like the other popular religious festivities, or St. The transformation that took place there is still under way, as agribusiness gets intensified along with possibilities of consumption, communication, services and transportation.

Lili was telling us about these transformations. And while exploring this topic, inspired by our presence, Dona Lili told us about the differences between past and present. And she continued with her musings: The cattle cart, the trip, the food, the drinks, the festivities, the relatives, everyone was closer, it was more fun, everyone was related, told us Lili.

That said, she repeats the complaints about the relatives: Some relatives who are better looking At this point, Geraldo, the teacher, intervened.

After all, it was hoped that the conversation with the story tellers would yield an extract that could be edited for the documentary, something with a beginning, middle and end: A story, a story of a junine festivity We figured that she was thinking about the misunderstanding, for suddenly she said in a reluctant manner: You mean ours, innit?

Geraldo also realised the misunderstanding, and tried to explain what he would like to hear: The laughter seems to give her time to think about what to answer. She was certainly trying to figure out the direction the prose was taking, for she had by then missed the plot of the conversation At that moment, when the misunderstanding became explicit, the direction of the prose was uncertain. Lili took a deep breath, and explained herself again to Geraldo, in an attempt to reconnect with her interlocutor: And then Lili resumed her previous line of argumentation: Geraldo tried to find another way of putting it: In most of Brazil they are perceived as affines.

Our mutual interest, with regards to what was spoken, consisted of what? She was then silent again. At this converging point of different perspectives, Lili reflected upon memory and its narrative genres: Some things that happened when we were still lasses, maidens, we remember no more, you know?

Because our struggle is too hard All this toiling, all these kids, the hand stops our head. Some I remember, others I remember no more Cause today no one cares about this Such old stories, those past lives. This is stuff for stuck up people!

Nobody looks up to us no more. We even praise the Lord Almighty when an outlander comes who wants to know…It revives it, you know! But today no one wants to know the old stories no more. I like so much to tell stories, jokes from the old days, days of the beginning…And it happened to me also! Cause what happened to me…Will be left as story for my grandchildren, you know.

Cause in those days, nobody knew television… Myself, I only saw it sometime later That I went through? And she carried on: It was the first time, I took my sick little girl.

When I arrived there When I arrived there I lay my little girl on the bed I arrived, and the massive television, that huge, on the wall I thought it was a window, innit? And her boss- called Amparo — tuned into the tele. And I kinda on my side…You know what? I got up and went in the kitchen.

Like this how, Lili? Attentive people, I arrived and everybody came to see my little girl! But I like it! Lili, did you ask Amparo that? But it was talking to me like that, you know. I thought, boy, that they were visiting me through the window For my grandchildren, and for the grandchildren of my grandchildren… They will say: But a story is reality, says Lili. In that way she speaks of the passage between the different narrative genres here at play: In between causo and story as narrative genres, there is, therefore, something like an obliteration.

It must be said: A story is reality even though its constitutive relations, its evidences in the real world, cannot be mapped. The needed articulation between reality and relationality, in place when the causo was being narrated, can point us on the right track to better understand our initial failure in deeming a causo worthy. What causos could tell us apart from those musings about the past and present, about the transformations of which we were part?

And reality is attested via the relational elements involved in the conversation. Thus, Lili seems to have sought the information that would lead the course of her prose in the immediate relation with Geraldo and the audiovisual students. It is not surprising that the presence of the camera and of the young people toting it, would 15 T.

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And just then, at the exact moment of that reflection, she recalls a causo that speaks exactly of that: It was a television! But the orality of people in the image on the screen is like the written narrative, it is not the result of relationality. Besides, the television — just like the story, the joke and the written texts — does not present causos, in other words, events from reality, in the sense that they are not tied to evidences based on relations and mappings established between the interlocutors.

Yes, that was what Lili was telling us about, though providing us with a nuanced explanation on the difference between the two narrative genres. When we asked her to tell us a causo, we were hoping for a happening, as Geraldo insisted, but we thought that the narrated event would be marked by a rupture in the flow of the conversation. To mention just two great examples, see Benjamin and Foucault And that memory would recall discrete facts. Ele deu de ombros e se foi. Ao sair da vila esbarrou numa loura. Senhor Promotor Redealdo Delane, queira apresentar o caso.

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Declaro que o passamento da chamada vaca Chupeta ocorreu sem dor. Eu queria saber o que o advogado, Dr. Juiz com o filho do coronel Praxedes. Foi quando recebi um bilhete do Dr. Juiz juntamente com o Sr. De dentro da nuvem apareceu o espectro da vaca Chupeta. Eriberto era o cavaleiro mais veloz daquele lugar. Eriberto nunca havia perdido uma aposta, Xerife ganhava todas.

Era noite quando ele silenciosamente aproximou-se do local do encontro. Reparou no vulto que o esperava sentado. Aquilo era uma cilada. Sem esperar, correu e pulou pela janela. Deu um salto montando em Xerife e disparou. Eriberto sentiu o chumbo queimando suas carnes. O cavalo correu em velocidade descomunal. No dia seguinte eu vendia tudo. E naquela ilha era tudo grande. Quando acumulamos ou guardamos algo, interrompemos este ciclo.

No bilhete estava escrito: O tesouro do mago. Os mais preciosos tesouros foram-lhe oferecidos. Somos pobres e nada temos a oferecer. Anita era uma profissional de sucesso. Tinha pais amorosos e um marido encantador. Naquela tarde vagava pela rua extremamente amargurada. Sem perceber entrou por uma alameda de um parque.

Uma bela estampa a envolver uma alma vazia.

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