1. South Atlantic Modern Language Association
The Destruction of Realism in the Short Prose Fiction of João Guimaráes Rosa
Author(s): Allan Englekirk
Reviewed work(s):
Source: South Atlantic Review, Vol. 47, No. 1 (Jan., 1982), pp. 51-61
Published by: South Atlantic Modern Language Association
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2. The Destructionof Realism
in the ShortProse Fiction of
JoaoGuimaraes Rosa
ALLANENGLEKIRK
T COMPOSEprose fiction is to create a world-a structure
that portrays fantasy or reality by describing or interpreting an
outer, physically defined setting and/or an inner, spiritually de-
fined ambient. It is one person's world, whose parameters are
determined by an artist with a given purpose, or purposes, di-
rectingthe process of creation.The outsider, or reader, may accept
these parametersor establish different contours or dimensions for
this structure, depending upon perceptive capabilities and per-
spective. The end result is the evolution of a world that is many
different worlds for many different readers, yet never nearly as
complete or complex as life, for it is art, and artalone, that has been
created.
The boundary separatingthe imaginaryand the real in the novel
and short story was generally well-delineated in the late nine-
teenth century. The imitationof life in art, the primaryobjectiveof
the Realist, was not a revolutionarydoctrine. What made Realism
so unique was the spirit, the quest for "truth," which motivated
the artists who chose to approach art from this perspective.' Plot,
characterization,language, and narrativetechnique in the Realist
novel were all developed with the goal of objectivity as a funda-
mental concern. Sentimental,idealistic, or fantasticdistortionwere
generally eliminated by a writer dedicated to visualizing the exact
appearanceof characterand ambience, for it was only through the
most faithfulportrayalof life that truth could be revealed. A "slice

3. 52 Allan Englekirk
of life" was exposed to the reader, and the indiscriminateeye of a
narratorattempted to present as thorough a portraitof life as had
supposedly ever been depicted by art.
As the twentieth century progressed, however, the artist began
to question the meaning of reality, whether it was possible for art
to captureit, and whether this goal should be the primaryconcern
of the artist. The line between the fantastic and the real became
imperceptiblein many works of prose fiction as writers were less
preoccupied with reflecting mere surface reality and more intent
on creating, or suggesting, more profound or revolutionary
images. Realism as it had come to be known in the pages of
nineteenth-century fiction vanished into a fictional narrative in
which recognizableobjects, people, and situations were no longer
necessary parts of the total construct. In the fictional world of
many contemporarynovelists or short story writers, "realism"is
now a term whose natureis determinedby the subjectiverendition
or interpretationof life emerging from the intellect of an imagina-
tive artist.
The fictional world created by Joao Guimaraes Rosa was quite
unique to the pages of Brazilianliterature.The immediate reaction
to his first works of prose fiction was not unmitigated praise.
Sagarana, Corpo Baile,and especially Grande
de were
Sertao:Veredas
intricately conceived structureswhich stood in striking contrast to
most other works of fiction in Brazilian literature. The author's
perspective was quite often puzzling and unfamiliar. Even more
confusing was the "quase mania do pensamento sentencioso" of
various narratorsor protagonists and the preference of the author
for employing a plurisignificant language replete with obscure
phrases and neologisms.2 GuimaraesRosa's fiction suffered in the
eyes of many criticsfor failing to capture the world as it truly was
but ratherpresenting "uma transcridao eminentemente literariada
realidade"-the implication being that the author placed far too
little emphasis on what was said and far too much emphasis on
how it was said.3
It was precisely because GuimaraesRosa's works were such an
imaginativeand artistic"literary transcriptionof reality,"however,
that they eventually attracted such national and internationalac-
claim. Well before his death in 1967, the significanceof Guimaraes
Rosa's contribution to Brazilian letters was recognized. For the
German literary critic Gunter Lorenz, Guimaraes Rosa was the
"fundador de una nueva orientacion literaria" in Brazil, thus
veinte."4
placing him "entre los autores mas importantesdel siglo

4. SouthAtlanticReview 53
Accordingto Assis Brasil,"a nova ficgo brasileira" began with the
narrative of this singular mineiroauthor.5 Luis Harss referred to
GuimaraesRosa's sole novel, Grande Sertdo:Veredas, "una de las
as
tres o cuatro novelas mas acabadas de la literaturalatinoameri-
cana,"6and the Brazilianwriter Augusto de Campos expressed a
similar sentiment in stating "ninguem podera construir qualquer
coisa em prosa brasileira, pretendendo ignorar o GrandeSer-
tdo:Veredas."7 GuimaraesRosa's influence on Brazilianletters was
considered to be so pervasive by many criticsas to warrantdivid-
ing twentieth-centurynational prose fiction into those works pub-
lished before and after the publication of his fiction.
The purpose of this paper will be to characterizethe nature of
realism in GuimaraesRosa's later works of prose fiction-namely
in Primeiras Estoriasand Tutameia. a purely superficial level,
On
GuimaraesRosa's first works depict worlds vaguely reminiscentof
those defined by Afonso Arinos, MarioPalmerio,and other writers
of the regionalist traditionof Brazilianletters. A complex cultural
phenomenon, regional literaturein Brazil has ranged from idea-
lized interpretations of picturesque rural scenes, to powerfully
graphicvisualizations of the confrontationbetween man and land,
and GuimaraesRosa's works are an importantpart and product of
this tradition. There is, however, in his prose literature, an ap-
parent progression away from the mimetic reproductionof verisi-
milar charactersand settings as the author destroys traditionally
defined realism in many of his later works by transforming the
nature of the fictional worlds in these narratives through his
approach to characterization,plot, language, and narrativetech-
nique. In concentrating on PrimeirasEstoriasand Tutameia,this
paper will attempt to show how certainspecific narrativesof these
works question the meaning of truth and reality and produce
within their texts not so much an illusion, but more so the dissolu-
tion of reality-being less a presentation of the concrete and
particularand more a perusal of the abstractand theoretical.8
Most of the narrativesof Primeiras Estoriasand Tutameia evolve
fictional worlds relatively similar to those in previous volumes of
prose fiction. In an interview with GunterLorenz, GuimaraesRosa
acknowledged his profound ties to the sertdo Braziland asserted
of
that a spiritual identificationwith this specific area of the country
was one of the most important factors determining the content,
and very often the theme of his works of prose fiction. In com-
menting on the label given him by Lorenz-"o homem do ser-
tao"-Guimaraes Rosa stated:

5. 54 Allan Englekirk
Eu sou mesmo antes de tudo, este homem do sertao, e
isto nao e somente uma constataqao biografica, mas
tambem ... esta presente como ponto de partida mais
do que qualquer outra coisa . o pequeno mundo do
sertao ... e paramim o simbolo, diriamesmo o modelo
de meu universo.9
Vaqueiros, jagungos,fazendeiros,gypsies, simple country folk, beg-
gars, prostitutes, blindmen, street urchins, crazed people, reli-
gious zealots, etc.-the full cast of regional charactersevident in
any of the author's previous works are still a prominent feature in
the narratives of his final volumes. Typical conflicts identifiable
with the regional setting, with regional literaturein general, and
with a vast majorityof GuimaraesRosa's previous works likewise
propel action:conflictsof man versus man, triggeredby love, hate,
greed, vanity, jealousy; conflicts of man versus self, arising from
individual anxieties caused by psychological or physical factors;
and conflicts of man versus nature, resulting from the oftentimes
powerless position of man in confrontinga potentiallyperilous and
always unpredictablenaturalworld. Expandingbeyond the boun-
daries of the Braziliansertao,the narrativesof Primeiras and
Estorias
Tutameia also reveal aspects of existence common to humanity in
general-in these volumes, to a far greater extent than in his
previous works. The illusion of reality presented in many of these
tales transcends the immediate, being regional in detail and uni-
versal in perspective.
Not all the narrativesof Primeiras and
Estorias Tutameia, however,
present thoroughly recognizable or credible worlds. In certain
instances, events portrayed in a narrativeare verisimilar,but the
author makes them seem fantasy-likein nature. A young lady in
"Arroio-das-Antas" Tutameia taken away from a depressing
in is
setting by a man on horseback. Both setting and action are plausi-
ble, but the surprise ending is definitely designed by the author to
erase the line between the imaginaryand the real, for the man who
saves the girl is portrayedas a chivalrous knight, appearing from
nowhere on a swift and large horse to gallantly claim a pure
maiden and take her off to live and love happily ever after:
E vinha de la um cavalo grande, na ponta de uma
flecha-entrante a estrada. Em galope curto, o Mogo,
que colheu redea, recaracolando,desmontou-se, desco-

6. South Atlantic Review 55
briu-se. Senhorizou-se:olhos de dar, de lado a mao feito
a fazer caricia-sorria, dono. Nada; senao que a queriae
amava, trespassava-se de sua vista a presenca. Ela per-
cebeu-o puramente; levantou a beleza do rosto, reflor.
Ia. E disse altinho um segredo: 'Sim.'10
With this ending, the illusion of reality is diminished by giving it
an air of fantasy-a reality too perfect to be real.
In other narratives, the events themselves, rather than the
manner in which they are portrayedby the author, lack verisimili-
tude. At times, unlikely occurrences are purely symbolic-such
being the case in "A TerceiraMargemdo Rio" in Primeiras Estorias,
where a man decides to spend the remainderof his life in a canoe
in the middle of a river. In other instances, fantasy overpowers
reality, as occurs in "Seqiiencia"in Primeiras where a cow
Estorias,
with mystical powers leads an unexpecting lad a considerable
distance to meet and immediately fall in love with his wife-to-be.
Willi Bolle classifies "Seqiiencia," "Luas de Mel," and "Substan-
cia" of Primeiras Estorias "modernoscontos de fadas," the first of
as
the three labeled as such because a "magic helper"-the cow-
plays an integral part in plot development and climax." Other
narrativesof the two volumes present a horse that drinks beer, a
priest that momentarily becomes a pig, and "a very white boy,"
who, to the consternationof all in the story, disappears into thin
air. In these tales, verisimilitude does not determine the coordi-
nates for setting or action and, according to Paulo R6nai, "nao
funcionam nem as leis da casualidade nem as da logica."12
Many narrativesof Primeiras Estoriasand Tutameia which could
not be classified as fantasy possess protagonists who successfully
construct their own imaginary worlds and live in them. Their
perception of reality is quite distinct from the more "logical" or
"rational"perspective of the characterswho surround them and
they are usually considered as laughing stock by these individuals.
Jon Vincent labels the "irrational" protagonistsof Primeiras Estorias
and Tutameia liminal beings, with liminality defined as "an
as
ontologicalstate in which the reflectivethreshold being is expected
to develop new perceptions of the relationships in his world.
. . . "13 The man in "A TerceiraMargem do Rio" who determines
to pass his life in the middle of the river symbolizes the stance of
many such liminal figures whose actions are apparently irrational
and certainlynot verisimilar,but whose conviction to seek a third

7. 56 Allan Englekirk
bank to the river-to define truth and reality other than the way it
is defined by most-sets them aside as heroes in the narrativesin
which they appear.
Three consecutive tales in Tutameia-"JoaoPorem, o Criadorde
Perus," "Grande Gedeao," and "Reminisqao"-likewise possess
such liminal characters. The importance of these tales is high-
lighted by the author in his setting them outside the alphabetical
order accordingto title in which the other narrativesare arranged.
Appearing after "Intruge-se,"the first letter of each of the three
separatetitles spells J.G.R.-the author's initials. Each protagonist
for
in these narrativesrejects "reality."In "ReminisSao," example,
Romao, the shoemaker, falls in love with and marries a woman
who is anything but attractive:
Divulgue-se a Dra:cor de folha seca escura, estafermiqa,
abexigada, feia feito frituraqueimada, ximbe-ximbeva;
primeiro sinisga de magra, depois gorda de odre,
sempre pr6priaa figura do feio fora-da-lei.Medonha e
ma; nao enganava pela cara.14
Inexplicably,"Romao ... gostou dela, audaz descobridor ... pu-
desse achar melhor neg6cio. Mas ele tinha em si uma certa mate-
matica."'5Despite her unattractivenessand unfaithfulness, Romao
continues, seemingly blindly, to love Dra, though no one can
understand why this is so until he is at the point of death. In his
final hours, as Romao stares adoringly at his wife, for a fleeting
moment, those people surroundinghis bed see Dra as Romao has
undoubtedly envisioned her from the beginning:
Romaopor derradeirose soergueu, olhou e viu e sorriu,
o sorriso mais verossimil. Os outros, otusos, imaginan-
imes, com olhos emprestadosviam tambem, pedacinho
de instante: o esbocoso, vislumbranqaou transparecen-
cia, o aflato! Da Dra, num estalar de claridade, nela se
assumia toda a luminosidade, alva belissima... 16
In almost all the stories with liminalfigures, the world surround-
ing these figures is life-likeand verisimilar,yet the validity of truth
or reality as presented in these worlds is brought into question
when the author suggests the existence of other levels of reality
and champions the cause of those charactersable to penetrate to
those levels.

8. SouthAtlanticReview 57
With each new work of fiction, the question of illusion versus
realityfor GuimaraesRosa assumes increasingimportance,becom-
ing in Grande Sertdo:Veredaspreoccupationbasic to the theme of
a
the narrative. Riobaldo, the protagonist of this, the author's sole
novel, is infinitely perplexed by the ambiguous nature of any
"reality" perceived by man and constantly doubts his ability to
distinguish, or the validity of his distinction, between truth and
falsehood. He is concerned over the possibility of his being an
unreliablenarrator-a narratorwhose perception of events might
be overly influenced by his personal perspective and lead him to
distort or interpret reality rather than re-create it as it occured.
Many of the narratives of PrimeirasEstoriasand Tutameiacall
attention in similarfashion to the validity of "reality"as perceived
by those telling the tales. "Antiperipleia,"in Tutameia, narratedin
first person, relates the incidents surroundingthe death of a blind
man as told by the dead man's formerguide. The narratorsuggests
several possible alternativesto explain the death of the blind man,
defending the veracityof his story and denying any involvement in
the death, but the reader realizes the dubious value of this "real-
ity" as it is proposed by Prudencinhano,the narrator,for it seems
all too possible that truth is being obscured. The narrator's eyes are
no longer indiscriminate in perspective, but instead see reality
from a purely subjective position. The narration ends with the
mystery of the blind man's death unresolved and the reader must
decide which version of the death to accept as reality, if in fact, any
version is a true representation of actual events.
Formalaspects of GuimaraesRosa's later prose greatly affect the
scope of vision or focus presented by the tales of these volumes-
this being especially so in Tutameia. Published in the journalPulso,
none of the forty narrativesof this volume exceed three pages in
length, a limitationwhich forced the author to severely condense
exposition, virtually eliminate dialogue, and reduce characterde-
velopment and descriptionof scene to a minimumwhile emphasiz-
ing the portrayalof action. The use of such techniques often results
in an "abruptness" or "unpredictability"in certain narratives
which produces a sense of incompleteness ratherthan synthesis.17
This sense of incompleteness is furtherinduced by the tendency of
the author to end many narrativeswithout resolution of conflict.
Events or actions critical to plot development are often left out,
while tangential or insignificantactions are portrayedwith unnec-
essary attention given to detail. Other techniques such as the
abundant use of abstract neologisms, convoluted syntax, and a

9. 58 Allan Englekirk
high frequency of narration or dialogue terminating in suspended
points further complicate or confuse the version or vision of life
emerging from these texts, with all the factors above-mentioned
producing a "reality" less than coherent and intentionally partial.
In characterizing the narratives of Tutameia,Paulo R6nai states that
plot "e mais entremisturado que contado; o autor da a entender
que conhece toda a hist6ria a fundo, mas s6 libera dela uma parte.
Suas senten,as carregavam-se de um sentido excedente pelo que
nao diziam, num jogo de anacolutas, reticencias, e subenten-
didos."'8
In comparing the prose of Euclides da Cunha to that of Gui-
maraes Rosa, Antonio Candido notes a similar preoccupation with
three basic elements-man, land, and struggle. How the authors
employ these elements is completely different, however, for "a
atitude euclidiana e constatar para explicar, e a de Guimaraes Rosa,
inventar para sugerir."19 Guimaraes Rosa's first works might be
classified as works that generally attempted to "constatar para
explicar," for, basically similar to most traditional realist writers, he
demonstrated a strong desire to fashion a fictional world both
similar to the regional world it was modeled on, yet representative
of the universe which surrounded it. The fundamental objective
was one of re-creation, and the implication was that, though the
exact events portrayed in the narratives might never have oc-
curred, life, or reality, was very closely parallel to the image
produced. The narratives published after Grande Sertdo:Veredas,
however, evidence a new attitude by the author toward the rela-
tionship of life and art. Though many narratives are still re-crea-
tions of verisimilar worlds, others are creations of new imaginative
constructs. The author is no longer attempting to define life, or
"truth," or "reality," in specific terms in these prose selections,
but, rather, imply through various narrative techniques and
themes that reality and truth are far too complex to be captured in
other than tentative and speculative terms, and that, furthermore,
in any case, the objective of literature might not be so much to-as
Antonio Candido has put it-"constatar para explicar" as "inven-
tar para sugerir." The meaning of reality is questioned, and after
Riobaldo determines how deceptive its nature truly is, Guimaraes
Rosa decides that his literature must seek new vistas from which to
posit the complexity of this concept-searching for reality within
illusion rather than trying to differentiate categorically between the
two.
Eneida Maria de Souza believes that Tutameiarepresents a "car-
nivalization of art"-with the author's literature no longer devoted

10. SouthAtlanticReview 59
to copying life or defining distinctions between opposites such as
truth and falsehood, etc. To the contrary,in Tutameia, Guimaraes
Rosabegins to mix opposities, and abolishes "distinctionsbetween
the sacred and the profane, the sublime and the insignifi-
cant .. . "-producing a confused illusion of "reality" which is
quite removed from the objective portrayalof life rendered by a
In
traditionalrealist.20 evolving such compact fictional worlds as
those contained in Primeiras and and
Estorias Tutameia intentionally
weaving partial and incomplete narrativesthat either have no end
or admit gaps in the depiction of characterand event, the author
leaves to the reader the task of completing these images and
creating his or her own vision of reality.
It must be reaffirmed,in conclusion, that the tendency remains
strong throughout the literary production of Guimaraes Rosa to
evolve narratives that are intended to mirror life. In total, the
author's literature spins a vast tapestry whose intricate patterns
reflect a panoramic vision of existence on both particular and
universallevels, repeatedlyentering the realmof the metaphysical.
Placed in opposition, or, perhaps better, complementing these
narratives,is a set of tales whose texts do not produce a statement
of "what reality is," but ratherinduce speculation on the question
of "what is reality?"The prose fiction of GuimaraesRosa leaves its
readers in the middle of a "whirlwind"-with God and the devil,
or illusion and reality figuratively spinning in confusion to the
point of being indistinguishable one from the other.
University SouthCarolina
of
NOTES
JoaoGuimaraesRosa (1908-1967) was born in Cordisburgo,MinasGerais,Brazil.
He was a doctor of medicine, a public servant, and a foreign diplomat. His
obsession for learning diverse foreign languages led him to acquire a reading
knowledge of fourteen tongues, and the expressive potential of language as a
medium of communication was, for him, forevera most fascinatingpreoccupation.
His first venture into creative writing-"Magma," a volume of poetry-won an
award from the BrazilianAcademy of Lettersin 1937,but was never published. A
second volume of stories, entitled "Contos,"likewise won a literaryawardin 1938,
but remained unpublished until 1946, when, after being substantiallyedited, it
appearedunder the title of Sagarana. years later,the publicationof Corpo Baile
Ten de
and Grande Sertdo:Veredasattractednationaland internationalattention. Two more
volumes of short fiction were published before the author's death in 1967, these
works being the subjectof this paper. The author was inducted into the Brazilian
Academy of Letters shortly before his passing.
The critical bibliography on Guimaraes Rosa is indeed extensive. There are
severalbasicworks, however, which might serve as sources for furtherreferenceon

11. 60 Allan Englekirk
a general level on GuimaraesRosa:(1) Jose CarlosGarbuglio,O MundoMovente de
Guimardes Rosa(Sao Paulo: EditoraAtica, 1972). A comprehensive review of the
ambiguousnature of "reality"in Grande Sertao:Veredas.Though the study focuses
on the author's novel, it allows for a better understanding of all the author's
literature. (2) Gunter Lorenz, Didlogocor a AmericaLatina(Sao Paulo: Editora
Pedag6gica e UniversitariaLtda., 1973). By far the most informative interview
grantedby Guimaraes Rosato any literarycritic.A useful tool forrelatingthe author
to his work from diverse perspectives. (3) Franklinde Oliveira, "JoaoGuimaraes
Rosa," in A Literatura Brasil,ed. AfranioCoutinho (Rio de Janeiro:
no EditorialSul
Americana, 1969). A good introductorystudy of thematic aspects of Guimaraes
Rosa's works. (4) Jon Vincent, JodoGuimardes Rosa(Boston: Twayne Publishers,
1978).Though condensed into 172 pages of text, including footnotes, this study of
GuimaraesRosa'sfictionrepresentsa scholarlyeffortof the firstorder. A broad, yet
selectively-detailedanalysis of each of the author's volumes of prose fiction.
'ErikHeller, "The RealisticFallacy,"in Documents Modern
of Realism,
Literary ed.
George J. Becker (Princeton:PrincetonUniversity Press, 1963), p. 596.
2Guilhermino Cesar, "No Mundo Moral do Riobaldo,"Correio Povo, 7 June,
do
1975, p. 67. A most thorough analysis of linguistic aspects of the prose fiction of
GuimaraesRosa is contained in Mary Lou Daniel's JodoGuimardes Rosa:Travessia
Literdria de Janeiro:LivrariaJose Olympio Editora,1968)
(Rio
3WilsonMartins, "Um Novo ValdomiroSilveira," Estado Sao Paulo,30 Aug.
de
1956, n.pag.
'GunterLorenz, Didlogo America
con Latina (Santiago:EdicionesUniversitarias de
Valpa:aiso, 1972), p. 336.
SFrancisco Assis AlmeidaBrasil,Jodo
de Guimardes (Riode Janeiro:
Rosa Organiza-
qao Sim6es, editora, 1969), p. 17.
6LuisHarss and Barbara Dohmann, LosNuestros(Buenos Aires: EditorialSuda-
mericana, 1971), p. 446.
7Augustode Campos, "UmLancede 'des' do Grande Sertao," do
Revista Livro, No.
12 (1958), p. 27.
8Theterm "est6ria,"as employed by GuimaraesRosa, suggests a distinct per-
spective on the relationshipbetween life and art:"A est6rianao quer ser hist6ria.A
est6ria, em rigor, deve ser contra a hist6ria." (Tutameia, 30) The implicationis
p.
clear,by the use of the termin the titles, that the tales of both Primeiras and
Est6rias
Tutameia representmoreof a creation,as opposed to a re-creation,
Est6rias)
(Terceiras
of life in literature.
9GunterLorenz, Didlogo cor a America Latina(Sao Paulo: EditoraPedag6gica e
UniversitariaLtda., 1973), p. 321.
'OJoao GuimaraesRosa, "Arroio-das-Antas," Tutameia, de Janeiro:
in (Rio Livraria
Jos6 Olympio Editora, 1976), p. 19.
"'WilliBolle, F6rmula Fdbula
e (Sao Paulo: EditoraPerspectiva,1973), p. 93.
12Paulo R6nai, "O Conto de GuimaraesRosa," Correio Povo,17 Mar. 1973, p.
do
46.
'3JonVincent, JodoGuimaraes Rosa(Boston: Twayne Publishers, 1978), p. 169.
4Rosa,"Reminisaio,"in Tutameia, 81. p.
5Rosa,"Reminisaio,"in Tutameia, 81. p.
16Rosa, "Reminiscao,"in Tutameia, 83.p.
"Vincent, p. 120.
18R6nai, 46.
p.

12. SouthAtlanticReview 61
g1Ant6nio Candido, "GuimaraesRosa e seu GrandeSertdo:Veredas," Jornaldo
Brasil,21 Nov. 1967, n pag.
20Eneida Mariade Souza, "Ficcao,Realidadee Humor em Tutameia," Suplemento
Literdrio MinasGerais,10 Aug. 1974, p. 9, quoted in Vincent, p. 170.
de