Winning the Game and Other Stories by Rubem Fonseca
Author:Rubem Fonseca
Language: eng
Format: mobi, epub
Publisher: Tagus Press at UMass Dartmouth
Published: 0101-01-01T00:00:00+00:00
In a word, the state of immorality was general. Clergy, nobility and the common people were all perverted.
JOAQUIM MANUEL DE MACEDO, A Walk Through the Streets of Rio de Janeiro (1862–63)
the art of walking in the streets of rio de janeiro
AUGUSTO, THE WALKER, WHOSE REAL NAME IS EPIFNIO, lives in a space above a women’s hat shop on Sete de Setembro, downtown, and he walks the streets all day and part of the night. He believes that by walking he thinks better, finds solutions to his problems; solvitur ambulando, he tells himself.
In the days when he worked for the water and sewerage department, he thought of giving up everything to live off writing. But João, a friend who had published a book of poetry and another of short stories and was writing a six-hundred-page novel, told him that a true writer shouldn’t live off what he wrote, it was obscene, you couldn’t serve art and Mammon at the same time, therefore it was better for Epifânio to earn his daily bread at the water and sewerage department and write at night. His friend was married to a woman who suffered from bad kidneys, was the father of an asthmatic child, his mentally defective mother-in-law lived with them, and even so he met his obligations to literature. Augusto would go home and find he was unable to rid himself of the problems of the water and sewerage department; a large city uses a lot of water and produces a lot of excrement. João said there was a price to pay for the artistic ideal—poverty, drunkenness, insanity, the scorn of fools, affronts from the envious, lack of understanding from friends, loneliness, failure. And he proved he was right by dying from a sickness caused by fatigue and sadness, before completing his six-hundred-page novel. Which his widow threw in the trash along with other old papers. João’s failure did not dishearten Epifânio. When he won a prize in one of the city’s many lotteries, he resigned from the water and sewerage department to dedicate himself to the task of writing, and adopted the name Augusto.
Now he is a writer and a walker. Thus, when he isn’t writing—or teaching whores to read—he walks the streets. Day and night he walks the streets of Rio de Janeiro.
At exactly three a.m., when Haydn’s Mit dem Paukenschlag sounds on his Casio Melody, Augusto returns from his walks to the empty upstairs apartment where he lives, and sits down, after feeding the rats, in front of the small table occupied almost entirely by the enormous notebook with lined pages where he writes his book, under the large skylight through which a ray of light enters from the street, mixed with moonlight on nights when there is a full moon.
In his walks through the city’s downtown, since he began writing the book, Augusto looks attentively at all there is to be seen—facades, roofs, doors, windows, posters stuck on walls, commercial signs, whether luminous or not, holes in the sidewalk,
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