BRAZILIAN BILINGUAL BOOK CLUB | MÁRIO DE ANDRADE | To Love, Intransitive Verb| 20th June 2019, 18.30-21.00
2019 – The year of adding marvellous Brazilian novels to your reading lists!
MÁRIO DE ANDRADE (1893-1945)
Amar, Verbo Intranzitivo. Idílio. (1927)
translated as
To Love, Intransitive Verb (2018)
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What happens when the fifteen-year-old Carlos, son of the twentieth century Borbas*, comes under the spell of his German preceptor and the family governess?
A remarkable and challenging period novel featuring the clash between European and emerging Brazilian mores and the class issues.
Note the subtitle ‘idyll’ in this novel: a metamorphosis of the classical epic narrative with satirical overtones and delightfully humorous segments.
To Love, Intransitive Verb is infused with nineteenth century European (predominantly German) ideas and music in the context of the 1920s Brazil: for example, Richard Wagner, Johann Wolfgang von Goethe and Otto von Bismarck as bearers of creativity, erudition, civilisation and human evolution/progress.
The German preceptor in this novel, depicts the newly settled German nationals following the WWI exodus from Europe, adding to the existing immigration waves of Germans and others to Brazil from 1820s onwards creating the huge Brazilian melting pot. The butler, Takeda, in the Sousa Costa household is by chance Japanese.
The idea of moving away from the prevailing French influence was not new in 1920s Brazil. Before Mário de Andrade: Tobias Barreto advocated it from 1870. In the 1872 Viscount Taunay’s Innocência, we find a German naturalist illustrated prevailing scientific practices. Francisco A. de Varnhagem, Viscount of Porto Seguro, embodied it as a historian and diplomat. The author and diplomat Graça Aranha’s 1901 novel Chanaan presented a battle of ideas with opposing sides of German thought.
You will find an enhanced use of spoken Brazilian Portuguese in this novel: A young Mário de Andrade dreamed of contributing to the welding of Brazil by means of the Brazilian language and music, a national synthesis of the emerging varieties of Brazilian Portuguese. To Love, Intransitive Verb was a dress rehearsal for his novel Macunaíma which our book club read in 2015.
Curiously, the author made forays into Neo-Vitalism** which spawned a variety of Modernist art throughout the world. He pointed this out in his 1927 letter to the Diário Nacional editor stating that he regretted that critics failed to pay heed to this conceptual component by overstating Freud’s doctrine, the fallacies of which he outlined in the novel.
* a traditional family with a lineage dating back to Belchior de Borba Gato (c. 1610 – c. 1669), originally bandeirantes, and prosperous rural estate owners in São Paulo from 1640s.
** The Neo-vitalism theories were circulated by Henri Bergson, Hans Driesch, Alois Riegl, Arthur Thompson in the 19th and early 20th and others since the idea is old. Recently, Vitalist Modernism was the theme of an annual conference of the Association for Art History.
DETAILS OF AVAILABLE PUBLICATIONS:
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ENGLISH 1933 - Fraulein (Amar, Verbo Intransitivo). Translated by Margaret Richardson Hollingsworth. New York: Macaulay.
2018 -To Love, intransitive verb , Bilingual edition, translated by Ana Lessa-Schmidt, published by the New London Librarium ISBN-10: 194707427X ISBN-13: 978-1947074279 ASIN: B07JXBXBDR PORTUGUESE 1927 Amar, Verbo Intransitivo – various editions available.
Various free downloads, e.g. http://www.livroclip.com.br/ferramenta/externo/colecao/amar,_verbo_intransitivo/livro.pdf
SHORT HISTORY OF THE BOOK AND TRANSLATION
Mário de Andrade wrote the novel Amar, Verbo Intransitivo sometime from 1923 to 1924, with the subtitle ‘Idílio’ and dedicated it to his brother. A very young author in his twenties - a major revelation of talent.
The novel has an experimental structure without marked chapters; the section, which ends with ‘The End’ is not the actual end. As Mário de Andrade had a great passion for music, he interweaved musical themes in various guises throughout the novel. Some of the punctuation in the narrative is marked by the ‘bass cleft’. It follows the structure of Wagnerian operas applying the concept of idylls, as narrative poems, including oral storytelling of ancient myths. Mário de Andrade had a full set of Wagnerian items in his library. Siefried’s Idyll is mentioned in the novel. A clue no doubt for the reader of the novel. The first performance took place on the staircase in the Wagner’s villa in Lucerne, on the morning
3 of Christmas Day 1870, also the day of his wife’s birthday. The story goes that Cosima was sleeping, and she woke up to the beautiful opening melody, with Wagner conducting the small group of musicians he had invited from Zürich. In her diary, she recorded that the present was lovely. Siegfried, WWV 86C, is the third of the four music dramas which constitute Der Ring des Nibelungen (The Ring of the Nibelung), by Richard Wagner. It premiered at the Bayreuth Festspielhaus on 16 August 1876, as part of the first complete performance of The Ring cycle. The other reference to Wagner is by way of Tannhäuser und der Sängerkrieg auf Wartburg, (Tannhäuser and the Minnesingers' Contest at Wartburg), ‘an 1845 opera in three acts, with music and text by Richard Wagner, based on two German legends: Tannhäuser, the legendary medieval German Minnesänger and poet, and the tale of the Wartburg Song Contest. The story centers on the struggle between sacred and profane love, and redemption through
love, a theme running through much of Wagner's mature work’ (Wikipedia) .
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The other discernible structural feature of this work is that it contains a series photographic frames or scenes evoking art works set in a cinematic sequencing. His technique affects the tempo of narrative generating the pace of storytelling. The author was a keen photographer, too. One often feels like a scene was frozen photographically in the sequence of events. The comic sequence in the train journey reminds us of comic silent films. The narrative contains various quotations in German. Lyrics of German songs (Lieder) and poems with translations. Apropos, there is a fascinating reference to women grammarians and lexicographers in this novel: the Governess memorised the Michaelis Dictionary . The first Michaelis dictionary
4 was created by the end of the 19th century by the German lexicographer Henriette Michaelis (1849- ?) in a partnership with her sister Carolina Michaëlis de Vasconcelos, born Karoline Michaelis (1851 -1925) was a German-Portuguese Romanist and one of the first women university lecturers in Portugal (Coimbra). In 1876, she married Joaquim António da Fonseca Vasconcelos, founder of Portuguese art history writing. These women lexicographers, grammarians and linguists have often been excluded from histories of language and linguistics. The well-known brand of dictionaries of the Portuguese language and grammars are now published is by Melhoramentos in Brazil including a variety of foreign language combinations. The largest dictionary of Portuguese language with over 260 thousand words is by Michaelis published in Brazil. http://michaelis.uol.com.br/
The novel was written in what the author described as Brazilian Portuguese; he felt the need to brazilianise the Portuguese language. His ambition was to convey the melodic line of the regional varieties of Brazilian Portuguese as well as the cadence of the delivery of speech with its characteristic Brazilian accents and to distinguish it from the Portuguese of Portugal. A means of asserting the national identity of the Brazilian ‘race’. Additionally, he attempted at including a lexicon of varieties of Brazilian Portuguese from various regions. Some of the words contained in the novel fell out of use since. He also invented words for this novel embedding some wit and humour. In pursuing a Brazilian language, he also recorded emerging morphological and syntactic forms in his works. The most noteworthy record is the use of the reflexive pronoun
5 before the verb in a sentence or clause, which remains part of the colloquial spoken repertoire of Brazil. His use of Brazilian spoken language was regarded as non-standard and was heavily criticised by many, including fellow modernists such as Sérgio Milliet (1898-196) and Menotti del Picchia (1892-1988). By 1924, Mário de Andrade went on an intellectual journey of ‘discovering Brazil’. He was barely 21 years old, when he started writing his debut novel. The author even produced a manuscript of a grammar - Gramatiquinha da fala brasileira (The Short Grammar of the Brazilian speech) - between 1927 and 1929, which was printed in 1990. This was the culmination of a process, which started in the mind-19th century. José de Alencar (1829-1877) announced that he was writing in Brazilian Portuguese. Other authors followed suit. Júlio Ribeiro (1845-1890), the grammarian and writer, author of A carne (1888) wrote grammars and recorded Brazilian words from 1880s. Indigenous words were recorded from the 16th century, particularly by Jesuits and other orders, and there was a significant record of such words already integrated the Brazilian lexicon. It also enriched he lexicon of Portuguese, recorded as brasileirismos (words of Brazilian origin) in colonial dictionaries from 17th century. The same applies to records of varieties of Portuguese (including various Portuguese colonies) and the words from a variety of languages, which were brought with the slaves to Brazil. The novel was written at the time of the first centenary of the independence of Brazil and a greater sense of national identity was dawning on Brazilians. This included a distinctive form of Portuguese – Brazilian. The process was a means of asserting the national identity of a young nation. The author completed the novel in 1926. The first print run was paid for by the author. Brazilian authors at the time used to gather at the Italian bookshop (Livraria Italiana) owned by Antonio Tisi at the Largo de São Bento in São Paulo. As most bookshops at the time, the bookshop also had a publishing arm, Casa-Editora Antonio Tisi. They printed the novel. As it was launched, he was already working on his rhapsody-novel Macunaíma. The city of São Paulo was effervescing with ideas and much development. Large new cities and urban areas were appearing all over Brazil reflecting great energy at all levels of life. The ideas circulating from the 1914-15 clearly indicated a sense that the new century required new ideas and a new aesthetic. Brazil was not immune from the worldwide modernizing ideas and proposals. Similarly, Brazil had its first experience of World War I. Initially, Brazil pledged to remain neutral from 1914 until the incident on 5th April 1917. The Brazilian steamship Paraná,
6 one of the largest Brazilian merchant vessels (4. 5 tons) carrying a full load of coffee, was sunk. Brazil broke off relations with Germany and Austro-Hungary and ended up participating the war in 1918. The first experience of horrors of the World War I was commented by various people including Graça Aranha. There were retaliations against the Germans in Brazil, illustrated by the attack on Brahma beer plant. The context of To Love, Intransitive Verb with the deliberate choice of German governess, often referred to as Fräulein, instead of Elza, would have raised an eyebrow or two. Perhaps, her role as preceptor, but also with additional role of introducing sons of wealthy families to sexual life (regarded as a safe choice given the incidence of STDs) camouflaged the fact that she was the main conduit of a set of German ideas and ideals for the Sousa Costa family. The ideal peaceful harmonious future coexistence, which the nation of Brazil had embraced, was already present in the works of Graça Aranha (1868-1931), a diplomat and the author of Chanaan (1901). When he retired and retuned to São Paulo, he played a key role in influencing the younger authors and artists in planning of the 1922 Week of Modern Art. He delivered the opening address of the week. Shortly before that, in 1921 he published Estética da Vida (An Aesthetics of Life), an influential theoretical essay in which he analysed the relationship of the Brazilian soul with its fantastic nature. In his outline of the metaphysics of the Brazilian people, he spoke how the three main races had formed the ‘soul’ or essence of the Brazilian people, adding the basic emotions to the Brazilian culture: from the Portuguese settlers, the Africans and the Indigenous people. He proposed that Brazilian culture should strive to achieve a new relationship with nature, based on the incorporation of such feelings into art and by overcoming the ethnic differences by means of an integration between the I and the cosmos. The reference of vitalism, or life force (l’élan vital) is present in the 1921 essay and as cosmic dimension is present in Chanaan. Our book club read this important book in the first year, 2015. Mário de Andrade made forays into Neo-Vitalism, which spawned a variety of Modernist art throughout the world. He pointed this out in his 1927 letter to the Diário Nacional editor stating that he regretted that critics failed to pay heed to this conceptual component by overstating Freud’s doctrine, the fallacies of which he outlined in the novel. This is relevant as there are various components of this novel which contain references to the theories or doctrines of vitalism. Mário de Andrade tried to postulate a full integration of all arts, a precept of such theories.
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The first translation of the novel in English was published in 1933 - Fraulein (Amar, Verbo Intransitivo). It was translated by Margaret Richardson Hollingsworth and published by Macaulay in New York. Mário de Andrade approved the title in English but the book is extremely rare and inaccessible. Various scholars even claimed that it was never published. On 30th July 1933, the New York Times published a review under the heading A Governess; FRAULEIN. By Mario De Andrade. Translated by Margaret Richardson Hollingsworth. 252 pp. New York: Macaulay Company. https://www.nytimes.com/1933/07/30/archives/a-governess-fraulein- by-mario-de-andrade-translated-by-margaret.html
The most recent translation was published as a bilingual edition in 2018 entitled To Love, intransitive verb translated by Ana Lessa-Schmidt and published by the New London Librarium in three formats (hard copy, paperback and e-book). This translation benefitted from the National Library Foundation Translation Grants Programme and support from the Ministry of Culture. New London Librarium is a small literary press in Hanover, Connecticut, US.
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Without any doubt, the translation of this novel is a major challenge not least because of the non-standard, colloquial Brazilian Portuguese and its unconventional structure. The lexicon is a collage of varieties of Portuguese in Brazil along with some neologisms and inventions. Equally, the novel contains many cultural and intellectual references as well as many phrases and passages in German. Ana Lessa-Schmidt was greatly enthused by the translation of Mário de Andrade’s debut novel.
Ana (Cláudia) Lessa-Schmidt, born in Rio, grew up in the Amazon, and lived in the UK, Barcelona and now lives in Leipzig, Germany. She holds a BA degree in English Literature from the Federal University of Amazon, an MA in Contemporary British Society and a PhD in Brazilian Cultural Studies (Protest Music during the Dictatorship) and also taught at the Federal University of Amazon. She has been working as a Senior Editor Translator to New London Librarium (NLL) with Glenn Cheney since 2014. She translated João do Rio’s As Religiões no Rio, and Vida Vertiginosa. Machado de Assis’s short story Trio in A Minor for the short story selection Ex-Cathedra and Miss Dollar and Other Stories. Our book club read and discussed these books since 2016. It is a great a great advantage to have a parallel text and our book club members were delighted to discover and read João do Rio’s works, which got a long overdue translation. Our book club counted on the presence of the translator in 2016 and she will be participating in this 2019 edition as well. The posts for the books mentioned above are available on our website. Amar, Verbo Intransitivo - To Love, intransitive verb in the 2018 translation brings a foreword by Viviane Carvalho de Annunciação, a teaching associate in Portuguese at the Centre
9 of Latin American Studies of the University of Cambridge who is pursuing a PhD at St. John’s College on Misplaced Ideas: the Contradiction of Science in Machado de Assis. There is a 1975 film adaptation based on this novel Lição de Amor by the film director Eduardo Escorel(1946-) featuring mainly a critique of the decadent society inhabited by the coffee barons. Currently available on https://www.youtube.com/watch?v=cwshvDVYDBs https://www.imdb.com/name/nm0260408/bio?ref_=nm_ov_bio_sm
BIOGRAPHY MÁRIO RAUL DE MORAIS ANDRADE (9th October 1893 - 25th February 1945)
‘...we find the germ of musical harmony in reading of the symphonies of Pythagoras.’
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Mário de Andrade source: Mário de Andrade Fund
Mário de Andrade, was a Brazilian polymath, precocious pianist, poet, novelist, musicologist, ethnologist, art historian and critic, photographer, researcher and a pioneer in ethnomusicology in Brazil who became a major cultural and intellectual figure of the 20th century. He was born in São Paulo, capital of the state of São Paulo. His father Carlos Augusto de Andrade was a journalist and printer of modest means. From 1900, his father owned ‘Casa Andrade’, a printing press and stationary shop, worked as an accountant and was keen on theatre and promoted the presentation of plays in his own home, eventually buying the Teatro São Paulo. Young Mário de Andrade benefitted from this. He studied music from an early age and wrote poetry. He was a virtuoso pianist from an early age but following the shock of his younger brother’s death at a football match, Mário de
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Andrade developed shaking hands, which prevented him from pursuing a career as a pianist. He completed his degree in music. Later, he taught History of Art at the Conservatoire and, in 1922, became the Chair in History of Music and Aesthetics.
He was a leading instigator of the Week of Modern Art in 1922 in Brazil, an avant-garde movement which disseminated Brazilian Modernism in literature, visual arts, music and architecture. His own contribution to the event, a reading of poems from his Paulicéia Desvairada (1922) translated as Hallucinated City (1968) was not initially well received but came to be recognised as a main influence on modern Brazilian poetry. As a member of the Klaxon magazine, he published Modernist poems and literary, visual arts, music and cinema reviews.
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A 2018 educational video produced by the Biblioteca Brasiliana Guita e José Mindlin about the Klaxon magazine and the 1922 Week of Modern Art is available on YouTube in Portuguese: https://www.youtube.com/watch?v=bMdpRLmyBK0
Mário de Andrade sought an aesthetic of language and music. In explaining his theory of poetry in the self-deprecating foreword to Paulicéia Desvairada, he argued that certain figures of speech enabled us to see the embryo of oral harmony as much as ‘we find the germ of musical harmony in the reading of the symphonies of Pythagoras’ adding ‘Antithesis: genuine dissonance.’ He published various textbooks and chronologies on music, establishing himself as an authority on music history. In 1924, he embarked on a historic expedition Viagem da Descoberta do Brasil (Voyage of Discovery of Brazil) with his Modernist friends to document rural folk music, and during the 1930s, made an enormous collection of recordings of the songs and other forms of Brazilian music. His multimedia techniques predated other folk music field collectors and can be credited with developing ethnomusicology in Brazil. The term ‘popularesque’, which he coined, referred to imitations of Brazilian folk music by erudite urban musicians. In 1928, he embarked on the second ethnographic ‘Voyage of Discovery of Brazil’ to the northeast, publishing Ensaio sobre a Música Brasileira (An Essay on Brazilian Music). He wrote for the Modernist magazines Revista de Antropofagia and Verde as well as publishing his groundbreaking Macunaíma – o Herói sem nenhum caráter there. It was written in colloquial Brazilian Portuguese and the author pointed out that it was a rhapsody. The reception of this novel met with various degrees of criticism and puzzlement. For example, there was a confluence of Modernist ideas between Mário de Andrade’s Macunaíma and James Joyce’s Ulysses (1922) as they attempted to understand their countries. Both shared an impressive capacity to observe and create an in-depth critical analysis of the contemporary state of affairs. Since then, there have been speculations whether Mário de Andrade was aware of or had read Ulysses. Mário de Andrade would influence one of the greatest Brazilian musicians, Heitor Villa- Lobos (1887-1959), who had also participated in the Week of Modern Art. They corresponded and exchanged views. In fact, the vast correspondence that Mário de Andrade maintained with various fellow authors and friends contains an invaluable record of the author’s thoughts and commentaries. Mário de Andrade would join a like-minded circle of friends who were aware of the growing Modernist movement in Europe – the Grupo dos Cinco (The Group of Five): Oswald de Andrade, a poet (no relation) and Menotti del Picchia (1892-1988) another poet, and the artists
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Tarsila do Amaral (1892-1988) and Anita Malfatti (1889-1964), who visited Europe before the World War I. The introduction of Expressionism to São Paulo and Brazil was attributed to her. The reputation of the Group of Five continued to increase throughout the 1920s, but eventually the group split apart with a very public falling-out between Mário de Andrade and Oswald de Andrade in 1929. Various splinter groups emerged creating varying forms of the so-called Modernist movements within Brazil. Mário de Andrade engaged in his own travel writing from 1927, in the series ‘The apprentice tourist’ for the newspaper O Diário Nacional about his voyages of discovery of Brazil, adding photographs to his column, which depicted various hitherto unknown aspects of the landscape and people of Brazil to urban readers. An early pioneer of ‘selfies’, he would appear in his photographs through the landscape as a shadow overlay, some of which can be seen in the archives of the Mário de Andrade Library in City of São Paulo – renamed after the author in 1960. The largest sound archive of his recordings can also be accessed at that library. During the expeditions, he recorded much folklore of Brazil. Although he was a self-taught ethnographer, he gained much respect and his works on various aspects of Brazilian folklore are included in the seminal 1954 Dicionário do Folclore Brasileiro (Dictionary of Brazilian Folklore) by Luís da Câmara Cascudo (1898-1986). In 1935, Mário de Andrade and Paulo Duarte (1899-1984), an archaeologist and writer, set up the City Hall of São Paulo Culture and Leisure Department (Departamento de Cultura e Recreação da Prefeitura Municipal de São Paulo). Mário de Andrade became the director until 1937. The aim of that Department was ambitious, with its oversight of cultural and demographic research, development of parks and playgrounds as well as significant publishing. Mário de Andrade used it to expand his work in folklore and folk music research and moved his vast collection of unique recordings to the Department creating the Discoteca Municipal, managed by his former student, Oneyda Alvarenga (1911-1984). He remained keenly interested in music theory and all forms of music, and in 1938 he moved to the Federal University of Rio de Janeiro, where he convened a major folklore and folk music conference – Congresso da Língua Nacional Cantada (the National Singing Language Conference). He returned to São Paulo in 1941, to his old post at the São Paulo Culture and Leisure Department. His long poem Meditação Sôbre o Tietê could be described as a poetical autobiography, associated both Mário de Andrade’s voice and the Tietê river with banzeiro, a term from the Afro-Brazilian tradition with various meanings: for example, a melancholic piece of music, an African dance, the feelings of nostalgia and melancholy among African slaves in Brazil
14 synonymous with the word ‘saudade’ in Portuguese, the attitudes of defiance of slave masters, or the wake of a boat on the river. Mário de Andrade’s intellectual and cultural legacy has not yet been thoroughly researched and appraised. His influence on literature extends into the 21st century. In 1960, the municipal library of São Paulo was renamed Biblioteca Mário de Andrade. He was elected to the Brazilian Academy of Music (Chair no. 40).
Mário de Andrade Library Biblioteca Mário de Andrade. São Paulo. Photo by Jose Cordeiro/SPTuris.
The novel Macunaíma was adapted for the cinema as a comedy in 1969 by Joaquim Pedro de Andrade (1932-88). In 1978, the theatre director José Alves Antunes Filho (1929-) presented his play based on the novel. The singer Iara Rennó created a CD Macunaó.peraí.matupi ou Macunaíma Ópera Tupi based on this novel in 2008.
A SELECTION OF MÁRIO DE ANDRADE’S WORKS
(1917) Há uma gota de sangue em cada poema, (1922) Paulicéia desvairada, (1925) A escrava que não é Isaura, (1926) Losango cáqui, (1926) Primeiro andar, (1927) A clã do jabuti, (1927) Amar, verbo intransitivo (novel), (1928) Ensaios sobra a música brasileira, (1928) – Macunaíma (novel), (1929) Compêndio da história da música, re-written as Pequena história da música brasileira in 1942, (1930) Modinhas imperiais, (1930) Remate de males, (1933) Música, doce música, (1934) Belasarte, (1935) O Aleijadinho de Álvares de Azevedo, (1935) Lasar Segall, (1941) Música do Brasil, (1941) Poesias, (1942) O movimento modernista, (1943) O baile das quatro artes, (1943) Os filhos da Candinha, (1943) Aspectos da literatura brasileira, (1944) O empalhador de passarinhos, (1945) Lira paulistana, (1947, posthumous) O carro da miséria, (1947, posthumous), Contos novos, (1977, posthumous) – O Turista Aprendiz.
A SELECTION OF SOURCES AND REFERENCES:
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Câmara Cascudo, L. da (1934) Antologia do Folclore Brasileiro. Livraria Martins Editores esp. on Koch-Grünberg – a árvore da vida e o dilúvio pp.121-4. Costa, M.m. Da, Faria, J.r.g. De, Bernardi, R. M., Guimarães, D. A. & Weinhardt, M (1982) Estudos sobre o Modernismo – Edição comemorativa dos 60 anos da Semana de Arte Moderna de 22. Curitiba: Criar Martins, Wilson (1996) História da Inteligência Brasileira - Volume VI (1915-1933) pp. 427, 431-3 et pass. São Paulo: T.A. Queiroz, segunda ed. [this is a main source on the author and the Brazilian Modernism] Martins, Wilson (1969) O modernismo (1916-1945) São Paulo: Cultrix
Itau Cultural: http://enciclopedia.itaucultural.org.br/pessoa20650/mario-de-andrade https://goo.gl/VuDP3G
A good biography about the author in Portuguese: http://www.elfikurten.com.br/2011/06/mario-de-andrade.html
On the Mario de Andrade Library: http://cidadedesaopaulo.com/v2/atrativos/biblioteca-mario-de-andrade/
On Folklore: http://ww2.sescsp.org.br/sesc/hotsites/missao/eng/index.html
On the connection with Villa-Lobos: http://cultura.estadao.com.br/noticias/literatura,mario-de-andrade-o-parteiro-das-cirandas- de-villa-lobos,1637241/literatura,mario-de-andrade-o-parteiro-das-cirandas-de-villa- lobos,1637241
Details about the Richard Wagner available from the museum in Bayreuth: https://www.wagnermuseum.de/en/
2019: #AddBraziliannovels2yourReadingLists
HAPPY READING!
Attendance is free, but booking is essential: [email protected]
©Nadia Kerecuk Creator and Convenor of the © Brazilian Bilingual Book Club at the Embassy of Brazil in London
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