Brazilian Bilingual Book Club| Dalton Trevisan | O Vampiro De Curitiba|16Th Mar, 6.30-9 Pm

BRAZILIAN BILINGUAL BOOK CLUB| DALTON TREVISAN | O VAMPIRO DE CURITIBA|16TH MAR, 6.30-9 PM

2017- the year of #lovetoreadBrazil DALTON TREVISAN (1925- )

O Vampiro de Curitiba (1964/5)

translated into English as

The Vampire of Curitiba and other stories (1972)

The Vampire of Curitiba is one of the best-known masterpieces by a recluse author, who does not give interviews, seek publicity & yet continues to be (re-)read voraciously!

Dalton Trevisan: a man of unsual genius, a master of the art of literary ventriloquism, a cursed author, ironically prurient and epigrammatic, forging some of the most accomplished minimalist insights into the workings of the human mind, emotions and behaviours.

No real vampires in this chain of haiku-like microstories! (Trevisan coined the term ‘microstory’)

Is The Vampire of Curitiba an early experimental novel disguised as a set of short or rather micro stories? Is the narrator a misanthrope? Or is he affected by some neurological or bipolar disorder?

There is even a relatively recent paper (2014) in a medical journal about Dalton Trevisan’s acute capacity to record neurological events in his narrative!

You will never forget Nelsinho! A sleazy but fetching guy and a scoundrel too, who obsessively pursues different women in each microstory-chapter! The accounts of women’s lives, mores and challenges evoke pictures of hell…

DETAILS OF AVAILABLE PUBLICATIONS: ENGLISH The vampire of Curitiba and other stories (1972) ISBN-10: 0394466454 ISBN-13: 9780394466453

Also available at https://books.google.co.uk/books/about/The_Vampire_of_Curitiba_and_Oth er_Storie.html?id=SPsdAQAAIAAJ&redir_esc=y

PORTUGUESE

O vampiro de Curitiba (1964/5)

ISBN-10: 85010136331 ISBN-13: 978-8501013637

Various editions Free download: https://docs.google.com/file/d/0B8CgHMVEFuyOZkdfTHBnVFozRFE/edit

SHORT HISTORY OF THE BOOK AND TRANSLATIONS

The publication of O vampiro de Curitiba has an inordinate history and dates back to 1964. Dalton Trevisan likes to do things in his own way. At the time, he approached the Oficinas Gráficas de Papelaria Requião to publish his first version of O vampiro de Curitiba and chose a Cordel format, which has been a trademark of his books. This was a kind of preview editions with six of the fifteen microstories of the 1965 edition.

Dalton Trevisan had enjoyed the sponsorship of Papelaria Requião for the years he was publishing the journal Joaquim (Apr 1946-Dec 1948, 21 issues). Papelaria Requião started as a bookshop, printer, stationer as Livraria Econômica, located on Rua XV de Novembro, in 1900, and in the 1920s it was renamed as Papelaria Requião and moved to a nearby iconic address Alameda Dr. Muricy in 1942 and operated there until 2004, when it was wound up. At the peak if its heyday, it was a meeting place, a hub for authors, artists, intellectuals and public figures or even celebrities in the centre of Curitiba. His attitude to writing is rather idiosyncratic as he tends to rewrite or revise his stories punctiliously for each edition. In most of the existing book histories and biographies, the 1965 edition of O Vampiro de Curitiba appears as the original, published by one of the most notable publishing houses in Brazil, Livraria José Olympio Editora (1931 – 2001 & since 2001 Grupo Editorial Record). José Olympio, both a publisher and a bookshop originated in S. Paulo, and launched the writing careers of various distinguished Brazilian authors.

By the time that O vampiro de Curitiba was published, Dalton Trevisan had already gained some national recognition as he had already published two masterpieces Novelas nada exemplares and Cemitério de elefantes.

However, it would be O vampiro de Curitiba, which would give him immense international acclaim. In addition, ‘The Vampire of Curitiba’ has become his sobriquet.

Dalton Trevisan fictionalizes the city of Curitiba, one of the oldest cities in Brazil founded on 29th March 1693, the capital of the state of Paraná. It has accrued a set of celebrated nicknames, such as, the Flower City, the Smiles City, and the University City (the first full university was founded in Curitiba on 19th Dec 1912, out of 1892 proposal by author and abolitionist José Francisco da Rocha Pombo (1857-1933) ) and the Ecological City (1992, UN model green city). Curitiba has a huge amount of green spaces with 33 parks and woodlands, 4,42% of the city area and it was one of the first cities in Brazil to

4 create forest conservation areas in the heart of the city; the Barigui Park preserves parts of the Atlantic Forest with its flora and fauna; sheep ecologically ‘mow’ the lawns. The streets in Curitiba are traditionally lined with trees and flower beds. It has long been a vibrant cultural hub, with some of the oldest book fairs in Brazil, its architecture embraces the legacies brought by over 26 major immigrant groups, who have settled in the city bringing multifarious cultural practices with them and is probably of the largest linguistic melting pot in the world. It has one of the oldest and largest public libraries in Brazil, founded in 1857 and some of the oldest and most prestigious traditional schools and high schools established in the 19th century. Curitiba hosts various classical music, theatre, opera, mime festivals. There are various thriving theatres in the city, the main of which is the Guaíra Theatre Cultural Centre, it is also the largest. Guaíra Theatre is the home of the symphony orchestra, ballet, comedy theatre, experimental theatre, children’s theatre, and it was conceived of in the 19th century (originally as Theatro São Theodoro). The current imposing premises, were the result of solid lobbying of the Paraná Academy of Letters back in the 1940s, inaugurated in 1954, it the largest theatre in South America with three auditoria, the largest of which accommodates 2,173 spectators. Various famous theatre and opera directors held performances at the theatre. One of the auditoria with a capacity for 504 spectators; it is dedidacted to the pioneering theatre director and actor, Salvador de Ferrante (1892-1935). The theatre hosts the yearly ‘Festival Folclórico e de Etnias do Paraná’, the 2017 festival is the 55th edition of this traditional event. Play adaptations of Dalton Trevisan’s short stories have been part of the regular repertoire of the Guaíra Theatre.

Having offered his brief glimpse of the almost 324-year-old city, in Dalton Trevisan, Curitiba gains an added dimension. His narratives paint a picture of an invisible underbelly of the city, which has both provincial features and large city paranoias. He has an ironic wit and through highly condensed sentences creates amazing scenes of the mundane life permeated with a semi- clinical psychological analysis. Although the styles differ widely, Peter Ackroyd (1949 - ) matches the tone in his accounts of the London we don’t often see in, for example, his London Under (2012). Dalton Trevisan has become a trademark for the same in Curitiba.

The author started writing about Curitiba in the journal Joaquim (issue no. 6, 1945), one of his first stories is inspired by Machado de Assis. Dalton Trevisan is one of the most accomplished disciples of Machado de Assis’s style in short story narrative. As the author, walks the city and knows all of its nooks and crannies, the characters emerge from the woodwork in such a manner that they could well be part of an ancient, medieval or other grotesque painting or sculpture scene. Subsequently, he publishes the story Em busca de Curitiba perdida, which becomes the name of the homonymous book in 1992. Assiduous

Trevisan’s readers, realize that his hometown Curitiba, an imaginary place, acts as a kind of distorted character shaping much in his works.

Therefore, the question is what has inspired the author to write O vampiro de Curitiba?

A bit of background is required again. Another meeting place of mytical dimensions in the centre of Curitiba is a place called Boca Maldita, litteraly, ‘Accursed Mouth’. Located around a coffee bar and the pavement with a newsagent’s kiosk (pedestrianized since the 1970s), which used to be called Avenida Luiz Xavier, now Rua das Flores, close to Generoso Marques Square, in the heart of the city. Boca Maldita is the headquarters of a Brotherhood - Cavaleiros da Boca Maldita de Curitiba (The Knights of the Accursed Mouth of Curitiba). Recently, in December 2016, the brotherhood celebrated its 60th anniversary with much pomp and glory; it has some 2,500 ‘knights’. Boca Maldita is a place to come and debate anything current or relevant, in an off- the-record type of gathering, to amass ‘intelligence’ on all sorts of affairs. Entrepeneurs, professionals, artists, authors, journalists and any curious passer- by can join in, sip a lovely cafezinho and debate anything relevant until late hours in the morning of the next day. As it is a man’s only brotherhood, the women in Curitiba created a counterpoint, a Sisterhood, the Boca Rouge, a creative name with a pun on the coulour and cosmetic rouge & the sound of ‘ruge’ – a lion’s roar - Rouge/Roaring Mouth, launched in 1983, conferring ‘Dame/Lady Rouge’ titles, a counterpoint to all those men from the Boca Maldita.

Boca Maldita is a place, which Dalton Trevisan would patronize regularly, especially to listen to the accounts or juicy stories appropriating them subsequently. Nelsinho, the protagonist in O Vampiro de Curitiba, was inspired by a journalist and poet Mauri Furtado (1938-1964), who died prematurely (drowned at the beach). Mauri Furtado used to work for the newspaper Última Hora, who used to cover the bohemian life in Curitiba and was a gifted writer. Nelsinho is loosely based on him, the fictional Nelsinho is unforgettable.

The original O vampiro de Curitiba has undergone various revisions and you could find slightly different versions in the editions, which have appeared in print since then.

The only translation into English, The Vampire of Curitiba and Others Stories, was made by the literary translator Gregory Rabassa (1922-2016), published by Alfred A. Knopf in New York in 1972, contains a selection Novelas nada exemplares (1970, 2nd ed.), Cemitério de Elefantes (1970, 2nd ed. revised/enlarged), O vampiro de Curitiba (1965, 2nd ed. revised and enlarged) and A Guerra Conjugal (1970 2nd ed. revised) published by Editora Civilização Brasileira, S.A., Rio de Janeiro.

Gregory Rabassa was a prominent translator of Spanish mainly and also Portuguese, born in the United States of a Cuban family. Rabassa sometimes translated without having read the book beforehand and wrote a memoir of his experiences as a translator, If This Be Treason: Translation and Its Dyscontents, A Memoir (2006). He also translated books by the Brazilian authors Machado de Assis (2), Clarice Lispector (1), Osman Lins (1) and Jorge Amado (1). The translator’s note, which appears on page xv, may mean, covertly and cautiously, that the author may have given the translator a bit of hard time. The introduction by G. Rabassa, as it was published in 1972, contains an early appraisal of the Dalton Trevisan, and carries historical interest especially regarding the insights on writing contained in the quotes of the author.

O vampiro de Curitiba was translated into Spanish (1979). A few of his short stories from various short story books appear in translation anthologies in English, French, Romanian, German, Dutch, Polish, and Russian. There were various adptations to theatre, including performances at the Guaíra Theatre.

SHORT BIOGRAPHY DALTON TREVISAN (1925-)

Dalton Jérson Trevisan was born on 14th June 1925 at Rua Aquidaban, no. 80, renamed as Emiliano Perneta (in honour of the poet Emiliano Perneta (1866- 1921) who was born in the same street), in centre of Curitiba, where his father, João Trevisan, had a factory manufacturing earthenware crockery, ceramics and glassware. His family seems to have come from Treviso, in Italy and the first members of his family settled in the Colônia (small immigrant hamlet) Dona Isabel, in the state of Rio Grande do Sul in 1888.

The house where the author was born, also his father’s factory headquarters: Fábrica de louças, refratário e vidro João Evaristo Trevisan, and headquarters of Tingüi and Joaquim. He was a very high achiever at school. At the age of 14, Dalton was already showing his writing acumen. He founded and wrote for a small students’ newspaper Tingüi which circulated in Curitiba from March 1940 to December 1943, an initiative of a group of students. At that time and, in the same spirit, other such newspapers were in circulation and sale: O Livro launched in 1939 by Roberto Barroso, A Palavra, in 1935, founded by José Cury.

There were 43 issues of Tingüi and Dalton Trevisan was the editor, chronicler, reporter and literary critic and signed using various pieces with pen names: Faminto, De Alencar, Notlad, Dom Nada and Rapaz. Copies were sold at Jorge dall'Ignna newsagent’s kiosk at Rua XV. It is an important historic source of the world of ideas that the young highschool pupils debated and developed at the time and D. Trevisan’s talent. All of the Tingüi issues were gifted to the Instituto Neopitagórico by Dalton Trevisan himself (at the age of 16) and included his poetry Sonetos Tristes and Visos (Neopytagorian Institute, www.pitagorico.org.br ), a learned society founded by Dario Veloso (1869- 1937). Our Brazilian Bilingual Book Club referred to this institute in the posting for Religions in Rio (1904?) by João do Rio in May 2015.

Dalton Trevisan was a precocious young thinker and rather daring in expressing his views. In a 1987 article, Tinguí: um capítulo das juvenilidades de Dalton Trevisan (‘Tinguí: a chapter in Dalton Trevisan’s youthful pursuits’ NK), in the journal Revista Letras, Cassiana Lacerda Carollo, who was acquainted with the author and amassed a number of his memorabilia and pursued research collecting rare editions, offers an insight into the early beginnings of the author’s writing career. At the age of 14, Dalton Trevisan was already writing sports articles for the magazine O Livro. Signing his pieces as Dalton Jérson Trevisan, he argued that sport was ‘an essential element in character building’ (‘elemento necessário à formação do caráter’) in 1939. He dreamed of becoming a 110m sprinter, as a member of Atlético Paranaense, arguing that ‘Brazil should have its learned athletes’ (‘O Brasil deverá ter seus sábios atletas’). In the article, Duas glórias nacionais, he expresses his dispproval of football and samba, aiming his criticism at Carmem Miranda, on account of ‘the excessive value ascribed, which distorts the national consciousness’ (‘supervalorização que distorce a consciência nacional’). Later at university, he would play at the Coritiba Football stadium.

Joaquim was journal founded by Dalton Trevisan, Erasmo Pilotto (1910- 1992) and Antônio P. Walger in Curitiba launched in 1946 and 21 issues were published at irregular intervals. A number of authors and artists, some of whom were unknown at the time and would later become famous, contributed to the journal, for example: Poty Lazzarotto (1924–98), Wilson Martins (1921 - 2010-), Temístocles Linhares (1905-1993), Antonio Cândido (1918-), Mário de Andrade (1893-1945), Otto Maria Carpeaux (1900–1978), Carlos Drummond de Andrade (1902-87), Euro Brandão (1924-99), José Paulo Paes (1926– 1998), Candido Portinari(1903–1962), Di Cavalcanti (1897–1976), Vinicius de Moraes (1913–1980), Sérgio Milliet (1898–19660 and Heitor dos Prazeres (1898- 1966).

The name chosen aimed at representing all ‘joaquins’ in Brazil and was borne out of a desire to renew arts and aesthetics post-WWII, to reshape and remodel ways of removing the alleged provincial attitudes in Curitiba. Debates about the direction of the country in a post-Modernism period in Brazil included essays, poems and articles by leading voices. The poem ‘O Caso do Vestido’ by Carlos Drummond de Andrade was first published in Joaquim. It also featured translation of works by J. Joyce, M. Proust, F. Kafka, J-P. Sartre e A. Gide and illustrated by notable artists such as Poty, Di Cavalcanti e Heitor dos Prazeres. And the first fictional works by D. Trevisan were published in the journal including Sonata ao Luar (1945), Sete Anos de Pastor (1948), later disowned by the author. In 1954, he published o Guia Histórico de Curitiba, Crônicas da Província de Curitiba, O Dia de Marcos, Os Domingos and Ao Armazém do Lucas in popular chapbook format. The whole set of Joaquim issues

10 can be seen at the Paraná Public Library in Curitiba. The author also deposited many of his writing and other materials at the library.

Joaquim would stand up to the symbolist poets with incisive criticism and the sharpest critique was addressed at the Paranista Movement, which was a modernist intellectual and aesthetic movement emerging at the dawn of the 20th century and a counterpoint to São Paulo and Rio. Probably, it was initiated by the historian Romário Martins (1874-1948). The magazine A Illustração Paranaense: mensario paranista de arte e actualidades circulated from 1927 to 1930 and put forward the ideals for society and art deeptly rooted in the region of Paraná. The aesthetic was derived from the nature in the state of Paraná and particularly from the symbolic Araucaria Araucaria angustifolia pine tree, a Jurassic tree. Frederico Lange de Morretes (1892-1954), João Ghelfi (1890-1925) and João (Zanin) Turin (1878-1949) created the geometric formula to represent the Araucaria pine nuts, also symbol of the state of Paraná. All pavements in Curitiba have the mosaic of the pine cone and people are often unaware of its origins. The Embassy of Brazil in London will be hosting a major exhibition of sculptures of João Turin in the first half of 2017.

On 11th March 1945 tragedy struck the home of the author, a kiln blew up and Dalton had a cranial fracture and had to spend a month in hospital. He used to claim that the accident changed his point of view regarding literary art.

There is an apocryphal story that Gilberto Freyre (1900-87) was minded to praise Joaquim and, as soon as Dalton Trevisan learned of it, he wound up the publication. It would have turned the publication into something of a mainstream type.

The other favourite activity was hosting the Curitiba Cinema Club and he continues to enjoy Charles Chaplin classics, Woody Allen, Fassbinder, Italian comedies and terror films.

He had read law at the Federal Univesity of Paraná and practiced for some seven years before dedicating himself to writing. In 1949, he was collaborating with the Guaíra Theatre and did a grand tour of Europe for six months. In 1951, he began to write for the oldest broadsheet in Paraná, the Gazeta do Povo, created in 1919 with one of the largest circulations in the state. In 1953, he married Yole Bonato (deceased in 1997), had two daughters, Isabel (deceased in 1997) and Rosane and two granddaughters.

There are many dissertations written about Dalton Trevisan and he has been awarded various prizes: 1959 Jabuti for Novelas Nada Exemplares;1964 Jabuti, for Morte na Praça and Cemitério de Elefantes; 1964 - Fernando Chinaglia Prize for Morte na Praça and Cemitério de Elefantes; 1985 Ministry of Culture for the novel A Polaquinha;1996 Ministry of Culture for his life works; 2003 Portugal Telecom for the book Pico na Veia shared with Bernardo Carvalho;2011 -Machado de Assis, Brazilian Academy of Letters for the lifetime works; 2011 Jabuti, in the category short stories and chronicles for Desgracida; 2012 - Portugal Telecom – for O Anão e a Ninfeta and 2012 – Camões Prize.

The Guido Viaro Museum has a dedicated space to the author since 2012 (http://curitibaspace.com.br/museu-guido-viaro/) :

His works are published in various countries the US, France, Germany, Argentina, Portugal, Poland, Holand and UK. In Hungary, some of his short stories inspired a TV series. In Brazil his Guerra conjugal was adapted to the cinema in 1975 (stories and dialogue sscript by Dalton Trevisan) directed by Joaquim Pedro de Andrade (1932-1988). Equally his stories have been included

12 in various anthologies in Brazil, Germany (1967 & 1968); Argentina (1972 & 1978); USA (1976 & 1977); Poland (1976 e 1977), Sweden (1963) and the UK (2006).

Dalton Trevisan’s capacity to condense thought and to create noir literary landscapes remains unchallenged. Also, for instance, he returns to poetry and creates haikus in his Violetas e pavões (2009) and O beijo na nuca (2014). The introduction by Gregory Rabassa, contains reference to the author’s answer to the question (presumably sometime around 1972) whether he would produce a novel to which Dalton Trevisan replied ‘facetiously as befits the question that his path would lead him to the sonnet and ultimately the haiku’ (pages x-xi). This was almost 45 years ago. Yes, Dalton Trevisan returned to poetry and, in the land of poetical haikus by his contemporary Helena Kolody (1912-2004), he has also created microstories in haiku format. It is regrettable that more of his works have not been translated into English. Its dark witty sarcasm in the unique pictorial narratives of the human psyche contains much breathtaking innovation and creativity.

The author enjoys gardening, uses a mechanical typewriter, a man of habit, likes to write in the morning and go for walks to his favourite bookshops as he lives quite centrally in Curitiba. Then, he stops for a vegetarian lunch and visits more bookshops after enjoying a snack at one of the cake shops. He does his own shopping and leads a quiet life. He hardly ever gives interviews. There are a couple of them and in his answers are as concise as his writings.

As the cartoon above shows many go hunting for the vampire of Cutitiba. On one fortuitous occasion, in March 2010, as I was visiting Curitiba and paying the all-important visits to my favourite bookshops, I stopped at one in Rua das Flores and picked up Violetas e pavões (2009) from the shelf as an excited sales girl came rushing to whisper excitedly in my ear, ‘the author is in the bookshop!’ Thanking her, I replied that I had already met him in the 1980s. I did ask for an autograph, which I shall treasure for a long time.

Works:

1945 Sonata ao luar. Novela. [cover & illustrations Guido Viaro], Disowned by the author, 1948 Sete anos de pastor Edições Joaquim, 1948. (disowned by author)

1959 Novelas nada exemplares. (Coleção Mestres da literatura brasileira e portuguesa). Rio de Janeiro: Record/Atalaya, 1964 Morte na Praça. Rio de Janeiro: Civilização Brasileira, Cemitério de elefantes. Rio de Janeiro: Editora Record, 1964/5 O vampiro de Curitiba. Rio de Janeiro: Editora Record, 1968 Desastres do amor. Rio de Janeiro: Civilização Brasileira, 1972 A guerra conjugal. São Paulo: Círculo do Livro; 1972 O Rei da terra. Rio de Janeiro: Civilização Brasileira; 1974 O pássaro de cinco asas. São Paulo: Círculo do Livro S.A, 1975 A faca no coração. Rio de Janeiro: Editora Record; 1976 Abismo de rosas. Rio de Janeiro: Civilização Brasileira; 1977 A trombeta do anjo vingador. São Paulo: Círculo do Livro S.A; 1978 Crimes de paixão. Rio de Janeiro: Editora Record; 1979 20 contos menores. Rio de Janeiro: Editora Record; 1979 Primeiro livro de contos. Rio de Janeiro: Editora Record; 1979 Virgem louca, loucos beijos. Rio de Janeiro: Editora Record; 1980 Lincha tarado. Rio de Janeiro: Editora Record; 1981 Chorinho brejeiro. Rio de Janeiro: Editora Record; 1982 Essas malditas mulheres. Rio de Janeiro: Editora Record; 1983 Meu querido assassino. Rio de Janeiro: Editora Record; 1984 Contos eróticos. Rio de Janeiro: Editora Record; 1988 Pão e sangue. Rio de Janeiro: Editora Record; 1991Vozes do retrato. [infanto-juvenil], São Paulo: Editora Ática; 1992 Em busca de Curitiba perdida. Rio de Janeiro: Editora Record; 1994 Ah, É?. Rio de Janeiro: Editora Record,; 1994 Dinorah. Rio de Janeiro: Editora Record; 1997 234. Rio de Janeiro: Editora Record; 1997 Quem tem medo de vampiro? [infanto-juvenil], São Paulo: Editora Ática; 2000 111 Ais. Porto Alegre: L&PM; 2000 O grande deflorador. Porto Alegre: L&PM; 2001 Noites de insônia. Rio de Janeiro: José Olympio; 2001 Bichos; 2001Cantares de Sulamita. [poema erótico], Travessa dos Editores , 2002 99 corruíras nanicas. Porto Alegre: L&PM; 2002 Pico na veia. Rio de Janeiro: Editora Record; 2002; Contos

14 galantes. Porto Alegre: L&PM; 2003 Capitu sou eu. Rio de Janeiro: Editora Record; 2005 Rita, Ritinha,Rritona. Rio de Janeiro: Editora Record; 2005 33 contos escolhidos. Rio de Janeiro: Editora Record; 2005 A gorda do tiki bar. Porto Alegre: L&PM; 2006 Macho não ganha flor. Rio de Janeiro: Editora Record; 2008 Duzentos ladrões. Porto Alegre: L&PM; O maníaco do olho verde. Rio de Janeiro: Editora Record; 2008 Uma vela para Dario; 2009 Violetas e pavões. Rio de Janeiro: Editora Record; 2009 35 noites de paixão: contos escolhidos. Rio de Janeiro: Editora Record; 2010 Desgracida. Rio de Janeiro: Editora Record; 2011 O anão e a ninfeta. Rio de Janeiro: Editora Record, 2013 Novos Contos eróticos. Rio de Janeiro: Editora Record, 2014 O Beijo na Nuca Rio de Janeiro: Editora Record

2011 (novella) Nem te Conto, João. Porto Alegre: L&PM 1985 (novel) A Polaquinha. Rio de Janeiro: Editora Record 1981 (essay/biography) Literatura comentada. São Paulo: Editora Abril.

On the Journal of the Paraná Public Library – Cândido http://www.candido.bpp.pr.gov.br/ & http://www.candido.bpp.pr.gov.br/modules/conteudo/conteudo.php?conteudo=406 On Guaíra Theatre http://www.teatroguaira.pr.gov.br/ http://www.teatrosdecuritiba.com/teatros/guaira/espe.htm On João Turin http://joaoturin.com.br/en/

Attendance is free, but booking is essential: [email protected]