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COISAS DO ARCO DA VELHA

- Os etês gostam de bunda. Foi o que captei da conversa entre as meninas, enquanto caminhava no calçadão do Liceu.
- Tem caras que não gostam, né; acho que não são chegados; comer um cuzinho será que não faz bem?!
- Cruz credo! Exclamei mentalmente, e segui meu caminho rumo ao Fórum, que fica em frente.
Elas vieram na minha direção, a passos firmes, olhar direto, "você tem fogo...", perguntou a morena pele-de-cuia, "e como tem", observou a loira de olhos azuis, típica europeia, me examinando de cima a baixo, parando os olhos, ostensivamente, na minha barriguilha; "te vejo sempre por aqui", disse a morena, enquanto eu lhe entregava o isqueiro; "é, estou sempre na cantina, tomando café; café de Fórum é choco, frio, fraco, e causa-me asia; então, venho na cantina, às vezes comer alguma coisa", concluí.
- Uma bucetinha, um cuzinho e o que mais? Indagou a loura, acendendo o cigarro.
- Você está sempre cercado de meninas! Não é à toa!! Vai ver é o maior safadão, pica doce.... Completou a morena, sempre combinando seus ataques com a colega.

O Liceu é uma escola destinada à classe média alta, concebida nos tempos do império, onde só entravam filhinhos de papai e seus apadrinhados do aparelho de estado. Mas isso dançou com o advento da república, e hoje, assim como os "Pedro II", recebem qualquer um, desde que aguentem suas provas de avaliação, pois ainda são um padrão de ensino almejado pelas camadas interessadas em ascensão social e tecnica. Seus prédios são construções coloniais, com arquitetura rebuscada, estilosos; janelões de madeira nobre, ainda insensíveis ao cupim. Uma coisa fantástica em termos de concepção, pois possuem salas espaçosas, bem arejadas, lousas imensas, mesas de cedro vernisadas, cheias de gavetas; seus corredores lembram aqueles do filme Harry Potter, sinistros de arrepiar. E no caso do Liceu Nilo Peçanha, de Niterói, Rio de Janeiro, tem um sótão, que seguramente foi planejado como adega, pois tem balcãozinho cheio de compartimentos para copos, taças e talheres, à frente de um espelho na parede em moldura de mogno  e uma silhueta vitoriana; além de um velho barril de carvalho, aonde, sem dúvida, Casimiro de Abreu, Fagundes Varela, Lima Barreto e tantas outras celebridades literárias desta terra de orfandades iniciaram-se nos caminhos da radicalidade estética.

- Conhece o sótão do Liceu? Indagou a morena, quase ao pé do meu ouvido.
- É ideal para uma brincadinha... Insinuou ela. Respondi que lá eu já namorei, me embriaguei, estudei e fiz muita reunião do grêmio.
- Então é "liceano... Vamos!" Disseram ambas, quase em uníssono.
No rádio da cantina, exatamente às dez da manhã no meu Rolex, tocava uma canção, cujo trecho diz assim:" Deixa isso pra lá, vem pra cá, venha ver. Eu não tô fazendo nada, nem você também..." e seguia insinuando outras coisas, ditas pela voz de um dos meus tantos ídolos da mpb, Jair Rodrigues.

Bom, pra encurtar o lererê, a morena está aqui em casa há 32 anos. Já somos avós, e, nem os filhos nem os netos jamais saberão das nossas façanhas e quando lhe mostrei o rascunho deste texto, ela fitou-me com seu olhar fogueando e objetou: você não pôr aí os detalhes...
- Claro que não!! São nossas relíquias!

Mafe Oct 2012
"Abre sua aversão;
Eis que um nauta fala:
- Mestre, vês somente sofrimento no amor?
- O amor pode conter fuligem e até mesmo grasnar, porém uma vez sentido é como parcel:
não se desfaz fácil dentro do peito.
E mesmo que nos faça presente o basto e dorido retrocesso, o medo,
infindável de obstruir a todo esse amor, mais infindável é o anelo que o amor causa-nos.
Estamos sobre escombros, mas o amor é como papelotas angelicais…
Desce ondulado cheio de idas e vindas, corrupiando até a estabilização.
O amor é granívoro, come pequenas as sementes dos defeitos nossos,
belo como o grande milhafre-preto a planar no céu.
É como a retriz que sente o vento a tocar, é o ósculo entre o paraíso e a imensidão.
Oco somos antes de amar.
Somos como o barril quebrado sem vinho, esperando que o tanoeiro nos venha resgatar.
Encher-nos a transbordar.
Ouça o execrável grito do ódio, sendo cancelado pelo dulçor deste imenso sentimento.
Ouça o esfolar dos descrentes, incorpóreos.
O amor é um reverbrar eterno de luz em cada alma,
é a calma, e a batida de cada pulsação.
Não se pode obstrui-lo, ou excluí-lo da vida,
pois ela o traz em cada vibração.
Como um frincha encontrada dentro de nós,
convertendo aos poucos cada problema em solução.
Transformando o ingrato em um romântico facúndio,
criando paz em meio a escuridão"
No digamos la palabra del canto,
cantemos. Alrededor de los huesos,
en los panteones, cantemos.
Al lado de los agonizantes,
de las parturientas, de los quebrados, de los presos,
de los trabajadores, cantemos.
Bailemos, bebamos, violemos.
Ronda del fuego, círculo de sombras,
con los brazos en alto, que la muerte llega.

Encerrados ahora en el ataúd del aire,
hijos de la locura, caminemos
en torno de los esqueletos.
Es blanda y dulce como una cama con mujer
Lloremos.
Cantemos: la muerte, la muerte, la muerte,
hija de puta, viene.

La tengo aquí, me sube, me agarra
por dentro.
Como un esperma contenido,
como un vino enfermo.
Por los ahorcados lloremos,
por los curas, por los limpiabotas,
por las ceras de los hospitales,
por los sin oficio y los cantantes.
Lloremos por mí,
el más feliz, ay, lloremos.

Lloremos un barril de lágrimas.
Con un montón de ojos lloremos.
Que el mundo sepa que lloramos aquí
por el amor crucificado y las vírgenes,
por nuestra hambre de Dios
(¡pequeño Dios el hombre!)
y por los riñones del domingo.

Lloremos llanto clásico, bailando,
riendo con la boca mojada de lágrimas.
Que el mundo sepa que sabemos ser trágicos.
Lloremos por el polvo
y por la muerte de la rosa en las manos de los mendigos.
Yo, el último, os invito
a bailar sobre el cráneo del tiempo.
¡De dos en dos los muertos!
Al tambor, a la Luna,
al compás del viento.
¡A cogerse las manos, sepultureros!
Gloria del hombre vivo:
¡espacio para el miedo
que va a bailar la danza que bailemos!
 
Tranca la tranca,
con la musiquilla del concierto
¡qué fácil es bailar remuerto!¿Vamos a seguir con el cuento del canto y de la risa?
¡Ojos de sombra, corazón de ciego!
Pirámides de huesos se derrumban,
la madre hace los muertos.
Aremos los panteones y sembremos.
Trigo de muerto, pan de cada día,
en nuestra boca coja saliva.
(Moneda de los muertos sucia y salada,
en mi lengua hace de hostia petrificada).
Hay que ver florecer en los jardines
piernas y espaldas entre arroyos de orines.
Cráneos con sus helechos, dientes violetas,
margaritas en las caderas de los poetas.
Que en medio de este cante
el loco pájaro gigante,
aleluya en el ala del vuelo,
aleluya por el cielo.

¡De pie, esqueletos!
Tenemos las sonrisas por amuletos.
¡Entremos a la danza,
en las cuencas los ojos de la esperanza!Hay que mirar los niños en la flor de la muerte floreciendo,
luz untada en los pétalos nocturnos de la muerte.
Hay que mirar los ojos de los ancianos
mansamente encendidos, ardiendo en el aceite
votivo de la muerte.
Hay que mirar los pechos de las vírgenes
delgados de leche
amamantando las crías de la muerte.
Hay que mirar, tocar, brazos y piernas,
bocas mejillas, vientres
deshaciéndose en el ácido de la muerte.
Novias y madres caen,
se derrumban hermanos silenciosamente
en el pozo de la muerte.
Ejército de ciegos,
uno tras otro, de repente,
metiendo el pie en el hoyo de la muerte.Acude, sombra, al sitio en que la muerte
nos espera.
Asiste, llanto, visitante *****.
Agujas en los ojos, dedos en la garganta,
brazos de pesadumbre sofocando el pecho.
La desgracia ha barrido el lugar
y ha cercado el lamento.
Coros de ruinas organiza el viento.
Viudos pasan y huérfanos,
y mujeres sin hombre,
y madres arrancadas, con la raíz al aire,
y todos en silencio.
Asiste, hermano, padre,
ven conmigo, ternura de perro.
Mi amor sale como el sol diariamente.
Cortemos la fruta del árbol *****,
bebamos el agua del río *****,
respiremos el aire *****.

No pasa, no sucede, no hablar del tiempo.
Esto ha de ser, no sé, esto es el fuego
-no brasa, no llama, no ceniza-
fuego sin rostro, *****.
Deja que me arranquen uno a uno los dedos,
después la mano, el brazo,
que me arranquen el cuerpo,
que me busquen inútilmente *****.

Vamos, acude, llama, congrega
tu rebaño, muerte, tu pequeño
rebaño del día, enciérralo en tu puño,
aprisco de sueño.

Dejo en ti, madre nuestra,
en ti me dejo.
Gota perpetua,
bautizo verdadero,
en ti, inicial, final, estoy, me quedo.
Johnny Noiπ Jan 2019
Viva's Saber (in Spanish: L Awaller)                                                   [1...]
In 1798,                                                 the Spanish artist Francisco Goya
drowned in a canal.                             Today it takes place in the Lazaros
Museum in Galadiano, Madrid.
It was purchased in 1798 with five other paintings
relating to the wise duke and Osvan. [2...]   ||      Viva Sabers (Spanish: L Awaller) [1 ...]
                                                 In 1798, the Spanish artist Francisco Goya.
                            Drowned in a channel that today takes place in Lazaros.
Galadiano Museum, Madrid.
It was bought in 1798 with five other paintings.
Connected to duo knowingly and with Osvan. [2 ...]
Due to the capture of secret images,                the duchess was responsible
                     only      for the duchess, but she did not know
                    if it was finished or not.
[2b] In the twentieth century, painting.
It was bought by businessman José Lázaro Galdiano,
And his death was transferred to the state of Spain.
On Saturday there is a handwritten light.
Like a goat captured during the baroque desert period,
With a blanket of boys and magicians.
The goats have large horns and are decorated with oak leaves.
The old salesman had a baby in his hand.
Satan seems to be working
as a priest at the opening ceremony of the child,
although sometimes the belief in superstition
It is often the whip,                     and the vessels of the people who feed on it.
                       You can see two guys cheating.
One on the left,                                 the other on the crown facing the center.
                                      Established office clothes picked up a touch of earth,
Satan was a cassock. [2, 5]                                         Therefore, beards [2. 6];
                 The silhouettes act like poverty and the body cavity of the mouth, keep applauding and applauding. It's a medium
As you can see,                              and with respect to Moloch's abomination,
                            dirt without form at the same time
The Canaanites, to have a Kircher illuminated 1652.
[In 27 schools]                        Before the court stayed too often as a woman,
especially if they derive from Cowin Woonderfull.
[28] The other form of terror brought arcs;
                        His head had to be watched
          while the patient breathed with fear.
There are women in the history of art,                writes Brian McQuade,
"subgroup of men gathered
and this is mainly due to wild idiopathic stars. "
[29] of his absolute power that women compare.
                                 with King Carl Jung, in 1815, near the Philippines;
There are many specific chauvinist influences,
fear of power [3] and women, young and old,
And similar characteristics, but the rope and the nerves at work are ...
in the atmosphere of Perkins' tone,
I created Luis Vives during the fourth Gomarrah,
Ribera and Jusepe; It is this fact, however,
who are using changes from each one of you,
And in the dark, he was an admirer.
From the chiaroscuro of Caravaggio.
Chamber Orchestra; and the steps,
that are used in obedience still known
for the things that were given to him,
And the same sources,                   as well as Rembrandt.    
[30]                   the devil in the form of a goat,
Surrounded by the flock of the crescent moon.
From the prey of the Covina pig,                          it illuminated Món Barril.
he conquered the crown of oak leaves and goat horns,
You will have a wide range of closed transactions,
It must be picked up in the child's hand.
Near the body, the children are dead.
when a bird was flying over the night of the head.    Substrate with seven arc
                       waves 1789 -
Goy images of witchcraft,                                 they saw the fear of a robbery,
Political gain and half of age of the people.                                           [31 ...]
                                 An old woman sitting to the right of the goat;       I'll see
Nobody hides his face,
And half of the white man is the copy.
Of the hooded head and habit habit.
I sat to the right of the bottles and the axis region.
   If Judge Robert Hughes is wonderful,
"And witchcraft and the filters of evil".
[32] With all the eyes of the characters.
They are full of white paint [33] in which the two main figures -.
The goat and the extreme right in recession.
The woman was separated from the group,
      You can hear what is happening at Covina's request.
[32] These two kings, and probable lover, good maiden.
Perky in his industry, Leocadia Weiss [2 ../ 5],
The image appears throughout the fill in the same series.
                                                                ­   [33]

It is less than the black passenger.
Solve the problems of Perkins,    painted in blue, brown,
gray, serious and serious blows.                  Sometimes they went to the place
                                        where they were staying, where the dark black was.
           Of course, they are in the form of a girl,
This is the pain, given the feelings of the devil.
Like other works in the series,
take a week after work,
net shots [34]                     The thickness of the black carbon chalk is applied
                                                    to the underground wash with a white pencil
    Because of the capture of secret images,                                    the duchess
                 was responsible for the Duchess,
but she did not know whether it was finished or unfinished.
[2b]                                     In the 20th century, the painting
was bought by businessman José Lazaro Galdiano,
and his death was transferred to the state of Spain.
On Saturday, handwritten light appears
as a goat captured during the baroque period of the desert,
with a blanket of young boys and old wizards.
Goats have large horns and are decorated with oak leaves. |
The old seller had a baby in his hand. ||
Satan seems to work as a priest during the child's opening ceremony, although sometimes belief in superstition
is often the whip and goggles of people who feed.
You can see two guys cheating.
One on the left, the other on the crown in the center in front.
Wear clerical established picked up a mound of earth,
Satan was an cassock. [2, 5] Hence, the beards             [2. 6];
       Silhouettes act like poverty and body cavity of the mouth,
and a heavy, described clapping.                              It is a form,
as can be seen, and as for Molech the abomination,
of the filthiness out of shape at the same time
the Canaanites,                                  to have a 1652
                                                    Kircher are enlightened;
                                           [He holds 27 school positions]
before the court sat around too often as women,
especially if they derive from Cowin                                      Woonderfull.
[28]          The other form of terror carried bows;
his head to observe as the patient inhales in awe.
There are ladies of art history,                                 writes Brian McQuade,
                                    "sub-group of men gathered
and which is due mainly to the wild, idiotic stars."
[29] of its absolute power that women compare
with King Carl Jung, in 1815,
near the Philippines;
|   there are many specific charisma's influence,
power fear. [3] and women, young and old mix,
and similar features,                             but the job's sad cord and nerves are...
                      in the atmosphere of Perkins' tone,
used to create Luis' Vivas in the fourth Gomarrah,
   Ribera, and Jusepe; it is this fact, however,
that the use as of the changes of all of thee,
and in the darkness was an admirer
of de Caravaggio as chiaroscuro.
Chamber Orchestra;                                                       ­    and the steps,
which are used in yet learned obedience
                                            by the things which were delivered to him,
and out of the same sources, as well as Rembrandt.                        [30...]
the devil in the form of a goat,
surrounded by the rising moon flock
of loathsome Covina carrying,                              illuminated World barren.
conquered the crown of oak leaves and goat horns,
has a wide range. it will be a closed transactions &
should be taken up in a child's hand ordained inside.
Located near the body, some children died
when a bird flying over head night.                        Seven bow wave substrate
                                                          1789 -
Goy images of witchcraft,                       who saw fears of a robbery,
and half of people's ages political gain.                                       [31 ...]
An old woman sitting to the right of the goat; see.
There is no one hiding the face thereof,
                                           and the half of the white man is the copy
of his hooded head, and of wearing of the habit of.
He sits on the right of the bottles and the shaft region.
If Judge Robert Hughes is wonderful,
                                           "and witchcraft and philtres diabolical".
[32] With all the eyes of the figures
are lined with white paint [33]
in which the two major figures -.
The female goat,                       and the far right - in a recession.
The woman was separated from the group,
one can hear what is going on in demand Covina.                  [32] These two kings,                                          and probable lover happy maid
Perky in her industry Leocadia Weiss [25+],
whose image appears on the length of filler in the same series.              [33]

                                      ­               That is less than the black sooted passenger
solving problems Perkins, painted in colors of blue,            brown, gray, wide serious blow. At times,                                    they went into the place & left,
                                                                ­            where there is the dark black,
it is clear that they are in the form                                        of a girl,
this is grief given the feelings of the devil.
                    Like other works in the series,
carrying a week after he worked,
slashing strokes. [34]           The thickness of the plaster carbon
black paint applied to the field underlain wash
with a white pencil, color,                                                crystal glass of red
                      and blue in Dortmundi
crushed iron oxides,                               Orphic ointment, cover.        [35 ...]  
     It is not necessarily material is mixed. [23] Technical analysis indicates
                                                                ­ that the majority of Black Art began
with preparatory drawings.               This page was the exception last week
of the composition of the waves does not think
that there is no reverence,        portrayed    in stone.      muzki of the brand
seems to have critic Carl, Mark Licht
«clumsy, bulky and slow, 'it is not enough in comparison
with what went before the end of the work.
                What a thought of how much is a scam,
and they were unable to believe, being vainly Lit
          by their own feelings in the body,
the introduction of a human is doubtful.                                               [36]
The only thing for the series of the week, and the sagas have not changed significantly from the original work Perkins.                                       [34]
Function fantasy wizards, many characters.
The goat runs to the left of the child,                                             not the left,
and the moon stands in front of the canvas
in the upper left corner.                            [5]         In the middle of high land,
many brave warriors can see the speed
of moving backwards along the curves of Chris S. Chandler.

        When the religious clergyman puts an end to the monk,
he brings out a pile of earth that the devil can eat.
[25] Thus,                               the silhouette of a beard                               [26]
                                               works like poverty,
the body cavity, the womb,    the palms
and the palms.           It is a form, as you can see,
and Moloch has put the filth of dirt in the figure,
while the Canaanites,                                  to get illuminated 1652, Kircher.
                   [It took 27 seconds
                                                   before the courts became known as women,
especially if they came from Quinn and Wunderful.                               [28]
               The other form of terrorism takes its head
                                                   to control the patient's inhalation and terror.
There are women in the history of art,
he writes that Brian McQuaid is "a subset of people gathered,
mainly because of silence, because of the stars".              [29]
His absolute power is compared to that of women
with King Carl 1815, near the Philippines;                There are many effects of specific charisms, of fears of power. [3]
Women,                                           a mixture of young and old traits, similar,
                       but the task is nerves and rope. n    
                       The tone Perkins used to create Louis IV's Lives to the fourth
                 Gomorrah,                                                        ­     Riviera and Rio;
Jusepe. Saint-Tropez is a coastal town
on the French Riviera, in the Provence-Alpes-Côte d'Azur region
of southeastern France. Long popular with artists,
the town attracted the international
"jet set" in the 1960s, and remains known
for its beaches and nightlife. The cobblestone paved
La Ponche quarter recalls its past as a fishing village,
although yachts now outnumber fishing boats
in the Vieux Port (Old Port).           However, this is that the use of change
                                                    in everything,
and in the dark,                                                 was admired by Caravaggio
as a true one. Chamber Orchestra;
           the steps used in obedience
that have been won so far by the things
that have been given to him
and by the same sources,                     as well as by Rembrandt.
[30]                                          The devil, in the shape of a goat,
                         surrounded by the high moon of litigious cattle,
illuminates the arid world.                        The crown of crowns
ed oak leaves and goat horns have a wide range.
               The operations that will be carried out
in the hand of the child specified at home will be closed.
Located near the body,                       some children died
when a bird flew during the night.
Seven Substrate Rainbows,        1789 Joey,
magical images that have seen the fear of theft,        half gain political gains.
                                                                ­              [3, 1...]
An old woman standing to the right of the goats; watch.
Nobody hides his face,                   half of the white man is a shadow version,
usually hard.
It is located on the right side of the bottles
and the axis area.                                   If Judge Robert Hughes is wonderful
"and a witch and a demon".
With all eyes, the numbers
   fill with white paint [33] -
where the two main characters -.
The goat and the woman from the far right -
in a recession.          The women separated
from the group, you can hear what happens
with Covina's request. (32)                            These two kings, likely lovers and the complete maids of Perkins Leocadia Weiss,
[25] the image appears throughout the series.  [33]

This is less of a problem to solve
the Black,                                              Black Perkins problem of silkworms,
painted in blue, white, gray,                                and once serious and severe.
Sometimes they went to the left where the darkness is dark,
of course under this form is the sadness,
                                 taking into account the feelings of the devil.
Like other works in the series, it takes a week after working, cut.          
                                                  ­                                            [34 ...]
The thickness of the black carbon ice layer
is applied in the field below the surface by a white feather,
a color and a red and blue glass crystal
in iron oxides to the floor of Dortmund. [35]
The required material is not mixed. [23] Technical analysis shows that most of the black arts began with preparatory drawings.
                          This page was last week
except for the composition of the waves,           I do not think there is respect
                        for aesthetic photography.
The photo of the brand seems to be Karl's critic, Mark Licht,
"unfortunate, huge and slow",
it is not enough to compare it before the end of the work.
What he thinks about the amount of scam, he could not believe,
                      being unnecessary to his own feelings in the body,
the human introduction is questionable.                    [36]
The only one that has changed for the series of the week
                      or the epic of Perkins' original work. [3. 4]
Esta casa no es la que era.
En esta casa había antes
lagartijas, jarras, erizos,
pintores, nubes, madreselvas,
olas plegadas, amapolas,
humo de hogueras...

Esta casa
no es la que era. Fue una caja
de guitarra. Nunca se habló
de fibromas, de porvenires,
de pasados, de lejanías.
Nunca pulsó nadie el bordón
del grave acento: «nos queremos,
te quiero, me quieres, nos quieren...»

No podíamos ser solemnes,
pues qué hubieran pensado entonces
el gato, con su traje verde,
el galápago, el ratón blanco,
el girasol acromegálico...

Esta casa no es la que era.
Ha empezado a andar, paso a paso.
Va abandonándonos sin prisa.
Si hubiera ardido en pompa, todos,
correríamos a salvarnos.

Pero así, nos da tiempo a todo:
a recoger cosas que ahora
advertimos que no existían;
a decirnos adiós, corteses;
a recorrer, indiferentes,
las paredes que tosen, donde
proyectó su sombra la adelfa,
sombra y ceniza de los días.

Esta casa estuvo primero
varada en una playa. Luego,
puso proa a azules más hondos.
Cantaba la tripulación.
Nada podían contra ella
las horas y los vendavales.
Pero ahora se disuelve, como
un terrón de azúcar en agua.

Qué pensará el gato feudal
al saber que no tiene alma;
y los ajos, qué pensarán
el domingo los ajos, qué
pensarán el barril de orujo,
el tomillo, el cantueso, cuando
se miren al espejo y vean
su cara cubierta de arrugas.

Qué pensarán cuando se sepan
olvidados de quienes fueron
la prueba de su juventud,
el signo de su eternidad,
el pararrayos de la muerte.

Esta casa no es la que era.
Compasivamente, en la noche,
sigue acunándonos.

— The End —