Eu sei, mas não devia, by Marina Colasanti: full text and analysis
Chronic Eu sei, but no devia, published by the author Marina Colasanti (1937) in the Jornal do Brasil, in 1972, continues to give us all the days of the page.
She lets us know how, many times, we leave our lives to be settled, a repetitive and sterile numa rotina that does not allow us to admire the beauty that is close to us.
Eu sei, mas não devia - text complete
I know that people get used to it. More não devia.
People get used to dwelling in apartments on estates and no other view than they do now. E, because I have not seen, logo gets used to não olhar for fora. E, because it does not happen to fora, the logo gets used to not opening all the curtains. E, because it does not open the curtains, the logo gets used to rising more I give in to light. And, as you get used to it, skece or sun, skece or ar, skece to enlargement.
People get used to remembering to be over-jumpy because it is no time. To drink or coffee running because he is late. A day or day no bus because you can not lose or travel time. To eat sanduíche because it does not give for almoçar. A sair do trabalho because já é noite. To cochilar no ônibus because he is tired. To stop I give up and sleep heavy sem ter lived or day.
People get used to opening or working wages and reading about war. E, oil war, oil the mortos and make numbers for the mortos. And, by oil the numbers, oil does not prove the peace negotiations. And, not accrediting the peace negotiations, oil read every day of the war, two numbers, it lasts a long time.
People get used to waiting or on the other hand, do not phone: hoje no posso ir. To sorry for the people we will receive a sorriso of volta. To be ignored when he needed so much to be seen.
People get used to paying for everything they want and what they need. E a lutar para ganhar o dinheiro com to pay. I will earn less than you need. E to face line to pay. I will pay more than this is worth it. E to know that every time you pay more. And to procure more work, to earn more money, to be able to pay for the rows that are charged.
People get used to walking on the street and seeing letters. To open magazines and see advertisements. To link to television and attend commercials. To go to the cinema and get publicity. To be instigated, led, desnorteado, thrown into an infinite cataract of two products.
People get used to poluição. There are dated rooms with conditioned ar and cigar cheiro. À artificial light of slight tremor. It's a shock that we olhos bring up natural light. Bacteria gives potável water. À pollution from the water of the sea. Slowly it dies two rivers. He gets used to not passing through, to not being hot in the early morning, to being afraid of hydrophobicity at two times, to not having any fruit, not to drying out a plant.
People get used to coisas demais, para não sofrer. In small doses, tempting not to perceive, I am going to waste a dor here, a ressentimento ali, a revolt here. Se o cinema is cheio, people sat in the first row and twisted a little or fish. The praia is polluted, the molha people only feel sorry for the rest of the body. I know work is hard, people console themselves by thinking not at the end of the week. And I know I don't have a lot of weekend or that I make people go to sleep I give in and I'm still satisfied because I always sounded late.
People get used to not scratching the roughness, to preserve the skin. Get used to avoid feridas, bleeding, to avoid faca and baioneta, to poupar or peito. People get used to life. That few years are spent, and that, he spends from getting used to so much, he loses himself.
Analyze Eu sei, but no devia
A chronicle of Marina Colasanti invites or leitor to Reflect on a consumer society, on how we deal with present injustices in the world and on the speed of time in which we live, that forces us to move forward and is appreciated or that it is yearning for us.
Ao long two paragraphs we are giving an account of how we get used to adverse situations and, at a certain moment, we move on to operate non-automatic. Or narrator gives examples of small progressive concessions that we are going to do it, finally, let us know a situation of sadness and sterility sem dry, we will find out.
We are also gradually losing our identity every time our turbulence hits us. Marina's writing also places us in the face of an important question: are we, or that we genuinely are, or are we here, who are we waiting for us to foster?
O perigo da rotina
Or narrator of Eu sei, but no devia portrays quite mundane circumstances and like quais all of us we easily manage to relate.
We finally discover apathetic: sem reação, sem identidade, sem empathy as another, sem surpresa, sem euphoria. We become mere spectators gives us our own life year inverse of extracting the maximum potentiality.
O Marina's text fails us especially because it deals with a stressed and imprisoned context lived in an urban center. We are not day by day sbarrando with a series of marked hair situations conformity e pela accommodation.
In prol of living a life that we accrue that we live, we end up deprived of a series of experiences that will give us a prazer and make us feel special.
Or text by Marina Colasanti can be read as a bem happened chamada de atenção for we do not let ourselves never add numa rotina vazia.
Envelope or written format
Em Eu sei, but not devia o narrator face use do polissindeto, a figure of linguagem that occurs when there is emphatic repetition of connectives.
The objective of this resource is to extend the expressividade da message: a repetição da mesma structure frasal face how we feel the issue addressed and feel the same symptom of exhaustion that we live not every day day.
Ouça Eu sei, but no devia
A chronicle of Marina Colasanti was recited by Antônio Abujamra and is available in its entirety online:
About a publication of Eu sei, but no devia
Chronic Eu sei, but no devia It was published for the first time during the 70s (more precisely in 1972), not Jornal do Brasil, having been later eternalized in free.
Eu sei, but no devia It was gathered with other chronicles of the same author on the most varied issues and has been published for the first time in book format in 1995 by the publisher Rocco. In 1997, a publication received a Jabuti prize.
A coletânea, which counted 192 pages, reads as title or title of the most famous chronicle of Marina Colasanti - Eu sei, but no devia.
Biography Marina Colasanti
To the author Marina Colasanti was born in 1937 in Asmara (capital of Eritreia). In 1948 she moved to Brazil with a family and settled in Rio de Janeiro.
Trained in plastic arts, she began to work in the Jornal do Brasil as a day laborer. Marina was also a translator, publicist and was involved in a series of cultural programs for television.
In 1968 she published her first book and, since then, it has not been to write down more diverse genres: stories, chronicles, poetry, children's literature, essays. Many of her works have been translated into other languages. 
Fairly celebrated for criticism, Marina has received a series of awards such as Jabuti, or Great Prize for Criticism from APCA and or National Library Award.
A writer and married as well as author Affonso Romano de Sant'Anna. O casal tem duas filhas (Fabiana and Alessandra).
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