SONNETTRIP

SONNETTRIP

GLAUCO MATTOSO

SONNETTRIP

São Paulo Smithouse 2021

Sonnettrip © Glauco Mattoso, 2021 Revisão Lucio Medeiros Projeto gráfico Lucio Medeiros Capa Concepção: Glauco Mattoso Execução: Lucio Medeiros ________________________________________________________________________ FICHA CATALOGRÁFICA ________________________________________________________________________ Mattoso, Glauco SONNETTRIP/Glauco Mattoso São Paulo: Smithouse, 2021 134p., 21 x 21cm ISBN: 978-85-98271-28-4 1.Poesia Brasileira I. Autor. II. Título.

B869.1

CONTENTS FOREWORD............................................................. 11 [0010] NAUSEATING SONNET............................................. 15 [0012] SOLED SONNET.................................................. 16 [0017] SADIC SONNET.................................................. 17 [0018] MASOCHIST SONNET.............................................. 18 [0019] ANTI-AESTHETIC SONNET......................................... 19 [0020] AUTOBIOGRAPHICAL SONNET....................................... 20 [0023] FUTURIST SONNET............................................... 21 [0024] HISTORICAL SONNET............................................. 22 [0026] LYRICAL SONNET................................................ 23 [0027] BRAZILIAN SONNET.............................................. 24 [0028] PSYCHOANALYTIC SONNET......................................... 25 [0032] CHRISTIAN SONNET.............................................. 26 [0033] CHINESE SONNET................................................ 27 [0035] LINGUAL-PEDAL SONNET.......................................... 28 [0037] GALLICIST SONNET.............................................. 29 [0038] MODERNIST SONNET.............................................. 30 [0041] OROGENITAL SONNET............................................. 31 [0047] CINEMATOGRAPHIC SONNET........................................ 32 [0049] VERSATILE SONNET.............................................. 33 [0050] SOCCERIST SONNET.............................................. 34 [0050] SOCCERISTIC SONNET [JP]....................................... 34 [0052] STUDENT SONNET................................................ 36 [0060] SECOND MASOCHIST SONNET....................................... 37 [0065] BAREFOOT SONNET............................................... 38 [0066] CIRCUS SONNET................................................. 39 [0070] TEUTONIC SONNET............................................... 40 [0073] OBSESSIVE SONNET.............................................. 41 [0093] CONSENSUAL SONNET............................................. 42 [0093] CONSENSUAL SONNET [JP]........................................ 42 [0108] SLEEPY SONNET................................................. 44 [0110] PAULOPOLITAN SONNET........................................... 45 [0111] BIZARRE SONNET................................................ 46 [0117] PARADOXICAL SONNET............................................ 47

[0122] [0139] [0139] [0143] [0149] [0150] [0197] [0233] [0234] [0235] [0241] [0242] [0242] [0247] [0248] [0249] [0268] [0313] [0340] [0355] [0359] [0360] [0361] [0376] [0401] [0436] [0500] [0509] [0541] [0594] [0613] [0651] [0653] [0748] [0951] [1435] [2441]

MELODRAMATIC SONNET........................................... 48 OROGENITAL (THEORETIC) SONNET................................. 49 OROGENITAL SONNET [RB]........................................ 49 HYGIENIC SONNET [RB].......................................... 51 AFFECTIONATE SONNET........................................... 52 "TROPICALIST" SONNET.......................................... 53 PLAYFUL SONNET................................................ 54 SONNETED SONNET............................................... 55 CONFESSIONAL SONNET........................................... 56 CONVICTED SONNET.............................................. 57 ESSAYISTIC SONNET............................................. 58 GLAUCOMATOUS SONNET........................................... 59 GLAUCOMATOUS SONNET [JP]...................................... 59 CONJUGAL SONNET............................................... 61 CONJUGATED SONNET............................................. 62 CONSORT SONNET................................................ 63 TRICKY SONNET................................................. 64 TRANSVESTITE SONNET........................................... 65 SYNTHETIC SONNET.............................................. 66 ELEMENTARY SONNET............................................. 67 REINCIDENT SONNET............................................. 68 INFERIOR SONNET............................................... 69 LEVELLED SONNET............................................... 70 SONOROUS SONNET [JA].......................................... 71 IMPERFECTIONIST SONNET........................................ 72 DOMESTIC SONNET............................................... 73 VICIOUS SONNET................................................ 74 CONFESSED SONNET.............................................. 75 OPPOSITIONAL SONNET........................................... 76 INTERVIEWED SONNET........................................... 77 EXCRETED SONNET............................................... 78 MOLDED SONNET [DVS]........................................... 79 APPRENTICESHIP SONNET......................................... 80 OF THE BINDLES OF THE DUPED [JP].............................. 81 BIRTH SONNET.................................................. 82 A BIBLICAL NIGHTMARE [PR]..................................... 83 FOR THE STATUS QUO BAND [AM].................................. 84

[3021] SONNET ABOUT DOUBLE IDENTITY [RB]............................. 85 [4140] THE CAUTIOUS CASE OF THE BELLYBUTTON [RB]..................... 86 [4143] THE CAUTIOUS CASE OF THE FINGER [RB].......................... 87 [4147] THE CAUTIOUS CASE OF THE KEBAB [RB]........................... 88 [4151] THE CAUTIOUS CASE OF CAYPORISM [RB]........................... 89 [4155] THE CAUTIOUS CASE OF THE GOOD DEED [RB]....................... 90 [4160] THE CAUTIOUS CASE OF THE BARBECUE [RB]........................ 91 [4164] THE CAUTIOUS CASE OF THE "HAPPY BIRTHDAY" [RB]................ 92 [4169] THE CAUTIOUS CASE OF THE PASSING PASSENGER [RB]............... 93 [4170] THE CAUTIOUS CASE OF THE APPOINTMENT AT THE UROLOGIST [RB].... 94 [4174] THE CAUTIOUS CASE OF THE PUBLIC TRANSPORTATION SYSTEM [RB].... 95 [4178] THE CAUTIOUS CASE OF THE GOOD NIGHT [RB]...................... 96 [4180] THE CAUTIOUS CASE OF THE NIGHTMARE [RB]....................... 97 [4183] THE CAUTIOUS CASE OF THE VULCANIC PANIC [RB].................. 98 [4188] THE CAUTIOUS CASE OF THE JINXED MANSION [RB].................. 99 [4190] THE CAUTIOUS CASE OF THE INTESTINAL SOLUTION [RB]............ 100 [4200] THE CAUTIOUS CASE OF THE FUNERAL [RB]........................ 101 [4201] THE CAUTIOUS CASE OF THE SPILLED MILK [RB]................... 102 [4202] THE CAUTIOUS CASE OF THE FOOD [RB]........................... 103 [4203] THE CAUTIOUS CASE OF THE MELLIFLUOUS TALK [RB]............... 104 [4204] THE CAUTIOUS CASE OF THE RAREST SOUL-MATE [RB]............... 105 NOTES............................................................... 107

FOREWORD Born in São Paulo (Brazil) in 1951, Pedro José Ferreira da Sylva (his birthname) completed a degree in Library Science but did not complete his Literature degree and later became a poet, assuming the heteronym of Glauco Mattoso, a play on words emphasizing the condition of glaucoma, a congenital illness that would progressively lead to the author's blindness in the early 1990s. In the 1970s, he was an essential member of the so-called "mimeographic generation" (a term that emphasized the amateur nature of production of early marginal poets) and participated as well in the movement known as "marginal poetry", maximizing non-commercial networks of poetry, a refuge of "cultural resistance" used against the military dictatorship in power at that time. He created the fanzine JORNAL DOBRABIL (a pun on JORNAL DO BRAZIL, a daily newspaper, and the "foldable" format of a pamphlet, published as independent sheets). He collaborated in various venues of the alternative press, such as LAMPEÃO, a gay tabloid, and PASQUIM, a humorous tabloid. Glauco's work has always been centered within elements of underground culture and connected to themes of transgression, such as bizarre sex, S&M, torture, violence in tribal rock scene, and, especially, the taboo side of poetry, emphasizing its most scatological and satirical aspects. With the loss of his sight, the author has subsequently abandoned creative visual work (such as his former production of concrete poetry and comic stories) in order to dedicate himself to the composition of musical lyrics and to the production of records, in his capacity as member of an independent recording company. Working in collaboration with Dr. Jorge Schwartz, Professor, the University of São Paulo, he has translated the original poems of Argentinian writer Jorge Luis Borges, the best blind author in the twentieth century. Glauco's works of poetry have remained predominantly unpublished or sparsely published in books that have since gone out-of-print, literary supplements (to newspapers) or fanzines.

Mattoso's poetry may be chronologically and formally divided into two distinct phases: the first may be called the VISUAL PHASE, characterized by the poet's experimental parodies of various contemporary tendencies, from Brazilian modernism to "underground" motifs, influenced primarily by Concretism, which esteemed the graphic/visual character of the poem. The author's second phase may be termed the BLIND(NESS) PHASE, as his complete visual impairment leads him to abandon processes such as dactylographic concretism, and he begins to compose classical sonnets, where rigor in metric, rhyme, and rhythm functions as a mnemonic device allowing the poet to perform a re-working of old Glauquian themes (ugliness, dirtiness, wickedness, vices, trauma, stigma), reappropriating concretist techniques (paronomasia, alliteration, euphony and cacophony of verbal configurations), while incorporating slang and colloquialism, elements which have always been hallmarks of the hybrid style of the author. The VISUAL PHASE runs from the 1970s to the end of the 1980s, while the BLIND(NESS) PHASE begins in 1999, with the publication of his first books of sonnets.

According to Dr. Steven Butterman, {In significant ways, Glauco Mattoso is a direct inheritor of the lineage of satirical sonnets composed by Gregorio de Mattos. Indeed, one cannot help but wonder if the similarities in initials and orthography of the last name (including the archaic double consonant "tt") may be linked, to some extent, to the construction of the pseudonym, "Glauco Mattoso." Indeed, if "Mattos" is the original phenomenon and is regarded gramatically as a pronoun, then perhaps "Mattoso" is the corresponding adjective that may serve to identify the nature or type of the work that Mattoso is appropriating and re-working. In fact, using the terminology of grammar, it is indeed true that the adjective "mattoso" as a semantic unit functions to MODIFY -- one may say both grammatically and thematically -- a noun form of "Mattos."

Whether or not this paronomastic link is coincidental, there is an undeniable thematic and structural similarity when comparing Gregorio de Mattos' sonnets to those of Glauco

Mattoso. The postmodern incarnation of the "Bocca do Inferno" is a well-deserved title for the simultaneously cynical, critical, and humorous verses which predominate in Glauco Mattoso's works. [...]

Future studies of Glauco Mattoso's most recent work may explore the "punk" music scene as a venue for transgressive expression as well as the final two books of his trilogy of sonnets initiated by the 1999 CENTOPÉA: SONNETTOS NOJENTOS & QUEJANDOS and finished in the final months of the same year: PAULYSSÉA ILHADA: SONNETTOS TOPICOS, a compilation of 114 sonnets which primarily develops themes of postmodern urbanity and "paulistano" multi-cultural identities; and GELÉA DE ROCOCÓ: SONNETTOS BARROCOS, which contains 111 sonnets devoted to examining human caricatures and behaviors, both fictional and real.} The following sonnets were selected and translated by Akira Nishimura, Mattoso's partner, who lived for four years in Japan and five in Canada, where he received his BA degree (English language and literature). The translation is not lexically poetic but semantically analogous. The sonnets are mostly autobiographical. Other translators are James Pautz [JP], Juliet Attwater [JA], Douglas Victor Smith [DVS], Ayrton Mugnaini [AM], Pedro Reis [PR], and Rodrigo Bravo [RB].

The notes to each sonnet are excerpts from Butterman's work, PERVERSIONS ON PARADE (San Diego, Hyperbole Books / San Diego State University Press, 2005), based on his PhD thesis, BRAZILIAN LITERATURE OF TRANSGRESSION AND POSTMODERN ANTI-AESTHETICS IN GLAUCO MATTOSO (Madison, University of Wisconsin, 2000).

In Butterman's words, "Mattoso picks up where Bocage left off," and "Mattoso's preoccupations begin where Oswald's end: if the anthropophagist has eaten somebody, our cannibal will undoubtedly experience a bowel movement."

SONNETTRIP 15 #0010 NAUSEATING SONNET Some people condemn my fetish: to lick the male foot and his footwear.

But, as I see what other people like, I won't allow anyone to put me down.

Who ever heard of a sandwich of fruit or unseasoned vegetable?

And banana pizza? And iced tea?

Seafood? Oxtail? Bitter legumes? My goodness!

Coffee without sugar? Beans without salt?

Frog? Snake? Raw fish? Giant snail?

Raisins mixed with salty food? Is that normal?

Whoever likes all those things should not be shocked by my sexual preference: to lick the foot and the dust from its footwear.

SONNETTO NOJENTO (I) Tem gente que censura o meu fetiche: lamber pé masculino e seu calçado.

Mas, vendo em que é que o povo é mais chegado, não posso permittir que alguem me piche.

Onde é que ja se viu ter sanduiche de fructa ou vegetal mal temperado?

E pizza de banana? E cha gelado?

Fructos do mar? Rabada? Giló? Vixe!

Café sem addoçar? Pheijão sem sal?

Ran? Cobra? Peixe cru? Lesma gigante?

Farofa de uva passa? Isso é normal?

Quem gosta disso tudo não se expante com minha preferencia sexual: lamber o pé e o pó do seu pisante.

16 GLAUCO MATTOSO #0012 SOLED SONNET Sir, may I shine your footwear?

Shoe, boot or sneaker, it doesn't matter.

I don't charge anything and I clean pretty good, 'cause I go licking and the foot gets bright.

I know too well that my job is degrading.

I'm blind, and that humiliates me even more.

But that's the way things are to satisfy someone like you, so arrogant.

Under the sole my tongue reveals itself the smoothest and the most sordid doormat.

You'll see the scene on a screen: Live or not, Sir, I only shine you, imagining myself locked in a cell, because you have eyesight and a man's foot.

SONNETTO SOLADO (I) Patrão, posso engraxar o seu pisante?

Sapato, bota ou tennis, tanto faz.

Não cobro nada e limpo até demais, pois vou lambendo e o "shoe" fica brilhante.

Bem sei que meu serviço é degradante.

Sou cego, o que me humilha ainda mais.

Mas assim é que a coisa satisfaz alguem como você, tão arrogante.

Na sola minha lingua se revela o mais macio e sordido capacho.

Você vae ver a scena numa tela: Ao vivo ou não, Patrão, eu só lhe engraxo, me imaginando preso numa cella, porque cê tem visão e pé de macho.

SONNETTRIP 17 #0017 SADIC SONNET It's nice to see a politician dying of cancer, either from the prostate or the rectum, and, for my complete pleasure, having a tumor on the tongue, in addition.

If he's a minister of state, then, I don't regret being more than an enemy to him, wishing him dead like an insect suffering in the hands of kids.

But the best of all is to have the president being demoralized by laughter from those who make poetry like us.

He fucks us at each stroke of the pen, but I, only using the power of mind, impale his ass with my sword.

SONNETTO SADICO (I) Legal é ver politico morrendo de cancer, quer na prostata ou no recto, e, p'ra que meu prazer seja completo, tendo um tumor na lingua como addendo.

Si for ministro, então, não me arrependo de ser-lhe muito mais que um desaffecto, rogar-lhe morte egual à que um insecto na mão da molecada vae soffrendo.

Mas o melhor de tudo é o presidente ser desmoralizado na risada por quem faz poesia como a gente.

Elle nos fode a cada cannetada, mas eu, usando só o poder da mente, espeto-lhe o loló com minha espada!

18 GLAUCO MATTOSO #0018 MASOCHIST SONNET Politicians only want to watch us dying in the gutter, helpless, voiceless, homeless.

They amuse themselves by scheming new taxation laws which will garner them more profits.

They're such complete motherfuckers!

They're even capable of enacting a decree which makes the poor, the blind, the illiterate give more than what they've been earning.

If things remain like this, I will end up reduced to a shoe-shiner to any senator or to any So-and-So too.

Unless I kill myself, I'll be subjected to the lowly duty of loving toejam, licking like a dog that doesn't bark.

SONNETTO MASOCHISTA (I) Politico só quer nos ver morrendo na merda, ao deus-dará, sem voz, sem tecto.

Divertem-se inventando outro projecto de imposto que lhes renda um dividendo.

São tão filhos da puta que só vendo, capazes de crear até decreto que obrigue o pobre, o cego, o analphabeto a dar mais do que vinha recebendo.

Si a coisa continua nesse pé, accabo transformado no engraxate dum senador qualquer, dum zé mané.

Vou ser levado, a menos que me macte, à torpe obrigação de amar chulé, lamber feito cachorro que não latte.

SONNETTRIP 19 #0019 ANTI-AESTHETIC SONNET Bandeira, like Delfino, wanted to celebrate some muse's feet such as Cinderella's; and Alencar, in "A pata da gazela," also surrendered to a quite feminine foot.

I'm not going to say that I hate females, but my preference is not beauty nor is it sweet or perfumed like the one which fits in high heels and pointed shoes.

The foot I crave is dirty and stinky, and, instead of being curved, its sole is flat, proving that size matters.

Therefore, allow me to refute: I seek to be exempt, and even try to love a male duck as well as a female duck's feet.

SONNETTO ANTIESTHETICO Bandeira quiz cantar, como Delphino, uns pés de musa typo Cinderella?

Pois Alencar, na "Patta da gazella", tambem rendeu-se a um pé bem feminino!

Não vou dizer que é femea o que abomino, mas minha preferencia não é bella nem doce e perfumada como aquella que cabe em saltos altos, bicco fino.

O pé que almejo é sujo, chulepento e, em vez de curva, tem a sola chata, provando que tamanho é documento.

Portanto, me permittam que rebatta: procuro ser exempto, e bem que tento gostar de pé de pato e pé de pata.

20 GLAUCO MATTOSO #0020 AUTOBIOGRAPHICAL SONNET An episode marked me for life: When nine, I was the victim of older guys who played with perversions, taking me from school to the avenue.

They used to rape me in a dead end alley, they used to bully, inventing bizarre things, like licking cock-cheese from their dicks and filling my mouth with spit.

What disgusted me more was the dust from their sneakers' sole, mixed with candy, bread, shit, or market's scraps.

The taste from the sole and the sidewalk on my tongue made me, like it or not, into the scum of the footlovers, and into nothing else.

SONNETTO AUTOBIOGRAPHICO Um facto me marcou p'ra toda a vida: aos nove annos fui victima dos caras mais velhos, que brincavam com as taras, levando-me da eschola p'ra avenida.

Curravam-me num becco sem sahida, zoavam inventando coisas raras, como lamber sebinho em suas varas e encher a minha bocca de cuspida.

O que dava mais nojo era a poeira da sola dos seus tennis, mixturada com doce, pão, cocô ou xepa de feira.

O gosto do solado e da calçada na lingua fez de mim, queira ou não queira, a escoria dos podolatras, mais nada.

SONNETTRIP 21 #0023 FUTURIST SONNET George Orwell says that the image of the future is the boot on a face, eternally, and the clear impression we feel is that we already live in dark times.

Burgess, for his part, was also hard when he took his juvenile delinquent and converted him into a subservient being who only licked soles, a mere robot.

Glauco here, who lives in the past, nostalgic for an oppressive childhood (I was always abused by the kids), He is the same Glauco now, and licks the floor stepped upon the same sado type; before he used to see, but now he doesn't.

SONNETTO FUTURISTA George Orwell diz que a imagem do futuro é a bota sobre um rosto, eternamente, e a nitida impressão que a gente sente é que vivemos ja num tempo escuro.

O Burgess, por sua vez, tambem foi duro quando pegou seu joven delinquente e o converteu num ser subserviente que só lambia sola, robô puro.

O Glauco aqui, que vive do passado, saudoso duma infancia de oppressão (só fui pelos moleques abusado), É o mesmo Glauco agora, e lambe o chão pisado pelo mesmo typo sado.

Só que antes enxergava, e agora não.

22 GLAUCO MATTOSO #0024 HISTORICAL SONNET I have been told that the foot for which I am searching the one which has its big toe shorter than the second toe, was very common in the Ancient World and today its shape is called "Greek."

I tell you, not afraid of being wrong: the foot of Brazilians is ordinary.

And when I search deeply into this subject, I realize that I am nothing but a wretch.

Who told me to be a fetishist, if the most available foot does not satisfy me?

The solution is elementary: I'd better give up the aesthetics, which mean nothing.

Besides, whoever has lost his eyesight should lick a size fifty sneaker!

SONNETTO HISTORICO Ouvi que o pé que tenho procurado, com seu dedão mais curto que o segundo, ja foi muito commum no Antigo Mundo e "grego" seu formato hoje é chamado.

Lhes digo sem temor de estar errado: mais tento pesquisar, mais eu redundo e, quando nesse assumpto me approfundo, constato que não passo dum coitado.

Quem foi que me mandou ser fetichista, si o pé mais à mão nunca me contenta?

Que faço? Elementar: eu que desista da esthetica, que nada representa.

Alem do mais, quem ja perdeu a vista que lamba um tennis numero cincoenta!

SONNETTRIP 23 #0026 LYRICAL SONNET Some say love is blind and the flesh is weak, but I only loved when I was able to see.

Nowadays the blindness burns me like lava and the heart resists any knife.

Horniness yesterday, hang-over today.

The passion that enslaved my soul is gone.

If I still complain of my terrible fate, I'm mocked and taken for a fool.

Not everything though is lost: smell still remains invading my nostrils when I walk by the door of my shoemaker neighbor.

So be it: the role I play is that of the clown.

The sense of smell is my last resort and the odor of my fetish the only link.

SONNETTO LYRICO Dizem que amor é cego e carne é fracca, mas só gostei de alguem quando enxergava.

Hoje a cegueira queima como lava e o coração resiste a qualquer faca.

Hontem tesão, agora só resaca.

Foi-se a paixão que fez minh'alma escrava.

Si 'inda me queixo dessa zica brava, sou caçoado e passo por babaca.

Nem tudo está perdido: resta o cheiro, enchendo-me as narinas quando passo na porta do vizinho sapateiro.

Va la: o papel que faço é de palhaço.

O olfacto é meu recurso derradeiro e o cheiro do fetiche unico laço.

24 GLAUCO MATTOSO #0027 BRAZILIAN SONNET Brazil can be summed up by three small things: beach, soccer, and carnival.

The ass is the national preference, but mine is slightly different: What an abundance of little soles on the beach!

Those kicking shoes of that ace during the match!

In samba, the foot is always found in the lyrics.

From the outside, I try to stick my nose in.

I feel a lot like an alien: I'm almost an extraterrestrial, a Martian, not only because I adore the foot and its smell; The reality is that I am blind and from São Paulo.

I can only sing rock in the shower, jerking off at the feet of a Corinthians fan...

SONNETTO BRAZILEIRO Resume-se o Brazil em trez coisinhas: só praia, futebol e carnaval.

A bunda é preferencia nacional, mas algo differentes são as minhas: Na praia, que abundancia de solinhas!

Na bolla, as taes chuteiras do "animal".

No samba, pé sempre é fundamental.

De fora, tento pôr minhas manguinhas.

Me sinto muito mais que um extrangeiro: sou quasi extraterrestre, marciano, não só porque idolatro o pé e seu cheiro.

O caso é que sou cego e paulistano.

Cantar rock eu só posso no banheiro, battendo bronha aos pés dum corinthiano.

SONNETTRIP 25 #0028 PSYCHOANALYTIC SONNET My ego does not have many mysteries: The foot, an evident phallic symbol, illustrates the whole of that so-called "unconscious" with colored dreams, because I'm blind.

If there's any complex that I carry, it isn't Oedipus, surely.

The Greek name only comes to mind because "swollen foot" is the etymological meaning I take.

It is of inferiority the complex of mine, explains Freud, and in light of his analysis, the foot fixation makes sense.

Libido only exists when someone steps on me.

Sole on the face is sex stimulus.

The rougher the sole, the smoother the tongue.

SONNETTO PSYCHANALYTICO Não tem muitos mysterios o meu ego: O pé, symbolo phallico evidente, illustra todo o tal do inconsciente com sonhos coloridos, pois sou cego.

Si exsiste algum complexo que carrego, dum Edipo não era, certamente.

O nome grego só me vem à mente porque "pé inchado" é o etymo que pego. É de inferioridade o meu complexo, explica Freud e, à luz do que analysa, a fixação no pé ganha seu nexo.

Só ha libido quando alguem me pisa.

Sola na cara é estimulo do sexo.

Mais grossa a sola, mais a lingua é lisa.

26 GLAUCO MATTOSO #0032 CHRISTIAN SONNET From Christianity, that which seduces a perverted blind man like me is that which took place at The Last Supper: the extreme humility of Jesus.

He washed, dried, kissed the naked feet of each of his secular followers.

That gesture became traditional, and I myself decided to repeat it.

I followed the bold example of the Cardinal, who insists on the foot of juvenile delinquents, in its ideal color, age and size.

But I prostrated myself to the only one I had: another visually handicapped, with verve and perversion like my own.

SONNETTO CHRISTÃO Do Christianismo aquillo que seduz um cego pervertido assim como eu é o que na Sancta Ceia accontesceu: a maxima humildade de Jesus.

Lavou, seccou, beijou Elle os pés nus de cada secular seguidor Seu. O gesto em tradição se converteu e eu proprio a repetil-o me propuz.

Segui o exemplo audaz do Cardeal, que faz questão de pé de trombadinha, na cor, edade e numero ideal.

Porem prostrei-me ao unico que tinha: mais um deficiente visual, com verve e perversão egual à minha.

SONNETTRIP 27 #0033 CHINESE SONNET In millenary China the foot has been a good example of sadomasochism.

It's enough to examine the stoicism of women who atrophy their feet, without groaning.

If, in the women, the foot is diminished, in men it is an attribute to masculinity: In martial arts the symbolism of defeat is the foot on the loser's face.

Isolated, I masturbate, longing, ashamed by the humiliation of my blindness, to subject myself to a Mandarin's feet.

In China life is not easy.

A blind man in the suburbs of Peking is only useful when licking chilblains.

SONNETTO CHINEZ Na China millennar o pé tem sido exemplo bom de sadomasochismo.

Bastante é examinar com que estoicismo as femeas o atrophiam, sem gemido.

Si nas mulheres é diminuido, nos homens é attributo do machismo: Nas artes marciaes o symbolismo da perda é o pé na cara do vencido.

Masturbo-me, isolado, e fico a fim, pejado no vexame da cegueira, de subjeitar-me aos pés dum mandarim.

Na China a vida não é brincadeira.

Um cego no suburbio de Peking só serve quando vae lamber frieira.

28 GLAUCO MATTOSO #0035 LINGUAL-PEDAL SONNET Massified are all holistic massages which, as acupuncture, in energetic points seek to cure with scientific pretense.

Soon I see sexual intentions in everything: The sole of a foot I did in a picture and instead of a hand a tongue, less hard, as a washing system I've proposed.

So I created a real new character: the professional podofellator.

My name became the talk of the town.

Blind I am already, but I haven't come off badly: I'm still removing chilblains mentally from the foot of whomever calls me abnormal.

SONNETTO LINGUOPEDAL Massificada está toda massagem holistica que, como a acupunctura, em ponctos energeticos procura curar com scientifica roupagem.

Em tudo vejo logo a sacanagem: A planta do pé fiz numa gravura e em vez da mão a lingua, menos dura, propuz como systema de lavagem.

Creei assim um vivo typo novo: o podofellador profissional.

Meu nome andou na má lingua do povo.

Ja cego estou, mas não me saio mal: Frieiras mentalmente 'inda removo do pé de quem me xinga de abnormal.

SONNETTRIP 29 #0037 GALLICIST SONNET France gave us so many good things!

"Sadism" comes from the name of the Marquis; From his rival Rétif comes, in its turn, the term "retifism," which fits me well.

Fanchette was his muse, and not by chance: To her delicate foot Rétif wrote a whole book, and now, in Portuguese, the term became current as "podolatry."

We already had "fetiche," which means magical spell taken from the Portuguese and given back.

To talk about sex, what is the pure word?

Now I can label my libido!

A matter of terminology? That's very simple: I'm a conscious "retifist" and "sadist."

SONNETTO GALLICISTA A França nos deu tanta coisa boa!

"Sadismo" vem do nome do Marquez; De seu rival Rétif vem, por sua vez, o termo "retifismo", e me acquinhoa.

Fanchette foi-lhe a musa, e não à toa: P'ra seu pé delicado Rétif fez um livro inteiro, e agora, em portuguez, como "podolatria" o termo soa.

Ja tinhamos "fetiche", que é "feitiço" tomado ao portuguez e devolvido.

P'ra sexo qual vocabulo é castiço?

Ja posso rotular minha libido!

Questão de termo? Não seja por isso: Sou retifista e sadico assumido.

30 GLAUCO MATTOSO #0038 MODERNIST SONNET Who was more important, Oswaldo or Mário?

To me, the "Prefácio interessantíssimo" better succeeded, in terms of "épater le bourgeois," than the entire collection of the "Revista de Antropofagia."

But, to avoid committing an elementary error, justice be done to all three masters, the two Andrades plus the Portuguese, since, without Camões, there would not be a literary pivot.

A particular question occurs to me now: Who had the bigger foot -- Mário, the mulatto, or the one who was Isadora Duncan's little darling?

Oswaldo could have even been considered a hunk, but my bizarre instinct corroborates: Mário had the largest and flattest foot.

SONNETTO MODERNISTA Quem foi mais importante, Oswaldo ou Mario?

Me consta que o "Prefacio" "milhor" fez, em termos de chocar o bom burguez, que todo o anthropophagico mensario.

Mas, p'ra não commetter erro primario, justiça seja feita a todos trez, os dois Andrades mais o Portuguez, pois, sem Camões, cadê réu litterario?

Questão particular me occorre agora: Qual tinha maior pé, Mario, o mulato, ou quem foi queridinho da Izadora?

O Oswaldo pode até ter sido um gatto, mas meu faro bizarro corrobora: O Mario tinha pé mais largo e chato.

SONNETTRIP 31 #0041 OROGENITAL SONNET Fellatio is the quintessence of pleasure, so says the treatise on eroticism.

This lesson humiliates the fans of feminism, due to the effort women have to make: Sucking in silence until the man is satisfied; throat deeper than an abyss; and tongue skilled by glans-licking, these are the basic premises.

On the foot, there's another pair of shoes: instead of cock-cheese and piss, toe-jam, chilblain and callouses, besides the larger width.

Blind men, who suck popsicles so well, surpass women in the impure zone, word of honor from one who sucks a foot like a cock.

SONNETTO OROGENITAL "Fellatio" é a quinctessencia do prazer, assim diz o tractado de erotismo.

Lição que humilha as fans do feminismo, no exforço que a mulher tem de fazer: chupar calada até satisfazer.

Garganta mais profunda que um abysmo e lingua callejada em "balanismo" premissas basilares veem a ser. [vêm] No pé ja muda a coisa de figura: em vez de sebo e mijo, tem chulé, frieira e callo, alem de mais largura.

Os cegos, que são bons de piccolé, superam a mulher na zona impura.

Palavra de quem chupa o pau num pé.

32 GLAUCO MATTOSO #0047 CINEMATOGRAPHIC SONNET When I still could see, in the movies I found myself in heaven for my kink.

Now that I am a blind man, I can only run in my mind, foot fetish scenes from the classics.

"120 Days of Sodom" is emblematic; "The Brothers Naves' Case", is a must.

Sadism only makes others laugh when the movie mocks the Establishment: "A Clockwork Orange" has a close-up, finest of its genre for my fetish, and that scene reigns absolute through my blindness.

It’s when Alex licks that sole I myself, have already acted as such. My own career compensates as an award for my lack of vision...

SONNETTO CINEMATOGRAPHICO Emquanto eu enxergava, no cinema achei p'ra minha tara um paraiso.

Agora que estou cego, só repriso na mente os grandes classicos do thema.

"Os 120 dias" é o emblema; "O caso dos irmãos Naves", preciso.

Sadismo só dá mesmo p'ra sorriso no filme que advaccalha c'o Systema: "Laranja" tem o close que mais beira o bello, como esthetica de eschola, e a scena me persegue na cegueira. É quando lambe Alex aquella sola.

Ja fui o proprio actor. Minha carreira é o premio com que um cego se consola.

SONNETTRIP 33 #0049 VERSATILE SONNET The criticism I've received is regarding the theme, and not the form: "Glauco only cares about the foot and shoe, despite him using the most elevated mold."

First of all I answer on behalf of Cupid: "He has never met me."

Besides, I'm not going to admit that any matters be forbidden me.

I'm blind but eclectic, and I make verses about such diverse problems like forró, baroque, and country music.

From large and small universes is made the Foot I smell, kiss and look at: only to Him my verses render account.

SONNETTO VERSATIL A critica que tenho recebido é quanto ao thema, não quanto ao formato: "O Glauco tracta só de pé e sapato, ainda que use o molde mais subido."

Respondo antes de tudo por Cupido: commigo elle jamais teve contacto.

Alem do mais, não vou deixar barato que assumpto algum me seja prohibido.

Sou cego mas eclectico, e versejo accerca de problemas tão diversos que nem forró, barroco e sertanejo.

De grandes e pequenos universos é feito o Pé que cheiro, beijo e vejo: a Elle presto compta dos meus versos.

34 GLAUCO MATTOSO #0050 SOCCERIST SONNET "Machismo" is soccer and foot loving.

It is males loving men's feet, and I find myself in this magic world among the fans of some idol like Pelé.

I envy the masseurs of the aces during those relaxing moments, turned into kicking shoe and doormat, running my tongue there, touching the ground.

Naturally, a blind man like me can't recruit a member of a Brazilian or an European major team.

I console myself by sucking the big toe of that player who did not yet win even the most local preliminary match.

#0050 SOCCERISTIC SONNET [JP] Machismo is soccer and love of And in this magical world I've surrounded by the fans of some They're just machos worshiping

feet. become phenom: machos' feet.

I envy the masseurs of the Pelés, their playful moments of relaxation.

Doormats and bootlickers by vocation, they're indulging a second oral phase.

It just makes sense that a blind guy like me can't draft the starter of the Brazilian, Italian, or German national team.

I content myself sucking, with a grin, the toes of someone who has yet to be in even a local competition.

SONNETTRIP 35 SONNETTO FUTEBOLLISTICO Machismo é futebol e amor aos pés.

São machos adorando pés de macho e nesse mundo magico é que me acho em meio aos fans de algum camisa dez.

Invejo os massagistas dos Pelés nos ludicos momentos de relaxo, servindo-lhes de chanca e de capacho, levando a lingua alli, do chão no rés. É logico que um cego que nem eu não pode convocar o titular dum time brazileiro ou europeu.

Contento-me em chupar o pollegar do pé de quem ainda não venceu siquer a mais local preliminar.

36 GLAUCO MATTOSO #0052 STUDENT SONNET Hazing is a tradition in the academy, but it was more cruel in the Middle Ages.

The freshman's life was the tragedy of the "slave," while the "master" used him and laughed.

I suffered in my own skin this agony, but I contradicted the encyclopoedia on the day I schemed a comedy pretending I was taking engineering.

A disguised freshman, I was treated like an animal, with kicks, "Shoo!" and whippings, licking the veteran's sweaty foot.

Of course I didn't make any fuss!

That's how I wanted to be used!

It was I who played them the dirtiest trick!

SONNETTO ESTUDANTIL O trote é tradição na academia, mas ja foi mais cruel na Edade Media.

A vida de calouro era a tragedia do "escravo", emquanto o "dono" o usava e ria.

Soffri na propria carne essa agonia, porem contrariei a encyclopedia no dia em que tramei uma comedia fingindo entrar naquella engenharia.

Calouro disfarsado, fui tractado que nem um bicho, a chute, "Xô!" e chicote, lambendo o veterano pé suado. É claro que não fiz nenhum fricote!

Assim é que eu queria ser usado!

Fui eu quem lhes passou o maior trote!

SONNETTRIP 37 #0060 SECOND MASOCHIST SONNET Masoch, disguised as Gregório, wants so much to be a slave to his beloved Wanda to the point of pledging his own life in black and white on a registered contract.

But Wanda goes beyond what is expected in the fine day she chooses to be mean and, instead of whipping him, delegates to her lover such an inglorious gesture.

After being whipped by the stranger, Gregório, abandoned by Wanda, realises that the situation has gone too far.

Now Gregório is Glauco, and the one who commands me is the sadistic young man from whom I sustain the beatings.

I lick his boots and advertise it.

SONNETTO MASOCHISTA (II) Masoch é, travestido de Gregorio, quem tanto foi submisso à sua amada que a propria vida dá por empenhada no texto dum contracto de chartorio.

Mas Wanda vae alem do que é notorio no dia em que resolve ser malvada e, em vez de lhe applicar a chibatada, delega a um outro amante o gesto inglorio.

Appós ser açoitado pelo extranho, Gregorio, abbandonado pela Wanda, conclue que a coisa está de bom tamanho.

Gregorio agora é Glauco, e quem me manda é o sadico rapaz do qual appanho, lhe lambo a bota e faço propaganda.

38 GLAUCO MATTOSO #0065 BAREFOOT SONNET The foot of a beautiful woman is also beautiful.

This way it is desired for the footlover man, and nobody sees anything wrong if the female, when taking off her shoes, gets naked.

The foot of the ugly male is more welcome to whomever is blind and lowly.

This is my case: scandal and sin, according to some, while others simply laugh.

The foot of a beautiful woman is sweetish due to the fine treatment and to honey kisses.

The male's foot is stinky and salty.

But to me, connoisseur of the best cheeses, the ridiculous and dirty aspect matters little: Shameless, I rhyme the foot with my desire...

SONNETTO DESCALÇO O pé da mulher linda é tambem lindo.

Assim deseja o macho que é tarado por pés, e ninguem vê nada de errado si a femea, ao descalçar-se, está despindo.

O pé do macho feio é mais bemvindo a quem é cego e está inferiorizado.

Este é o meu caso: escandalo e peccado, segundo alguns; e os outros ficam rindo.

O pé da mulher linda é addocicado devido ao tracto fino e ao mel do beijo.

O pé do macho é fetido e salgado.

Mas eu, conhescedor do melhor queijo, de lettra tiro o hilario e sujo lado: Sem pejo rhymo o pé com meu desejo.

SONNETTRIP 39 #0066 CIRCUS SONNET Those who feel on their skin know true pain.

It's easy to laugh at the tragedy of others, and nothing more amusingly appropriate than the pain of the blind in their Dantesque blackness.

My case is certainly more grotesque, because I subject myself to shame without fear: I humiliate myself by licking ugly, stinky, dirty, crooked or simian feet.

To ridicule me comes to be the great joy for those who see me, while I, who cannot see, provide them with pleasure.

A joker type like you will laugh if I lick your shoe, as cheerfully as you read this verse.

SONNETTO CIRCENSE Pigmenta no dos outros é refresco. É facil achar graça em mal alheio e nada mais propicio pro recreio que a dor do cego em seu negror dantesco.

Meu caso é certamente mais grottesco, pois presto-me ao vexame sem receio: Humilho-me lambendo até pé feio, fedido, sujo, torto ou simiesco.

Ridicularizar-me vem a ser a grande diversão de quem me vê, emquanto eu, que não vejo, dou prazer.

Um typo gozador como você vae rir si seu sapato eu for lamber, tal como ri do verso que ora lê.

40 GLAUCO MATTOSO #0070 TEUTONIC SONNET Even Goethe reveals himself as queer, asking his lover Christiana for the shoes she had worn for a week: His intention is to sleep alone with them.

In "The young Törless" Musil shows the rite in which Basini's classmates make a fool of him: The student has to imitate a pig and owes money, at the feet of a handsome veteran.

Literature is little to a German who likes to exhibit his sadism.

The concentration camp prisoners will confirm it...

The German foot is, like racism, synonym of strength and oppression.

My weakness is imagining it with lyricism...

SONNETTO TEUTONICO Até Goethe revela-se exquisito, pedindo à sua amada Christiana sapatos que ella usara uma semana: Dormir a sós com elles é seu ficto.

No "Joven Törless" Musil mostra o rito no qual fazem Basini de banana: O alumno imita porco e deve grana, aos pés dum veterano mais bonito.

Litteratura é pouco a um allemão que gosta de exhibir o seu sadismo.

Os concentracionarios dil-o-ão.

O pé germanico é, como o racismo, synonymo de força e de oppressão.

Meu fracco é imaginal-o com lyrismo.

SONNETTRIP 41 #0073 OBSESSIVE SONNET The preference for feet became stronger after darkness was filling my eye's back, in this horrible martyrdom, more agonizing than death.

Now I don't even wish the same luck that some other mortals still have living like couples, and I'm only aware of myself serving to any sole as support.

I only think about that, dreaming or awake.

I jerk off in the timid illusion of waking up under a sole.

That guy who steps on my face is always a cocky one, and never the projection of a passion.

SONNETTO OBSESSIVO O gosto pelo pé ficou mais forte depois que as trevas foram preenchendo o fundo do meu olho, neste horrendo martyrio, mais agonico que a morte.

Agora nem desejo a mesma sorte, que alguns outros mortaes proseguem tendo, de conviver a dois, e só me entendo servindo a qualquer sola de supporte.

Só penso nisso, em sonho ou accordado.

Masturbo-me na timida illusão de admanhescer debaixo dum solado.

Aquelle que em meu rosto dá o pisão é sempre um typo malaccostumado e nunca a projecção duma paixão.

42 GLAUCO MATTOSO #0093 CONSENSUAL SONNET Sadomasochism is a chimera.

The true sadist is cruel, who has fun by inflicting pain or sickness, provided that the victim doesn't desire this treatment.

The real masochist doesn't deliberate.

He throws himself fearlessly from the cliff.

He bears even the stomping of hooves, and in an arena never chooses the beast.

It's bullshit to see them as a complete couple, because the slave's pleasure frustrates the master, and a guy only tortures those who don't want it.

The solution is to pretend, and I pretend to sleep knowing that the demon of blindness will come to bring me insomnia and abandonment.

#0093 CONSENSUAL SONNET [JP] Sadomasochism is delusion.

The truly sadistic loves to inflict pain or disgust, or leave a contusion as long as it's not what the slave expects.

A real masochist knows just what to choose: he throws himself from the cliff without fear, tolerates even the trampling of hooves and in the arena chooses the spear.

To see the two as one is plain bullshit: masters hate the joy some slaves find in this.

Only torture the ones who won't partake.

The trick is to pretend, and I do it feigning sleep, knowing full well that blindness will soon torture me, and keep me awake.

SONNETTRIP 43 SONNETTO CONSENSUAL O sadomasochismo é só chimera.

O verdadeiro sadico é carrasco, diverte-se causando dor ou asco, comtanto que não seja o que o outro espera.

Masoca p'ra valer não delibera, attira-se sem medo do penhasco, attura pisoteio até dum casco e, numa arena, nunca excolhe a fera.

Querer que se completem é besteira, pois o prazer do escravo frustra o dono e um cara só tortura quem não queira.

O jeito é o fingimento, e finjo somno sabendo que o demonio da cegueira causar me vem insomnias e abbandono.

44 GLAUCO MATTOSO #0108 SLEEPY SONNET Camões threw in the sponge to his muse like someone who has come ten times and can't endure.

I do the same thing, after ninety-nine, much less than the Lusitanian lyre.

I suppose I've answered those who accuse me of wallowing in the nastiest perversion.

I showed that my love for feet is based on the ground of human mind, which is confusing.

Demons are the muse of a merciless insomnia which pursues me in my blindness, and the dream is only a tremendous Babylon.

But I still have a new companion: Death, who is complete, without parcimony, and who gives what the sleep has denied me my whole life.

SONNETTO SOMNOLENTO Camões pediu arrego à sua musa como quem ja deu dez e não aguenta.

O mesmo aqui peço eu, appós noventa e nove, bem aquem da lyra lusa.

Suppuz ter respondido a quem me accusa de chafurdar na tara mais nojenta.

Mostrei que meu amor ao pé se assenta no chão da mente humana, que é confusa.

Demonios são a musa duma insomnia sem dó que me persegue na cegueira e o sonho é só uma puta babylonia.

Mas resta-me uma nova companheira: a Morte, que é total, sem parcimonia, e dá o que o somno nega a vida inteira.

SONNETTRIP 45 #0110 PAULOPOLITAN SONNET Some steps beyond the Marco Zero is the Sé cathedral, almost finished, summarizing in Neo-Gothic the human and the inhuman salad where I was born.

In the north-eastern East I already was a real kid from the rural Vila Invernada.

But I was born in Lapa, which is neighboring to the home of a poet who is a panther.

Elíseos, Campos, Brás, Bixiga and Moóca, Belém, Limão, Carrão, Pari, Moema: Which place is my house, grave, hut, hole?

Were I not a genuine São Paulo born!

My tongue goes directly to Lavapés street, where it will wash, enjoy and moan!

SONNETTO PAULOPOLITANO Alguns passos alem do Marco Zero a cathedral da Sé, quasi accabada, resume em neogothico a salada humana e deshumana onde me gero.

No leste nordestino ja fui vero bambino da rural Villa Hinvernada.

Nasci, porem, na Lapa, que é pegada à toca dum poeta que é panthero.

Elyseos, Campos, Braz, Bixiga e Mooca, Belem, Limão, Carrão, Pary, Moema: Qual minha casa, cova, taba, toca?

Não fosse eu paulistano tão da gemma!

Na rua Lavapés me desembocca a lingua, que alli lave, goze e gema!

46 GLAUCO MATTOSO #0111 BIZARRE SONNET A coprophile is someone who likes excrement.

A pedophile only fucks children.

Fresh cadaver never rests in peace in the arms of a salivating necrophile.

The voyeur watches everything, always attentive to the exhibitionist, who will even dance.

The fetishist fucks even with dreadlocks, and the masochist adores suffering.

Libido, it seems, is mere mud.

Sensuality makes sense according to the morbidity in my fucking.

The foot alone is not enough, it must be stinky.

If I have to choose, then, a [nickname], I'll be a conscious podosmophile.

SONNETTO BIZARRO Coprophilo é quem gosta de excremento.

Pedophilo só trepa com creança.

Defuncto fresco em paz jamais descansa nos braços do necrophilo sedento.

Voyeur assiste a tudo, sempre attento ao exhibicionista, que até dansa.

O fetichista transa até com trança e o masochista adora soffrimento.

Libido, pelo jeito, é mero lodo.

A sensualidade faz sentido conforme a morbidez sob a qual fodo.

Não basta o pé, precisa ser fedido.

Si tenho de excolher, pois, um appodo, serei um podosmophilo assumido.

SONNETTRIP 47 #0117 PARADOXICAL SONNET Sadomasochism is a paradox, just like many others in the world, the refined sonnet mired by mundane themes, the profane disguised as orthodox.

Thus the self and the altruist are reconciled, the procreative love and the filthy sex, the eternal orgasm lasting but a second: Yes, I’ve got all wishes but not the power...

Being blind and writing sonnets, is a mismatch, because poetry implies oracle, clairvoyance; blindness, on the other hand, means a curse.

However, the most complete contradiction Is the humiliation of the blind eye before the seeing one, the blind poet under the foot of one who is not a poet.

SONNETTO PARADOXAL O sadomasochismo é um paradoxo, reflexo de outros tantos que ha no mundo, sonnetto sobre thema vagabundo, prophano revestido de orthodoxo.

Assim se concilia o meu e o nosso, o amor procreador e o sexo immundo, o orgasmo eterno dentro de um segundo.

Sim, sou omnivolente e nada posso.

Ser cego e sonnettar contrarios são, pois a poesia é oraculo e propheta.

Cegueira, por seu turno, é maldicção.

Comtudo, a incoherencia mais completa é o cego se humilhar ao olho são, lambendo o pé de quem não é poeta.

48 GLAUCO MATTOSO #0122 MELODRAMATIC SONNET "Shane" was a movie.

"The rich also cry" was a soap opera.

I also want to propose, on the stage or on the screen, a very clear title, which has no fear: Which exposes with no shame my problem, showing that blindness is like a life-imprisonment cell, with no windows, no video nor candles, without a light at the end of the tunnel, maximum punishment.

"The blind also suck" is a good title, that fits like a glove on my drama, because "hunger is the best sauce."

Anybody who can't see sinks in the mud, while the seeing person tells him: "Fuck you!"

And the blind man kneels down, takes it and sucks.

SONNETTO MELODRAMATICO "Os brutos tambem amam" foi cinema.

"Os ricos tambem choram" foi novella.

Tambem quero propor, em palco ou tela, um titulo bem claro e que não tema: Que exponha sem vergonha o meu problema, mostrando que a cegueira é como a cella perpetua, sem janella, video ou vela, sem luz no fim do tunnel, pena extrema.

"Os cegos tambem chupam" é um bom nome, que cae como uma luva no meu drama, pois pão nenhum é mau p'ra boa fome.

Quem não enxerga atola-se na lama, emquanto quem enxerga lhe diz: "Tome!".

E o cego se adjoelha, toma e mamma.

SONNETTRIP 49 #0139 OROGENITAL (THEORETIC) SONNET According to the specialists, cocksucking depends on the attitude of the one sucked: if the cock is the inert receptor of the action, or fucks the mouth as if it were a pussy.

If the cock penetrates, it practices "irrumatio," that is, fucking the mouth till coming; if the cock is sucked, the action is called "fellatio," that is, the mouth acting as a jacking-off tool.

In both cases, the same conclusion is reached.

The sperm ejaculated down the throat has the right destination: swallowing.

The second conclusion: it's pointless to deny that the mouth suffers humiliation, because the cock gets hard just thinking of this.

#0139 OROGENITAL SONNET [RB] According to the wise, to suck one off, Hangs only on the stance of whom is suck'd: If all the cock receives, tightly tuck'd, Or stuffs the mouth such as a leather box.

To "irrumation"'s prone the spearing cock And fucks the mouth until the spill' of cum; "Fellatio", then, is if he gobbled were And execut'd the mouth a jacking off.

In both the cases, I conclude the same The sperm ejaculated in the throat Will be ingested: that is why it came.

Conclusion number two: thou shalt be wrong Denying that the mouth is suff'ring shame, For when I thought about it my cock rose!

50 GLAUCO MATTOSO SONNETTO OROEROTICO (ou OROTHEORICO) Segundo especialistas, a chupeta depende da attitude do chupado: si o pau recebe tudo, accommodado, ou fode a bocca feito uma boceta.

Practica "irrumação" o pau que metta e foda a bocca até ter exporrado; Practica "fellação" si for mammado e a bocca executar uma punheta.

Em ambos casos, mesma conclusão.

O esperma ejaculado na garganta destino certo tem: degluttição.

Segunda conclusão: de nada addeanta negar que a bocca soffra humilhação, pois, só de pensar nisso, o pau levanta.

SONNETTRIP 51 #0143 HYGIENIC SONNET [RB] If th'anal orifice is a blind eye Which blinks and overlooks the things it sees As coming in and out, what's stuck or creeps, For thrice I'm blind. Alas could twice suffice!

But not by hand withholds me, my dear vice, But by the dirty tongue which loves to lick The others' assholes, as a cleaning stick, I scrub the wrinkles as a dirty wipe.

And, then, the "black kiss" is the final drop Of this humiliation I construe, More shameful would it be if I suck'd cocks!

In awe I do comply - and almost, puke With tasting shit and with the smell of rot And finally, with my pride, I swallow poop.

SONNETTO HYGIENICO Si um orificio anal é um olho cego, que pisca e vae fazendo vista grossa a tudo que entra e sae, que entalla ou roça, trez vezes cego sou. Que cruz carrego!

Porem não pela mão me prende o prego, mas pela lingua suja, que hoje coça o cu dos outros, feito um limpa-fossa, e as pregas, como esponja escrota, exfrego. É o "beijo negro" um ultimo degrau desta degradação em que mergulho, maior humilhação que chupar pau.

Subjeito-me com nausea, com engulho, ao paladar fecal e ao cheiro mau e, juncto com a merda, engulo o orgulho.

52 GLAUCO MATTOSO #0149 AFFECTIONATE SONNET Beating, punch, pinch, tripping, bump, slap, spat, slug, drubbing, cudgeling, licking, rap, blow.

Jostle, cuff, sock, shove, clout, stroke, thump, thrashing, pawing, stamp, lash, clubbing, nudge, whipping, push.

Trampling, stomping, kick, boot, sensorialization, tackling, do-in, necking, massage, petting.

Loving touch, erotic contact, relaxation, strappado, pain, strangulation, murder.

SONNETTO CARINHOSO Piau, catiripapo, belliscão, rasteira, tranco, tapa, bofetada, sopappo, cacetada, bordoada, biaba, peteleco, pescoção, trompaço, murro, soco, saphanão, tabefe, trolha, cocre, trauletada, pattada, coice, latego, porrada, cotovellada, relho, repellão, pisão, solada, chute, ponctapé, sensorialização, cama-de-gatto, do-in, xodó, massagem, cafuné, bolinação, erotico contacto, relaxamento, tractos de polé, dor, estrangulamento, assassinato.

SONNETTRIP 53 #0150 "TROPICALIST" SONNET An "anthropophagy," even late, turned our music into a fruit salad, made from native or imported ingredients, on that "tropicalia" of happiness.

The sixties was the decade to be in: sunny, vividly colored, lighted.

They've created as they never created before.

Then, everything was free and all things made sense.

Caetano, Gil, Mutantes, circus and bread.

The new-and-old garde, left-right wing.

Baroque'n'roll. Mambossa. Rumbaião.

I was a teen, and one fine day, I felt during a festival that a song is lyrics, and everything in it is recyclable.

SONNETTO TROPICALISTA Uma anthropophagia, até tardia, tornou a nossa musica salada de fructa, nacional ou importada, naquella tropicalia de alegria.

Sessenta foi a decada do dia: solar, viva na cor, illuminada.

Creou-se como não se cria nada.

Valia tudo e tudo, então, valia.

Caetano, Gil, Mutantes, circo e pão.

Modernantiga guarda, esquerdireita.

Barroco'n'roll. Mambossa. Rumbaião.

Eu era adolescente e, certa feita, senti num festival que uma canção é lettra, e tudo nella se approveita.

54 GLAUCO MATTOSO #0197 PLAYFUL SONNET I'm blind, but I wasn't since a boy.

I knew that the size of my dick wasn't larger than my little finger, and taking it from there "...the tree is inclined."

Now I examine and jerk myself off, and I still feel the fatal doubt.

And what about the other blind people, when, in their privacy, ask: "Thick or thin?"

"Dwarf or giant? Am I a male or not?"

"How can I compare my cock to others' without grabbing them all with my hands?"

And some other fatal doubts arise: Would the hand of a blind man turn somebody on?

If so, surely the mouth would do it more...

SONNETTO LUDICO Sou cego, mas não fui desde menino.

Sabia que o tamanho do meu pincto não ia muito alem do dedo quincto e que a partir dalli cresce o pepino.

Agora me masturbo, me examino e a duvida fatal ainda sinto.

E os outros cegos, quando, no recincto privado, se perguntam: "Grosso ou fino?

Anão ou gigantão? Sou macho ou não?

Como checar meu pau e o dos demais sem aggarral-os todos com a mão?"

E surgem outras duvidas fataes: Será que a mão do cego dá tesão?

Si dá, na certa a bocca dará mais.

SONNETTRIP 55 #0233 SONNETED SONNET I've already read Lope de Vega and Gregório, since both sonneted about sonnets, a field in which I now meddle, trying to make something valuable.

I don't want to use the same language, but I find myself, in the middle of a quartet, composing the anatomy of the skeleton.

About the eighth line, my relief is just temporary.

It's a regressive count: five more lines to go.

Four more and I get rid of the problem.

Now three more... Lord, give me the strength!

Two more and I'm over with this fucking poem.

Wow! One more line! I can now joke!

I'm cumming! I got it! What a whacking theme!

SONNETTO SONNETTADO Ja li Lope de Vega e li Gregorio, pois ambos sonnettaram do sonnetto, seara na qual minha foice metto, tentando fazer algo meritorio.

Não quero usar o mesmo palavrorio, mas pilho-me, no meio do quartetto, montando a anatomia do eskeleto.

No oitavo verso, o allivio é provisorio.

Comptagem regressiva: faltam cinco.

Mais quattro, e fico livre do problema.

Agora faltam trez... Deus, dae-me affinco!

Com dois accabo a porra do poema.

Caralho! Só mais um! Até ja brinco!

Gozei! Mactei a pau! Que puta thema!

56 GLAUCO MATTOSO #0234 CONFESSIONAL SONNET Yes, I've loved. But I don't know if I was loved, because I declared love to whom I hated and I never showed my face to whom I loved, afraid of being rejected.

I still hate the one who hated me: Now I return the offence back.

But the one I loved won't return; the wound won't heal.

The words "Oh, I believe in yesterday!" lost their sense.

"Verba volant, scripta manent," asserts the Latin proverb.

A written word is like hatred: it only ages.

If this could comfort, so be it: Love is never forgotten as well as prayers.

I wish, therefore, that somebody prayed for me...

SONNETTO CONFESSIONAL Amar, amei. Não sei si fui amado, si amor jurei a alguem que eu odiara e a quem amei jamais mostrei a cara, de medo de me ver posto de lado.

Odeio si tambem sou odiado.

Devolvo o que se jura e se declara, mas quem amei não volta, e a dor não sara.

Não sobra nem a crença no passado.

Palavra voa, escripto permanesce, naquelle adagio vindo do latim.

Escripto é que nem odio, só envelhesce.

Si serve de consolo, seja assim: amor nunca se exquesce, é que nem prece.

Tomara, pois, que alguem reze por mim.

SONNETTRIP 57 #0235 CONVICTED SONNET Do not think I want to renounce that which in sonnets I've written.

To pose as repentant, as contrite, is the state I wish never to reach.

Bocage and Kafka occupy their places even though "Tear up my works!" they've said.

My place, minuscule, restricted, became still smaller after I went blind.

Therefore, inch by inch, it's my turf, which I don't give up not even in agony, despite all the depravity and obscenity.

Other feet, which are my mania, step on that turf.

In the verse, its meter can be short.

On the tongue, it doesn't exhaust nor expiate.

SONNETTO CONVICTO Não pensem que pretendo renegar aquillo que em sonnetto tenho escripto.

Posar de arrependido, de contrito, é poncto a que jamais quero chegar.

Bocage e Kafka occupam seu logar ainda que "Me rasguem!" tenham dicto.

O meu logar, minusculo, restricto, ficou 'inda menor appós cegar.

Portanto, palmo a palmo, é meu terreno, do qual não abro mão nem na agonia, malgrado todo o torpe e todo o obsceno.

Palmilham-no outros pés, minha mania.

No verso pode ter metro pequeno.

Na lingua, não se exgotta nem se expia.

58 GLAUCO MATTOSO #0241 ESSAYISTIC SONNET Let us call it an iconoclastic phase, my poetry before I went blind.

I raised the devil. But I don't renounce it.

The Invalidity forced me to say "Stop!"

The new phase isn't pure, nor does it contrast with old anarchies. I only give in to the foot, where in sonnet my tongue I scrub.

Let us call it a podorast phase.

But even so it's less transgressive.

A paradox is imposed in the measure of form and obsessive thematic: In the presumed universality, I'm the equal of Bocage, Botto, and Piva.

To the blind, the ugly is beautiful, and pain is life.

SONNETTO ENSAISTICO Chamemol-a de phase iconoclasta, à minha poesia antes de cego.

Pinctei, bordei. Porem não a renego.

Forçou-me a invalidez a dar um basta.

A nova não é casta, nem contrasta com velhas anarchias. Só me entrego ao pé, onde em sonnetto a lingua exfrego.

Chamemol-a de phase podorasta.

Mas nem por isso é menos transgressiva.

Impõe-se um paradoxo na medida da forma e da thematica obsessiva: Na universalidade presumida, egualo-me a Bocage, Botto e Piva.

Ao cego, o feio é bello, e a dor é vida.

SONNETTRIP 59 #0242 GLAUCOMATOUS SONNET Baroque is a charade whose key depends on the mood of the consumer.

Selling some dose of "perhaps," the whole score is composed with clefs.

Glaucoma is a serious ocular illness, the original revenge of our Maker.

To burn or torture with the pincers compared to that disease, is more smooth.

Refinement is a word which fits well to Góngora, Quevedo or Torquemada, in the formula forged in the furnace.

Well before eyesight becomes nothing, the rainbow's colors formed a concentric web in the illuminated night.

#0242 GLAUCOMATOUS SONNET [JP] Baroque is a charade whose key suspends on the moods and whims of the customer.

Selling certain doses of "it depends," composing the score with what he prefers.

Glaucoma: serious disease the first vendetta of our Compared to this disease, or torturing with pincers

of the eye, Maker. burning with lye, is gentler.

Refinement is a word that helps inform Góngora, Quevedo, and what they write, with their furnace-forged formula of norms.

Before nothingness takes over for sight, all of the colors of the rainbow form concentric webs in the luminous night.

60 GLAUCO MATTOSO SONNETTO GLAUCOMATOSO Barroco é uma charada cuja chave depende da veneta do freguez.

Vendendo alguma dose de talvez, compõe a pauta toda só com clave.

Glaucoma é uma ocular molestia grave, vendetta original de Quem nos fez.

Queimar ou torturar com a torquez ao morbo comparado, é mais suave.

Requincte é uma palavra que bem calha a Góngora, Quevedo ou Torquemada, na formula forjada na fornalha.

Bem antes que a visão se torne um nada, as cores do arco-iris formam malha concentrica na noite illuminada.

SONNETTRIP 61 #0247 CONJUGAL SONNET Here, I'll be the only one who commands and enjoys!

You, who's less of a man, must take it or die.

Your wife swallows my cum; you drink my piss and eat the shit.

That's too bad you've lost your bet.

Now pay the price, face the scoffing!

For me, woman is nothing but a bitch; The man falls on all fours or falls on his back.

To me there's no pity nor mercy.

Anyone who does not do what I command either dies or rots behind bars.

I'm not a lawman, but my rules are strict: A couple is a whore and a cuckold, my buddy.

The female swallows the cum, the male the piss.

SONNETTO CONJUGAL Aqui só vae ser eu quem manda e gosta!

Você, que é menos macho, accapte ou morra!

A sua esposa engole a minha porra!

Você bebe meu mijo e come a bosta!

Ninguem mandou você perder a apposta!

Agora pague o pato, acceite a zorra!

Mulher p'ra mim não passa de cachorra!

O macho cae de quattro ou cae de costa!

Commigo não tem dó nem piedade!

Aquelle que não faz o que eu exijo ou morre ou appodresce attraz da grade!

Não sou da lei, mas meu regime é rijo!

Casal é puta e corno, meu cumpade!

A femea engole a galla e o macho o mijo!

62 GLAUCO MATTOSO #0248 CONJUGATED SONNET Don't do that to me, please!

I've always been honored, but not for fighting.

My wife will suck your cock, but I'm not a urinal or shitter!

I've lost because I'm no good gambler.

Is it not enough the bad luck that's punishing me?

Now, besides I'm being the victim of the plot which that insane woman does with me, Sir! It's for the love of God that I beg you!

To force an honest man to drink piss, knowing that the wife is already paying the price, It's too much! Just thinking about it pains me!

I beg you, don't turn me into a chamber pot, because she will give you much pleasure!

SONNETTO CONJUGADO Não faça isso commigo, por favor!

Honrado sempre fui, mas não de briga!

A minha esposa vae chupar sua viga, mas eu não sou mictorio ou cagador!

Perdi porque não sou bom jogador!

Não basta a sorte má que me castiga?

Agora 'inda sou victima da intriga que aquella doida faz de mim, Doutor! É pelo amor de Deus que lhe supplico!

Fazer um gajo honrado beber mijo, sabendo que a mulher ja paga o mico, é dose! De pensar eu ja me afflijo!

Lhe imploro, não me faça de penico, pois ella lhe dará mais regozijo!

SONNETTRIP 63 #0249 CONSORT SONNET I'm desperate, but, to be honest, I already expected what would happen to me.

A husband like mine had to be, one day, the ass-licker to a loafer.

He lost, and turned me into a lost woman in the hands of a power's parasite, who, now, will fuck my mouth, and fill his mouth with something dirtier.

I deserve it, too bad for the cuckold.

I'm gonna have to suck an idler's cock, but my husband is going to suffer the most: He receives piss, even shit, in his mouth, and besides he will pay a good bribe in order to escape from the hands of the chief of police!

SONNETTO CONJUGE Estou desesperada, mas, no fundo, aquillo ja esperava accontescer.

Marido como o meu tinha que ser, um dia, lambe-cu de vagabundo.

Perdeu, e me tornou mulher do mundo na mão dum parasita do poder que, agora, minha bocca vai foder e a delle encher com algo mais immundo.

Bem feito para mim, peor pro corno.

Vou ter que chupar rolla de folgado, mas meu marido soffre mais transtorno: Na bocca elle é mijado, até cagado, e ainda vae pagar um bom suborno p'ra não cahir na mão do delegado!

64 GLAUCO MATTOSO #0268 TRICKY SONNET Outlaw, criminal, bandit, pirate, buccaneer, bandoleer, corsair, filibuster, gunman, forger, plagiarist, actor, farceur.

Mentor, ruffian, accomplice, boss, thief, thug, partner, gangster, desperado, robber, treasurer, banker, swindler and all the rest.

Mayor, magistrate, malefactor.

Hoodlum, deputy, councilman, proxy.

A smuggler, a senator.

The vice, the candidate, the aspirant.

The correligionist, the rapist.

The Pope, the dictator, the president.

SONNETTO TRAMBIQUEIRO Bandido, scelerado, meliante, pirata, buccaneiro, bandoleiro, corsario, flibusteiro, pistoleiro, falsario, plagiario, actor, farsante, mentor, capanga, cumplice, mandante, ladrão, sequaz, comparsa, quadrilheiro, facinora, assaltante, thesoureiro, banqueiro, vigarista e tutti quanti.

Prefeito, magistrado, malfeitor.

Jagunço, deputado, edil, supplente.

Um estellionatario, um senador.

O vice, o candidato, o pretendente.

O correligionario, o estuprador.

O Papa, o dictador, o presidente.

SONNETTRIP 65 #0313 TRANSVESTITE SONNET To call him a "transformist" doesn't itself explain.

To call him a "drag queen" doesn't say it clearly.

The explanation can be found just in the sexual act, because instead of the cunt there's a prick.

Hormones, silicone, all points to the femininity of his manners.

Maybe something larger in him is the shoe, but taken together little difference does that make.

At night the situation gets worse for the knobber who does the trottoir on the sidewalk waiting for a criminal, a cop, a recruit.

In the cold loneliness after midnight sometimes the pleasure will have its echo: A cry. A body. A shot. A stabbing.

SONNETTO TRAVESTI Chamar de "transformista" não explica.

Chamar de "drag queen" nunca falla exacto.

A explicação se encontra alli, bem no acto, pois no logar da conna está uma picca.

Hormonios, silicone, tudo indica a feminilidade no seu tracto.

Talvez algo maior seja o sapato, mas no conjuncto pouco modifica. À noite pesa a barra do traveco que faz a viração pela calçada à cata dum bandido, um tira, um reco.

Na fria solidão da madrugada às vezes o prazer vae ter seu echo: Um grito. Um corpo. Um tiro. Uma facada.

66 GLAUCO MATTOSO #0340 SYNTHETIC SONNET The way poetry is defined influences the path of the poet.

What is, I ask, the secret formula which portrays an entire life in a few lines?

According to Rilke, the muse never has doubts. but Eliot is demanding and objects to everything.

The more Basho believes, the less he gets settled.

Pessoa says that poetry is faith in a simulated pain.

All those masters are in disagreement only in their tone.

There's no need to rack your brain: The verses are made of chemistry and not of inspiration.

Whatever the opinion, whatever the theme it will be a good poem, being true or not, if its part is dense and its whole is brief.

SONNETTO SYNTHETICO De como a poesia é definida depende a trajectoria do poeta.

Qual é, pergunto, a formula secreta que traça em poucas linhas uma vida?

Segundo Rilke, a lyra não duvida, mas Eliot é turrão, e tudo objecta.

Bashô quanto mais crê menos se acquieta.

Pessoa diz que é fé na dor fingida.

Divergem tantos mestres só no tom.

Não ha por que dar tractos ao bestunto: ha chymica no verso, não um dom.

Qualquer opinião, qualquer assumpto será, verdade ou não, poema bom si for densa a fracção, breve o conjuncto.

SONNETTRIP 67 #0355 ELEMENTARY SONNET I return eternally to that school where everyday I was the victim for being the bookworm. With ill-treatment the classmates punished the faggot.

They made me suck their dirty cocks.

They watched me crawl on the grass.

A small flat foot whose big toe was shorter covered my mouth with the sole.

I licked their rotten and soiled sneakers.

I drank their warm and yellowish piss.

Their laughter are still in my ears.

Today I don't drink piss, but wine.

I don't see any colors: I dream of criminals.

From the rose lasted only the perfume: not the thorns.

SONNETTO PRIMARIO Retorno eternamente àquella eschola na qual pagava todo dia o pato por ser estudioso. Com mau tracto vingavam-se os collegas do boiola.

Faziam-me chupar suja a pistola.

Me olhavam rastejar em meio ao matto.

Pezinho de dedão mais curto, e chato, cobria minha bocca com a sola.

Lambi seus tennis podres, encardidos.

Bebi seu mijo quente, amarellinho.

Seu riso ainda está nos meus ouvidos.

Hoje não bebo mijo, bebo vinho.

Não vejo cores, sonho com bandidos.

Da rosa, só o perfume: nem o espinho.

68 GLAUCO MATTOSO #0359 REINCIDENT SONNET From the books I absorbed literature.

From a librarian to an author the difference is little: it's in the color of the cover or the spine of the paperback.

But one never finds that which one seeks whom the follower of Borges dreams to be: He will face his labyrinth wherever he goes, and everyday's night is darker.

My books and the ones by Borges, on the same shelf...

Can it be? What a Paulicéia delirium!

Would I be Bocage or Sade? Homer or Dante?

My eye was then about to get blind.

I plan a suicide, but far away, and I leave São Paulo. Destination: Rio.

SONNETTO REINCIDENTE Nos livros respirei litteratura.

De bibliothecario para auctor a differença é pouca: está na cor da cappa ou na lombada da brochura.

Mas nunca encontra aquillo que procura quem sonha em ser do Borges seguidor: Terá seu labyrintho aonde for e a cada dia a noite é mais escura.

Meus livros e os de Borges, mesma estante?

Será? Que paulistano desvario!

Serei Bocage ou Sade? Homero ou Dante?

Meu olho ja estaria por um fio.

Planejo um suicidio, mas distante, e parto de São Paulo, rhumo ao Rio.

SONNETTRIP 69 #0360 INFERIOR SONNET I moved to Rio desolated.

I'd lost my nisei girl. I left before graduation.

Afraid of the worsening of the glaucoma, I wanted to jump from the Corcovado.

I thought of Assis Valente, another wretch who was filled with fatal self-pity.

The false eyesight's improvement made me put off, and the tragic option was laid aside.

At the foot of the Pão de Açúcar, by the Aterro, I walk, under the bluishness of Summer sky, trying to find the causes of some mistake.

The sunlight warms and rouses me.

I'll enjoy the best from this exile.

I was the underdog. Now I'm at the top.

SONNETTO INFERIOR Mudei-me para o Rio desolado.

Perdi minha nisei. Nem vi o diploma.

Temendo o aggravamento do glaucoma, queria me attirar do Corcovado.

Pensei no Assis Valente, outro coitado que de autocompaixão fatal se toma.

A calma da visão, porem, me embroma e a tragica opção fica, então, de lado.

Ao pé do Pão de Assucar, pelo Atterro, caminho, sob o effeito azul do clima, tentando achar as causas de algum erro.

A luz do sol me acquesce e reanima.

Farei um bom proveito do desterro.

Fiquei por baixo. Agora estou por cyma.

70 GLAUCO MATTOSO #0361 LEVELLED SONNET Some are Napoleons, and others are Momos.

Nobody chooses to be a peasant or a king, or where he comes from, or where he's going to.

I came back from Rio after gathering bitter fruits.

We seldom disclose ourselves intimately.

The contribution, if that is what I've given, to the national forum of the gay cause was to have proposed a name for the Somos group.

First activists of libido, I fought along with them for an identity, keeping my masochism repressed.

I'd left aside, for awhile, the cult to Sade.

I'd loved the egalitarian not being one myself.

I was gay in Platonism and in friendship.

SONNETTO NIVELADO Uns são Napoleões, outros são Momos.

Ninguem excolhe si é plebeu ou rei, ou de onde vem, ou pronde vae. Voltei do Rio appós colher amargos pomos.

Nem sempre intimamente nos expomos.

A contribuição, si é que uma dei, ao foro nacional da causa gay foi ter proposto um nome ao gruppo Somos.

Primeiros activistas da libido, luctei, com elles, pela identidade, mantendo o masochismo reprimido.

Deixei de lado, um pouco, o culto a Sade.

Amei o egualitario sem ter sido.

Fui gay no platonismo e na amizade.

SONNETTRIP 71 #0376 SONOROUS SONNET [JA] The voices of the neighbours buzz resounding, some strident brassy, others muffles muttered.

Sounds of children, sounds of adults uttered by temptresses, matron, pensioners, thirty-somethings.

You may not be consenting nor imagining my sightless restless hearing as it flutters, permeating lights and ceilings, doors and shutters; as it searches through the voices in the building.

It's you, balzaquian woman, you who pass me a tranquility and peace within your tone safeguarding me from suffering and disgrace!

I know not if you're pale or brown or pretty, I think not of your size or weight or race.

I think of your warm voice, of it alone!

SONNETTO SONORO As vozes das vizinhas são distinctas, algumas estridentes, outra mansa.

Adultas ou com tymbre de creança, nymphetas, quarentonas, velhas, trintas.

Talvez não imagines nem consintas, mas meu ouvido cego não descansa: rastreia, pelo predio, a vizinhança; permeia portas, tectos, luzes, tinctas. És tu, balzaquiana, que me passas total tranquillidade no teu tom, poupando-me de dores e desgraças!

Não sei si és linda, pallida, marron.

Não penso em estaturas, pesos, raças.

Só penso em tua voz, calor tão bom!

72 GLAUCO MATTOSO #0401 IMPERFECTIONIST SONNET Now I'll describe you the foot I adore: Bigger than mine, thus masculine, even though it belongs to a kid, sweated, copiously from all its pores.

Stinky of toe-jam: never odorless.

Shoe or boot: made of thick leather.

That way, abusing and sadic, I imagine it, like the ones I recall from childhood.

Lengthier the second than the big toe, flat on the sole, not of the arched type.

You see where, after all, I wanna get?

The foot I idealize, I kiss and wash on the tongue, when excited, when tasting it, is the one who treats me as a slave.

SONNETTO IMPERFECCIONISTA Agora lhes descrevo o pé que adoro: Maior que o meu, portanto masculino, ainda que pertença a algum menino, suado até, por tudo quanto é poro.

Fedido de chulé: nunca inodoro.

Sapato ou bota: em couro nada fino.

Assim, folgado e sadico, o imagino, egual aos que da infancia rememoro.

Mais longo o indicador que o pollegar, na planta é plano, e não do typo cavo.

Percebem onde, emfim, quero chegar?

O pé que idealizo, beijo e lavo na lingua, no tesão, no paladar, é aquelle que me tracta como escravo.

SONNETTRIP 73 #0436 DOMESTIC SONNET Once, a big dog lived sad and lonely, indolently confined in his doghouse.

His only toy was that enormous, worn-out sneaker, which still resisted.

He was already the object of gossips and jokes, but his mature age made him feel resigned.

His masters wore boots and uniforms.

If he ran away, he'd never escape from them.

One day, a shy and pretty kitten searching for a home, snuggled up there.

In that cramped place, he stepped on the dog's snout.

The dog roused, resented the intrusion, but soon accepted him.

Instead of defending, the dog shared his territory, and now the couple lives happily ever after...

SONNETTO DOMESTICO Estava o cachorrão sozinho e triste, trancado na casinha, come-e-dorme.

Seu unico brinquedo, aquelle enorme, surrado pé de tennis, que resiste.

Ja victima das linguas e do chiste, a edade faz que quasi se conforme.

Seus donos usam botas e uniforme.

De fuga não ha ropta que os despiste.

Até que um lindo e timido gattinho, em busca de refugio, la se deita.

Naquelle apperto, pisa-lhe o focinho.

O cão accorda, extranha, mas acceita.

Em vez de defender, divide o ninho e agora a dupla vive satisfeita.

74 GLAUCO MATTOSO #0500 VICIOUS SONNET A poem reminds us of love; a letter recalls distance; the sea recalls salt; salt a dosage recalls a hand; a

love reminds of a letter; distance recalls the sea; recalls a dosage; hand recalls someone parting.

Parting recalls a slice and a plentiful table; abundance recalls spareness; spareness recalls giving; giving recalls God; God recalls postponing; postponing recalls Carnival; Carnival recalls Ash Wednesday.

The fourth day recalls the Trinity; Trinity recalls faith; faith recalls rebirth; rebirth recalls the yolk; the yolk recalls a cake; a cake recalls a breakfast and coffee; Coffee recalls Brazil; Brazil recalls a motto: "Progress" recalls walking; walking recalls a foot and a foot recalls somebody who makes a poem.

SONNETTO VICIOSO Poema lembra amor, que lembra charta, que lembra longe, e longe lembra mar, que lembra sal, e sal lembra dosar, que lembra mão, e mão alguem que parta.

Partir lembra fatia e mesa farta.

Fartura lembra sobra e sobra, dar.

Dar lembra Deus, e Deus lembra addiar, que lembra carnaval, que lembra quarta.

A quarta lembra trez, que lembra fé.

Fé lembra renascer, que lembra gemma.

A gemma lembra bollo, e este o café.

Café lembra Brazil, que lembra um lemma: progresso lembra andar, que lembra pé, e pé recorda alguem que faz poema.

SONNETTRIP 75 #0509 CONFESSED SONNET Mattoso, besides being born with a disability, was gang-raped while still a child: he licked the foot with disgust; he sucked the cock nauseatingly; he swallowed the salty and warm piss.

Slave to other kids, he resents the trauma and becomes an outspoken minstrel of intolerance, even as a distant expectator, while his already poor vision fades away.

Torture, humiliation and excrement are themes that the anti-aesthete explored, in the most pure and vulgar of the languages.

He deserves that which any ambitious person does not wish: a title in addition to the "poet": "of cruelty" is for him well-earned.

SONNETTO ASSUMIDO Mattoso, que nasceu deficiente, ainda foi currado em plena infancia: lambeu com nojo o pé; chupou com anxia o pau; mijo engoliu, salgado e quente.

Escravo dos moleques, se resente do trauma e se tornou da intolerancia um nu ou cru cantor, mesmo à distancia, emquanto a luz se appaga em sua lente.

Tortura, humilhação e o que se excreta são themas que abbordou, na mais castiça e chula das linguagens, o antiestheta.

Meresce o que o vaidoso não cobiça: um titulo que, alem de ser "poeta", será "da crueldade" por justiça.

76 GLAUCO MATTOSO #0541 OPPOSITIONAL SONNET Because because because because If if if if

what is early is late and what is late is early; what is afternoon is morning and night is day; pain is pleasure, sad is gladness; hatred is love, courage is fear;

plagiarism is something more creative than imitative; that which addicts expresses more virtue; worthless is everything that was valuable before; everybody already knows the secret;

Because language is a baroque doublethinking; because he who wants more gets less; if what is lacking abounds and what abounds should be scarce Because sense is never where it should be, I take back what I've said and call life death, if blindness is any kind of light.

SONNETTO CONTRARIADO Por ser o cedo tarde e o tarde cedo; por ser tarde a manhan e a noite dia; por ser gostosa a dor, triste a alegria; por serem odio amor, coragem medo; si o plagio é mais invento que arremedo; si exprime mais virtude o que vicia; si nada vale tudo que valia; si todos ja conhescem o segredo; por ser duplipensar barroco a lingua; por menos ter aquelle que mais quer; si a falta excede e tanto abunda a mingua; por nunca estar o nexo onde estiver, desdigo o que fallei e a vida xingo-a de morte, si é cegueira luz qualquer.

SONNETTRIP 77 #0594 INTERVIEWED

SONNET

Q: A: Q: A:

Why are you only writing sonnets now?

Because I don't want to leave it for later.

Are you expecting any literary prizes?

The first prize. But only after my death.

Q: A: Q: A:

Is blindness the worst evil you sonnet about?

If I didn't sonnet about it, I would be a coward.

Why do you only lick a sneaker when it is soiled?

Because it takes longer to clean it.

Q: Who do you see as the greatest poet alive?

A: Somebody over eighty and who still uses rhymes.

Q: Are you more of an active or a passive in bed?

A: I'm more of a reflexive type, because I've fucked myself.

Q: Is it better for a poem to be free or constructivist?

A: It's better when it constructs, frees and reveals his truth.

SONNETTO ENTREVISTADO ---------------

Por que você só faz sonnetto agora?

Porque não vou deixar para mais tarde.

Algum provavel premio que se agguarde?

Primeiro. Mas só quando eu for embora.

Cegueira é o mal maior que você chora?

Si não chorasse eu era mais covarde.

Por que só lambe um tennis quando encarde?

Porque para limpal-o mais demora.

Quem vê como maior poeta vivo?

Alguem com mais de oitenta e que 'inda rhyme.

Na cama é mais activo ou mais passivo?

Sou mais é reflexivo, pois fodi-me.

Poema é melhor livre ou constructivo?

Melhor é si constroe, liberta e exprime.

78 GLAUCO MATTOSO #0613 EXCRETED SONNET Shit is a stinky and salty matter either shaped like a cylinder or a sphere, that sometimes becames liquid-like as in dysentery, or it hurts the anal duct through which it exits.

If it falls on firm ground, it folds itself over and in the water it floats like an Iberian vessel; at an open sewer it gets stuck, without maneuvering space.

Brown is the tone of the turd.

The solid grains of peanut, much lighter, stand out adhered to the turd's segments.

I can't deny that the stuff nauseates me, but it comes from a place where, by force, I've licked clean...

I will eat it even if I find it disgusting!

SONNETTO EVACUADO Cocô, materia fetida e salobra, formato entre um cylindrico e um espherico, que às vezes liquefaz-se, dysenterico, ou fere o anal canal pelo qual obra!

Cahindo em terra firme, elle se dobra e n'agua elle fluctua como iberico veleiro. Num exgotto peripherico encalha, sem espaço de manobra.

Marron, tonalidade do tolete.

Destacca-se, mais claro, o amendoim que os gommos lhe craveja e não derrete.

Não nego, o troço causa nojo em mim, mas vem donde, na marra, fiz cunnette.

Ainda o comerei si achar ruim!

SONNETTRIP 79 #0651 MOLDED SONNET [DVS] For the topographical and complex, I feel affection, with its three-dimensional and discretional objects, I seek, as it projects and interjects, In non-uniform forms, a connection.

No one detains the concave and the convex; but some will produce protuberances.

The blind have no tongue, no hand, or exuberances, nor sense of smell that grants their sex.

Like the dominator and the dominated, conquered and convinced, what strikes me is the leering eye and the mouth of the sated.

Metalinguistic metal is what thinks it is stone, when really a thorn, and dubiously I decipher the missing feet of a Sphinx.

SONNETTO MOLDADO (a Valdir Rocha) No mundo topographico e complexo das formas tridimensas, discrepancias procuro em saliencias, reentrancias, em solidos insolitos o nexo.

Ninguem detem o concavo e o convexo.

Alguem, porem, produz protuberancias e o cego não tem lingua ou mão que alcance-as nem faro a conferir nellas um sexo.

Que nem dominador e dominado, vencido e convencido, o que me attinge é o olho a tal masoca, e a bocca ao sado.

Metal metalinguistico é o que finge ser pedra sendo espinho, e em dubio estado deciphro os pés ommissos numa esphinge.

80 GLAUCO MATTOSO #0653 APPRENTICESHIP SONNET The blind man is trained in the first session of fellatio that he experiences.

The master, calmly and comfortably, sits down.

The blind man crouches in front of the chair.

At first, he identifies it: he licks and sniffs the basket.

He tastes the pubic hairs. The slow tongue finds the taste of the foreskin nasty, but it washes that uncut curtain.

The glans is already partly folded back and demands complete probing and titillation, indifferent to the humiliation inflicted on the blind man.

The lips mould themselves to fit the cock, and in the end the trained blind man finds it normal that the master even pisses inside his mouth.

SONNETTO APPRENDIZADO O cego é commandado na primeira sessão de fellação que experimenta.

O mestre, calmo e commodo, se senta.

Se aggacha o cego em frente da cadeira.

De inicio, identifica: lambe e cheira o sacco. Pellos prova. A lingua, lenta, a pelle do prepucio acha nojenta mas lava aquelle bicco de chaleira.

Ja semiarregaçada, a glande exige total titillação, tacto total, alheia à humilhação que ao cego inflige.

O labio ao pau se admolda e, no final, que bocca addentro o mestre até lhe mije o cego, accostumado, acha normal.

SONNETTRIP 81 #0748 OF THE BINDLES OF THE DUPED [JP] An organized group of roofless arrives.

They occupy the empty building when the families begin to settle in.

Now face, food, and feces live side by side.

The condo's rooms are soon filled up with shacks.

Conveniently absent until today, the government decides to look their way, and surrounds the building, tense, unrelaxed.

The new tenants make a resolution to stand fast, rest, build a barricade until the hostile blockade dissuades them.

Then their status offers them solution: Entering the line that offers no aid, each one leaves, adrift, as daylight dims.

SONNETTO DAS TROUXAS DOS TROUXAS Um bando embandeirado dos sem-tecto occupa um edificio abbandonado.

Installam-se as familias. Lado a lado, convivem rosto e pé, rango e dejecto.

Cubiculos estão onde o selecto e vasto condominio foi lembrado.

Até o momento ausente, agora o Estado se mexe, cerca o predio, afflicto, inquieto.

Os novos moradores barricada constroem, se entrincheiram e resistem até que o hostil bloqueio os dissuada.

Por fim seus dados deixam que se allistem na fila das promessas vans, e cada sem-tecto sae sem rhumo. Outros assistem.

82 GLAUCO MATTOSO #0951 BIRTH SONNET I was born glaucomatous, not a poet.

I became a poet because of my rebellion which makes me curse and swear against the world and makes me interpret life as hell.

Because I am a bastard poet, my goal was never to follow a guru nor to believe in the return of the Messiah, but to challenge all that forbids.

I compensate with my foot fetishism, the humiliation which was abusively imposed on me, by licking from under the torturer's feet.

But I can't compensate my blindness with my masochism, not even for the hottest cum, and my porn poems are only an imitation of Bocage's.

SONNETTO NATAL Nasci glaucomatoso, não poeta.

Poeta me tornei pela revolta que contra o mundo a lingua suja solta e a vida como barathro interpreta.

Bastardo como bardo, minha meta jamais foi ao guru servir de excolta nem crer que do Messias venha a volta, mas sim invectivar tudo o que veta.

Compenso o que no abuso se me impoz (pedal humilhação) com meu fetiche, lambendo, por debaixo, os pés do algoz.

Mas não compenso, nem que o gozo exguiche, masoca, esta cegueira, e meus pornôs poemas de Bocage são pastiche.

SONNETTRIP 83 #1435 A BIBLICAL NIGHTMARE [PR] Washed by Dead Sea foam is Sodom So is Gomorrah -- cities of ill fame.

There, if you don't want it up your bottom Dare you not your poems declaim...

A bard I know's told me of his problem -Blind from glaucoma, in bed, in pain -In visions, upon arriving there, solemn, His ass's fucked, pricks he sucks -- but won't complain...

Poems he's recited, always on obscene Themes; for people'd fear, he deemed, A bard who knows his metre and his rhymes.

To no avail! All of his poems have been shunned by everyone! Long story short, he said, in sum, "To top it off I came, and it was fine!"

SONNETTO DO PESADELLO BIBLICO Às margens do Mar Morto está Sodoma.

Gomorrha fica perto. De má fama são ambas: quem não quer que alguem lhe coma o cu, la seus poemas não declama.

Um bardo que conhesço e, de glaucoma ja cego, tem visões, cahiu da cama sonhando que la chega e logo toma no rabo, chupa rolla e nem reclama.

Poemas recitou, só sobre thema sacana, accreditando que alguem tema um bardo bom de metro e bom de rhyma.

Inutil! Suas glosas, de uma em uma, vaiaram! Si lhe peço que resuma a historia, diz: "Gozei, 'inda por cyma!"

84 GLAUCO MATTOSO #2441 FOR THE STATUS QUO BAND [AM] Later they changed and uninteresting became, but while, in the Sixties, Lennon a colourful Lucy invents, they set out to work too.

The record a good picture of the scene paints red, green, purple, blue, gray.

The kaleidoscopic sound slows down the groove and time spaces out the [musical] bars.

But then the "bird" [girl] vanishes away, and the bloke to Joe asks: "Do you know about her? We used to sit at the same table in the café..."

"During that teenage little love affair, We used to take out our tennis shoes, and her foot rubbed against mine, soft and warm..."

SONNETTO PARA O GRUPPO THE STATUS QUO Depois elles mudaram e sem graça ficaram, mas emquanto, nos sessenta, o Lennon colorida Lucy inventa, tambem elles puzeram mão na massa.

O disco bom painel da scena traça: vermelha, verde, roxa, azul, cinzenta.

O som kaleidoscopico rallenta o emballo, e seu compasso o tempo espaça.

Mas eis que some a "mina", e o cara ao Zé pergunta: "Você sabe della? A gente sentava à mesma mesa, no café.

Naquelle namorico adolescente, tiravamos os tennis, e seu pé roçava contra o meu, suave e quente..."

SONNETTRIP 85 #3021 SONNET ABOUT DOUBLE IDENTITY [RB] A charming lady - How can that be true? She does a thing so dirty I can't speak.

How can it be? A lad who's very neat A soggy shit, so grimy it reeks, he shoots!

They are a pretty couple who well do On photos; of love novels, the best written In public. But when gazing under myths, I notice that not everything is through.

I have already seen what he has done To leave the pot unflush'd. And from the lass?

I've also smell'd her doings on the throne.

So dreadful are those turds! They smell so crass!

Ironic eh? They're cute, but even so, They can't remind what's fallen from their ass...

SONNETTO SOBRE A DUPLA IDENTIDADE Como é que pode? Moça tão formosa fazer algo tão sujo, que eu nem cito?

Como é que pode? Um cara tão bonito cagar merda tão fetida e lodosa?

Os dois dão bella dupla, que bem posa nas photos, o melhor casal descripto nas notas sociaes, mas, sob o mytho, percebo que nem tudo é cor-de-rosa.

Flagrei ja, na privada, o que o rapaz deixou sem dar descarga. E da menina?

Tambem cheirei, no vaso, o que ella faz.

Que horror! Que cagalhões! Que fedentina!

Ironico, hem? São lindos, elles, mas se exquescem do que largam na latrina.

86 GLAUCO MATTOSO #4140 THE CAUTIOUS CASE OF THE BELLYBUTTON [RB] For some, the bellybutton is so tiny, for him it is a hole, but it's so deep, an end it doesn't seem to have! It reeks for dirty it is much! It makes'im grimy...

On a Q-tip, the stuff which was insid'im is often deem’d to leave, but know that here the weirdest things exist: Raymundo sees his button had a bug, with him it lied!

He tries to kill the beast with knives and prongs the monster going on and on, dove further Raymundo, overwhelmed, produced too long a wire, which he drove within to hurt it, and bled him: Late it is! The beast succumb'd: amid the blood a lice, perhaps, it were...

O CAUTO CAUSO DO UMBIGO Umbigo, que nos outros é bollinha, é nelle um buraquinho, mas tão fundo que fim nem ter paresce! E fica immundo a poncto de feder! Isso o apporrinha.

Num cottonette, tudo que se anninha alli tende a sahir, mas, neste mundo, ha coisas expantosas, e Raymundo percebe que algum bicho dentro tinha!

Tirar tenta com pinça, agulha, faca, e o bicho, se mexendo, vae entrando ainda mais! Raymundo contraattacca!

Nervoso, acha um arame e enfia! Quando ja sangra, é tarde! Excorre do babaca, em meio ao sangue, um termite, ou quejando.

SONNETTRIP 87 #4143 THE CAUTIOUS CASE OF THE FINGER [RB] There are certain containers no one can Unwrap'em: they're of plastic same as those Of crackers, of all packs, they're not the worst, But they could be more practical, perhaps...

Raymundo ever so clumsy doesn't have A single drop of patience to dispose of He grabs a butcher knife, but in a wrong Detour, his thumb is almost lost forever!

And then his anger rises even more Because he has almost cut off his finger The fate of those reactions: always sore...

A bolt has never fallen twice? Don't bring it!

Afar someone can hear those yells in awe From where Raymundo lives! They make'im cringe!

O CAUTO CAUSO DO DEDO Ha certas emballagens que ninguem consegue abrir: são plasticos no estylo daquelle das torradas, um tranquillo pacote, pouco practico, porem.

Raymundo, o desastrado, que não tem la muita paciencia, para abril-o se serve dum facão e, num vacillo, por pouco o pollegar não fica sem!

Não é que elle se irrita ainda mais por quasi ter cortado fora o dedo?

São essas reacções as mais fataes!

Um raio duas vezes não cae? Ledo enganno! Alguem escuta agudos ais na casa de Raymundo! Dá até medo!

88 GLAUCO MATTOSO #4147 THE CAUTIOUS CASE OF THE KEBAB [RB] A scorpion on the spit instead of shrimps, the roasted and red ones in China eaten, but here there is no one who can conceive that edible are those, and really big!

Raymundo questions me: "how can't you give a try to this incredible cuisine?

I, then, refuse to taste. Raymundo keeps on serving this kebab on ev'ry dinner.

His eat'ry is almost left to the flies, but he insists! And wishes, by himself, to tamper with the bugs! Who can comply...?

I knew it! He was stung, however dared denying what went on, but no one dines there anymore... his pockets are so sad!

O CAUTO CAUSO DO ESPETINHO Em vez de camarões, escorpiões, tostados, vermelhinhos, que na China se comem, mas aqui não se imagina que sejam comestiveis, e grandões!

Raymundo me questiona: "Tu não pões fé nessa culinaria? Ah, coisa fina!"

Recuso-me a provar. Elle termina servindo esse espetinho às refeições. Às moscas, quasi, está seu restaurante, mas elle insiste! E quer, pessoalmente, mexer nos bichos vivos! Quem garante...?

Batata! Foi piccado! Elle desmente, mas corre a fama e ja não ha quem jante alli... Mais dor no bolso, agora, sente!

SONNETTRIP 89 #4151 THE CAUTIOUS CASE OF CAYPORISM [RB] "Bad luck? I don't believe it! Can't you see that it is all a creed? And if you do, in a Superior Being, this one too is something of continued idiocy!"

Raymundo tells me so. I think that he is right, perhaps... However, all his cruel disgraces shall I, then, describe to you, in many of these troubling tales: heed!...

Raymundo, to a God above, alludes, but nothing guarantees that God as such is not a clever Dog, ever so rude...

And I go after him: when to the church he goes, and prays, and begs... That attitude reinforces the frustrations of his woes...

O CAUTO CAUSO DO CAYPORISMO "Azar? Não accredito! Tu não vês que é tudo só crendice? Si accreditas num Ente Superior, essas maldictas noções são remactada estupidez!"

Assim me diz Raymundo. Elle talvez tivesse até razão... Mas as desdictas que sempre lhe accontescem são descriptas, em tantos destes causos, a vocês!

Raymundo a um Superior Ser nos allude, mas nada nos garante que não seja tal Ente um Cão que nunca nos adjude.

E eu fico accompanhando o cara: à egreja vae elle, reza, pede... Essa attitude realça as frustrações no que planeja.

90 GLAUCO MATTOSO #4155 THE CAUTIOUS CASE OF THE GOOD DEED [RB] Raymundo, who has always help'd old coots to cross the street on complicated tracks, one day can see someone who comes, he rests not hurried, on a narrow turn, aloof.

A blind man with his cane. He seems to "look" for someone who can help him. 'Fore he asks, Raymundo goes and grab'im: in this mess, unwillingly, the man had chang'd his route!

Arriving on the other side, he stops and shoos Raymundo away, then throws a fit, "I didn't ask for help, or to be brought!"

Raymundo feeling blue, had gone apeshit with his ingratitude, and in a plot, he hits the man discreetly with a kick!

O CAUTO CAUSO DA BOA ACÇÃO Raymundo, que as velhinhas sempre adjuda naquelle cruzamento e as attravessa, um dia advista alguem que vem, sem pressa, e para bem na exquina mais aguda. É um cego, a bengalar. De quem o accuda paresce estar à espera. Antes que peça adjuda, vae Raymundo: o cego, nessa corrida, de calçada, às pressas, muda.

Chegando à exquina opposta, o cego solta o braço de Raymundo, offega e grita que adjuda não pedira, nem excolta.

Raymundo, mellindrado, então se irrita com tanta ingratidão e, olhando em volta, no cego dá a rasteira mais bonita!

SONNETTRIP 91 #4160 THE CAUTIOUS CASE OF THE BARBECUE [RB] Raymundo is now working with the grill and evr'y neighbor is a massive bore who comes and wants to touch the meat before the host; they want to peep into the fridge!

The lager's on the glass, some people wish to speak of soccer with a hint of scorn Raymundo, though, who's never been a dork retorts the joke with brevity and wit.

The humors rise. The fire's almost dead.

It needs attention! Our hero flies inside the house: to get some alcohol he lept.

He adds it to the coal. Before he cries we see the flames arising. What the heck! more toasted than the meat the dumbass lies.

O CAUTO CAUSO DO CHURRASCO Raymundo preparando a churrasqueira está. Cada vizinho é um palpiteiro que chega e quer metter a mão primeiro na carne, cheiretar na geladeira.

Cerveja nos canecos, ha quem queira fallar de futebol com zombeteiro proposito. Raymundo, que mineiro não é, logo revida a brincadeira.

Os animos se exaltam. O churrasco precisa de attenção. Raymundo vae, às pressas, buscar alcohol. Abre o casco.

Borrifa a churrasqueira. Antes que um ai se escute, as chammas sobem. Que fiasco!

Que a carne mais torrado o otario sae!

92 GLAUCO MATTOSO #4164 THE CAUTIOUS CASE OF THE "HAPPY BIRTHDAY" [RB] His birthday comes, Raymundo, then, insists the pastry can be only a layer'd cake with many a flavor! "Hey, I'll be amazed (he tells me) If you dare, my friend, to miss it".

The time to cut it comes, "What do you think about it? It's the greatest cake!", he says believing that the truth he had belayed.

"Is there such feast as mine? Can someone list'em?"

The candles are lit up. The cake's so tall Raymundo tries in vain to stand above it he faintly blows: the flames don't flick at all!

He tries again, but now he's more determined he jumps, but, then, miscalculates the fall lands on the cake! He's mired! What a turd...

O CAUTO CAUSO DOS PARABENS No seu anniversario, scisma e insiste Raymundo: terá bollo com andares diversos de recheio! "Si faltares à festa (me diz elle) fico triste!"

Na hora de cortal-o, "Tu ja viste um bollo egual a este?", diz com ares de dono da verdade. "Em quaes logares ha festas como a minha? Alguem os liste!"

Accendem-se as velinhas. É tão alto o bollo, que Raymundo fica em pé, mas nem lhe sae o sopro: de ar é falto!

De novo tenta, empolga-se elle, até saltita! Calculando errado o salto, cae sobre o bollo! Atola-se! Obvio, né?

SONNETTRIP 93 #4169 THE CAUTIOUS CASE OF THE PASSING PASSENGER [RB] Raymundo, in the train, can see the legs belonging to the girl in front of him her skirt is short, his horny gaze dives in: is there someone who doesn't care for sex?

Raymundo wants to look. His paper fell (he threw it), then he crouches, feeling kinky when glancing the girl's parts... but now he twinges: his hand was thread down by a nasty fellow.

Raymundo bears it. Up the lady stands, she smiles (towards him?), but soon ignores: she'll leave the train. Raymundo is enchant'd...

He gets up too. But it is not his stop; he doesn't give a damn, but, like an ant, he stalks her... to lie crushed between both doors!

O CAUTO CAUSO DA PASSAGEIRA PASSARINHA Raymundo, no metrô, nota que a saia da moça que se senta frente a frente está curta demais. Algo indecente lhe occorre: ha quem por sexo não se attraia?

Raymundo quer olhar. Deixa que caia no piso o seu jornal. Se abbaixa e sente tesão ao ver aquillo... De repente, na mão lhe pisa alguem da peor laia!

Raymundo aguenta. A moça se levanta, sorrindo (Para elle?), e se prepara: irá desembarcar. Elle se encanta.

Levanta-se tambem. No Jabaquara ainda nem chegou, mas vae, qual anta, attraz della... e lhe attinge a porta a cara!

94 GLAUCO MATTOSO #4170 THE CAUTIOUS CASE OF THE APPOINTMENT AT THE UROLOGIST [RB] Nobody likes to wait for many hours but this appointment's something that he needs to do... "Yipee! 'Bout time!" He can't believe!

"Raymundo Curupyra!" Someone called, "Say what? Prostate exam?" He says in awe reacting, but he must yet do the deed so, Patience...! Our hero has to kneel and spread his asshole... "Put away that claw!"

The doctor puts the finger down and cries, informing he would finger on his slot for many a time! Who wouldn't find it nice?

Raymundo, at home, is thinking: "food for thought: fakirs have had it worse. It would be wise to assume: a finger's better than a cock.

O CAUTO CAUSO DA CONSULTA UROLOGICA Não ha quem agguardar horas prefira, mas elle ao consultorio necessita ir... Ufa! Até que emfim! Nem accredita!

Alguem chamou Raymundo Curupyra!

O que? Toque de prostata? Com ira reage, mas precisa da bemdicta adjuda... Paciencia! Elle arrebita a bunda, abre o cu... "Tira logo, tira!"

O medico retira o dedo e, rindo, informa que terá de repetir aquillo muitas vezes! Não é lindo?

Raymundo, em casa, pensa: "Ora, um fakir supporta algo peor! É mais bemvindo um dedo que um caralho, ha que assumir..."

SONNETTRIP 95 #4174 THE CAUTIOUS CASE OF THE PUBLIC TRANSPORTATION SYSTEM [RB] Raymundo is in a bus and, by the window, is sat; he sees that has nowhere to sit a lady who's so sold, she's sure to be as old as eighty-five. Then, he continues to stand and leave the seat, but he falls into a young man's lap; his hand, so clumsy, hits his temples, now his glasses are amiss for they were also knocked out with his grin.

Raymundo wishes yet to stretch and reach to take'em, to return'em, but, oh, well... he crushes the man's glasses with his heels!

Apologies can't mend them: he must now bear with the expenses! We can see how deep His trouble is: the lady has jump'd out!

O CAUTO CAUSO DO TRANSPORTE COLLECTIVO Num omnibus, Raymundo, que se senta do lado da janella, vê que não tem onde se sentar a velha! E tão edosa lhe paresce, em seus oitenta!

Levanta-se e sahir do banco tenta, mas, antes que consiga, sua mão exbarra no rapaz ao lado e vão-se os oculos da cara rabugenta.

Raymundo quer, ainda, se abbaixar, pegal-os, devolvel-os, e peora o drama: os exmagou no calcanhar!

Desculpas não resolvem: tem, agora, que arcar com as despesas! Seu azar se nota: a velha até ja saltou fora!

96 GLAUCO MATTOSO #4178 THE CAUTIOUS CASE OF THE GOOD NIGHT [RB] Raymundo who is not so fond of clubs decides to visit one with a good friend.

His drink he mixes to compounds strange for getting into trouble's all he does.

Someone has laced the bev'rage with the worst.

He can remember: with a girl he left the party, and the couple only cared to smoke cigars she rolled (we call'em "dubs"!)

And more he can't remember. Up he rises in a motel; he's got no card nor money: "where is my friend? Where is the girl? Oh my!"

He feels so dumb. This kind of thing's not funny!

His shame is such that if someone desire to know, he'll say some food had wrong'd his tummy!

O CAUTO CAUSO DA BOA NOITE Raymundo, que não gosta de ballada, resolve accompanhar o amigo numa.

Appenas confusão é o que elle arrhuma, pois pede, na mixtura, uma "marvada".

Alguem deve ter posto coisa errada no coppo: elle se lembra de que rhuma dalli com uma moça, de que fuma cigarro "artezanal"... e de mais nada!

Accorda num motel, sem a charteira, sem grana, documentos, sem chartão de banco... E seu amigo? E a balladeira?

Se sente tão otario, fica tão vexado que, admanhan, caso alguem queira saber, diz que soffreu indigestão.

SONNETTRIP 97 #4180 THE CAUTIOUS CASE OF THE NIGHTMARE [RB] Raymundo, with insomnia, thinks that some Xanax perhaps will help him, but, alas, at home he's got just booze, and nothing less, bizarre and poorly brew'd, it smell'd of rum!

"Who knows if I put sugar..." but there's none who could prescribe a medicine so crass like that! Raymundo, then, chugs on the mess he gets, asides from sober, pretty drunk!

Well, "sober"'s not exactly what I mean for on his bed he trashes, rolls and sways because he wants to cum, and to feel glee!

He tried to jerk one off, but almost graz'd his cock. Without success, he fell asleep; amid the dreams he dreamt that he was gay!

O CAUTO CAUSO DO PESADELLO Raymundo, com insomnia, acha que algum remedio adjudará. Mas não tem nada do typo em casa, excepto uma "marvada" extranha, artezanal... Paresce rhum.

Quem sabe com assucar... Mas nenhum doutor receitaria uma roubada daquellas! Faz Raymundo a trapalhada e fica, alem de lucido, bebum!

Bem, "lucido" é maneira de dizer, pois elle, que na cama vira e rolla, agora quer gozar, quer ter prazer!

Punhetas batte, insiste, quasi exfolla a rolla, sem successo! Addormescer consegue, emfim! Mas sonha que é boiola!

98 GLAUCO MATTOSO #4183 THE CAUTIOUS CASE OF THE VULCANIC PANIC [RB] Raymundo saw, when young, a zit had popp'd, as gazing on the mirror, on his face; it was a giant one, he was irate, to squeeze it, then, the vain teenager sought.

It seemed to be a vulcan, red and hot, exhibiting a little yellow crater on top! Raymundo ne'er had seen a greater Vesuvius than his horrendous clot!

The boil start'd to squirt, Raymundo squeez'd the crater, with his fingers, on both sides he feels that, soon, to squirt the zit won't cease!

Would it be over now? Perhaps... it might, or will it be more bloated now? The fear will be the worst: he'll never be alright!

O CAUTO CAUSO DO VULCANICO PANICO Ainda adolescente, vê no espelho Raymundo que nasceu aquella espinha enorme em sua cara! Se abbespinha e tracta de expremel-a o rapazelho.

Paresce-lhe um vulcão, todo vermelho, que exhibe uma cratera amarellinha no centro! Reparado elle nem tinha ainda num Vesuvio tão parelho!

Exguicha o carnegão quando seu dedo pressiona cada lado da cratera, não para de exguichar assim tão cedo!

Sahiu tudo? Paresce... Elle exaggera, ou fica mais inchada agora? O medo será fatal: jamais se recupera!

SONNETTRIP 99 #4188 THE CAUTIOUS CASE OF THE JINXED MANSION [RB] A widow, who got rich, has now a penchant to buy a house with more than thousand yards to live all by herself! She found a card: Raymundo Curupyra, estate agent.

But every place he shows her doesn't quench her she speaks of all she sees with disregard: "a million-dollar house can't be that marr'd!

There aren't rooms enough! Why can't you change it?"

Raymundo tries to reason: "don't be spooked! there aren't ghosts inside"; our hero walked down with her to the vault, up to the roof...

A window at the top seems to be locked, but when he tries to crack it he falls through! the widow, praying, says: "a ghost! Oh God!"

O CAUTO CAUSO DO CASARÃO AZARÃO Viuva, emfim, ja pode ella dispor da grana! Quer comprar um casarão e alli morar sozinha! Acha um chartão: Raymundo Curupyra, corretor.

Mas pode este mostrar seja o que for, que a velha vê defeito! Na mansão com preço la na casa do milhão ha mofo, falta commodo... Um horror!

Tentando demonstrar como o sobrado não tem assombração, Raymundo desce com ella até o porão, sobe ao telhado.

No sotam, a janella oval paresce travada! Ao vir abril-a, cae, coitado!

"Phantasmas!", berra a velha, a fazer prece.

100 GLAUCO MATTOSO #4190 THE CAUTIOUS CASE OF THE INTESTINAL SOLUTION [RB] A case of constipation: who had none in life? Because Raymundo is with it; an ugly one, it is the worst, I quip, he tried ev'rything, his gut is stunn'd!

Ol' daddy's little crap, why don't you come?

Where is my poop, where is my darling shit?

Why won't you show yourself? I really miss you baby; Why this wait can't be undone?

While sitting on the pot Raymundo reads the humor pages on an almanac... then, waiting for his shit, Raymundo cheer'd.

He laugh'd about a joke and from his crack the crap below came rushing down the stream it fill'd his gut 'til taking him aback.

O CAUTO CAUSO DA SOLUÇÃO INTESTINAL Prisão de ventre: alguem não teve, ainda, na vida? Pois Raymundo agora está com uma, mas das bravas! Tentou ja de tudo, e a tripa como que se blinda!

Cadê o cocô? Cadê a merdinha linda, a bosta do papae? Não sae, não dá arzinho algum da graça? Que será que espera o bebezão? Ai, hora infinda!

Sentado na privada, lê Raymundo capitulos de humor num almanach.

Emquanto agguarda, anima-se, jocundo.

Gargalha da piada, solta um traque e a merda vem abbaixo, la do fundo da tripa... até que o trouxa se embasbaque!

SONNETTRIP 101 #4200 THE CAUTIOUS CASE OF THE FUNERAL [RB] Raymundo tried to do all that he could but to the wake he didn't get in time and at the cemetery he arrived by running, feeling dizzy, winded, mute.

He only shows his sorrow absolute to the cadaver's sons, before he finds his way into a flu, he sees he tied his horses on the worst mast someone would.

He falls towards the grave, inside the mud it's raining very much! Raymundo's got no chance, in fact! So dirty, he lies dump'd!

And he, who helps his peers, was left to rot, completely screwed! A man who saw it trump'd "I guess that even Death has fear'd his lot!"

O CAUTO CAUSO DO FUNERAL De tudo faz Raymundo para estar a tempo no velorio, mas ja segue o enterro! Ao cemeterio elle consegue chegar correndo, aphonico, sem ar!

Appenas manifesta seu pesar aos filhos do defuncto e, antes que pegue aquella grippe, vê que admarra o jegue bem onde não teria que admarrar.

Tropeça, cae na cova, se enlameia todinho, e está chovendo! Não tem sorte, de facto, esse Raymundo! Coisa feia!

Faz tanto exforço para que comforte os outros, e se ferra! Alguem com veia diz: "Delle tem pavor a propria Morte!"

102 GLAUCO MATTOSO #4201 THE CAUTIOUS CASE OF THE SPILLED MILK [RB] A pizza when warmed up is really “it..., according to Raymundo who, alone, would lick his lips while on his way to home 'fore getting to the kitchen, which is big for him alone, because he had no wit to buy a house as roomy as that crone's, who liv'd beside and drank the best wine known and fancy pizzas ate... Raymundo flips the frozen pizza laid upon a pan, so huge and old. While waiting, as an oak, he fell asleep, exhausted, on his chair.

He rises with the house fill'd up with smoke; smelling of burnt stuff, the dough now fared not better than black coal. Now eat your toast!

O CAUTO CAUSO DO LEITE DERRAMADO A pizza admanhescida é mais gostosa, segundo diz Raymundo, que, sozinho em casa, lambe os beiços, a caminho da "practica" cozinha, que é espaçosa.

Appenas para elle, e elle não goza de apê tão grande quanto o do vizinho, que come pizza cara e bebe vinho carissimo... Raymundo, emfim, não posa.

Colloca a pizza fria numa enorme e velha frigideira. Emquanto a exquenta, relaxa na poltrona e, exhausto, dorme.

Accorda com a casa fumacenta e um cheiro de queimado. Ja disforme carvão virou a pizza... Agora, aguenta!

SONNETTRIP 103 #4202 THE CAUTIOUS CASE OF THE FOOD [RB] Raymundo is in love! He did invite his pretty girl to have a tasty lunch and as he pick'd his salad and she munch'd he questioned "oh, my darling, would you like to come and lay with me today at night?"

The lady, feeling awkward, says not much, she lets Raymundo know he's being rushed and smiles weirdly; it was hard to bite...

Raymundo, hopeless, sticking to his act is hamm'ring on his terms.(They aren't good) The pie they had together tasted bad...

Disguising his hard cock the best he could, "bill, please?" Raymundo asks. The pricey check was very handy: it shrivell'd up his wood.

O CAUTO CAUSO DA COMIDA Raymundo appaixonado está! Convida, emfim, para jantar, a namorada.

Ainda se servindo da salada, procura suggerir uma sahida: "Que tal, depois da janta, tu, querida, commigo te deitares?" Não diz nada a moça, mas se mostra incommodada: sorri, sem graça, e a sopa é repetida.

Paresce que Raymundo não tem jeito, nos termos em que insiste. A sobremesa tem gosto meio amargo: é mau proveito.

Tentando disfarsar a rolla tesa, Raymundo pede a compta. Faz effeito a nota: brocha, appós ver a despesa!

104 GLAUCO MATTOSO #4203 THE CAUTIOUS CASE OF THE MELLIFLUOUS TALK [RB] Raymundo's one is such a cringy speech: could he speak well or would he be that rude?

And after many a gaffe, the toilet's lute is what are worth the words Raymundo speaks.

Raymundo once had tried, a girl, to seize, he said: "Oh girl, you know well what I would like most: to be a lolly so I could watch as you suck'd a fine and dandy thing!"

He tries his moves when in a candy shop: "I want to be the sweet you gently tuck'd inside your mouth" and drool'd: "you're what I sought!"

One day, for all girls' sake, his dimming luck will end and then the girl he piss'd most off shall fling a cake towards the dumbest fuck.

O CAUTO CAUSO DO PAPPO MELLIFLUO A falla de Raymundo não combina: grammatica correcta... ou grosseria?

Depois de tanta gaffe, o que seria discurso vale a lyra da latrina.

Tentando conquistar uma menina, diz elle: "Sabes bem o que eu queria, aquillo que a melhor sorveteria ja viu... Tu, quando chupas coisa fina!"

Tambem na doceria as tentativas fracassam: "Ser eu quero esse melloso quindim pelo qual tanto tu salivas!"

Vae elle, qualquer hora, para gozo geral, levar, daquellas mais exquivas, um bollo pela cara, o desdictoso!

SONNETTRIP 105 #4204 THE CAUTIOUS CASE OF THE RAREST SOUL-MATE [RB] Raymundo's met someone he understands.

She has a horrid mood! But, deep within, to someone nice and faithful one must cling.

A second chance he knew he wouldn't get...

She's not a pretty girl: know that all hangs on taste. Raymundo show'd her once to me; he said she was Zuzanna Surubim but I could call her "Zuza" when we met.

I even told him once: "Raymundo, won't Surubim have a ring with Curupyra?"

But in his mind the sounds don't go along.

He's gotten really worried (for he miss'd her), "am I or am I not" he doubted on "mistreating her?". He's dumb but he's a keeper...

O CAUTO CAUSO DA RARA METADE Raymundo encontra alguem que o comprehende.

Difficil convivencia! Mas, emfim, mulher bella e fiel não era assim tão facil de encontrar, e elle se rende.

Bonita, ella não é: tudo depende de gosto. Appresentada foi a mim, dizendo-se Zuzanna Surubim, mas pode ser só Zuza, que ella attende.

Cheguei a commentar com elle: "Veja, combina Surubim com Curupyra!"

Mas elle achou que o gancho não se enseja.

Ficou mais preoccupado: quasi pira, na duvida si esteja ou não esteja mancadas dando. É grosso, mas se vira.

[NOTES] [0010] "Sonnetto Nojento" is essentially a strong poetic defense of fetishism, emphasizing the relativity of notions of "normality" and questioning canonized notions of "good taste."

Once again, the poetic voice attacks the judgmental subject, finding perverse and repulsive patterns in conventional everyday choices and practices. Most of his examples revolve around images of food, relevant in the sense that his fetish is orally celebrated. Ultimately, determining what is "normal" becomes an impossibility. Mattoso maximizes linguistic strategies to achieve this effect. For example, the paranomastic link between "pé" (foot) and "pó" (dust) makes this combination much more aesthetically connected than "cha gelado" (iced tea) and "peixe cru" (raw fish).

[0012] Other interrelated facets of the performative identities of the poetic voice appear throughout the collection [see 0028].

In "Sonnetto Solado," for example, Mattoso characterizes, for the first time in his poetic universe, his own blindness as an integral element of masochism and self-degradation. Strangely, the poem, in the form of an advertisement of services addressed to one who possesses authority over him -- half-heroically, half-cowardly -- seems to transcend the physical and emotional pain of irreversible glaucoma into a sexualized outcome which only solidifies the desire to suffer self-inflicted and othersolicited cruelties. But the poet, of course, manipulates the tragedy of his blindness to heighten the will to suffer.

Certainly, the poem satisfies the Deleuzian prerequisite of a contractual arrangement initiated by the masochist-victim.

The poetic voice deepens his own degradation by adding his blindness to the equation of inferiority. Almost as if his physical condition provides further justification for his unchosen masochism, blindness is treated as yet another symbol of humiliation within the larger inferiority complex that Mattoso carefully constructs. Sustaining a self-imprisonment that simultaneously evokes bitterness and gratification, the poetic voice is fully conscious of his desire to suffer and to serve as "capacho" (door-mat) to an arrogant man who is defined as superior merely because of his ability to see and because of his eroticized feet. In the Mattosian poetic universe, feet

come to symbolize virility and power, for they alone are in full connection and have complete command over the dirt and filth that they tread upon.

[0017] "Sonnetto Sadico" is one of the few poems in the collection that makes no allusion to the eroticized foot. In fact, sexuality is not even overtly included until the final stanza. Its bitter verses reveal a cruel poetic voice who seeks satisfaction and perhaps revenge in observing the suffering of political authorities. However, the gratification he derives is grounded in the mind rather than the body. This sonnet, calling for a sort of solidarity among poets, highlights the intellectual power of the poetic office/trade; that is, the ability to use words as weapons, in this case aimed at destroying or demoralizing public officials. The final three verses construct an image of violent sodomy to counterattack the crooked politician, "espeto-lhe o loló com minha espada," as a metaphor for the destructive capabilities Mattoso attributes to the power of the pen. Political satire is an art cultivated by a long legacy of poets writing in the tradition of transgression, of which Mattoso is merely one of its most recent members.

Transgressive poets like Gregorio de Mattos certainly did not earn the title of "Bocca do Inferno" in vain.

[0018] Politicians remain the object of Mattoso's hostility in "Sonnetto Masochista." The first two stanzas of the sonnet are highly characteristic of the poetry of social protest written especially in the 1960s and 70s by poets like Haroldo de Campos, Augusto de Campos,Ferreira Gullar, and many other contemporary Brazilian poets who have produced socially-themed poetry. The first eight verses lament the corruption and insensitivity of public officials and decry the suffering and pain of the disenfranchised, whether marginalized by poverty, disability, or illiteracy. In the second half of the poem, however, an entirely different tone emerges, one in which the poetic voice desires to be on the receiving end of the humiliation perpetrated by the senator-torturer, proposing a contract wherein he promises to love the toe-jam ("amar chulé"), or use his tongue to polish the feet of the senator. The resulting image is one of total submission, for the metaphor is not only that of a dog obediently licking his master but,indeed, a dog who does not bark; that is, one who joyfully welcomes his own humiliation without any inclination to protest the abuses which may result from becoming a bath-giver to clean the literal

and metaphorical dirt off the toes of his oppressor. The transitional verse, "Si a coisa continua nesse pé" is an excellent example of how Mattoso's absurd and humorous word games, explored in the discussion of the JORNAL DOBRABIL, are evident even in his classical sonnets. The incorporation of such puns into such a refined, conventional poetic form makes their presence even more transgressive, for they sardonically mock the very seriousness of the classical Camonian model.

[0019] The normalization and veritable advertisement of the pleasures of foot fetishism is not the sole objective of Mattoso's project. Many poems endorse the pleasure of perversity itself, a joyfulness where survival is dependent on resisting integration with sexual norms and maintaining the mark of subversion. Mattoso accomplishes this re-radicalization of his departure from the norm by exploiting differences of desire that pertain to foot fetishism itself. For example, "Sonnetto Antiesthetico" is the ultimate valorization of the antiaesthetic, for it presents and then systematically rejects allusions to foot fetishism found and canonized in Western and particularly Brazilian literary traditions. The poetic voice is not inclined to worship an object that is beautiful, sweet, and perfumed. Instead, he renounces any attraction to the purity and daintiness symbolized by the feet of a young woman. It is important to note that he is careful to renounce any hint of misogyny, establishing that his sexual attraction to the male foot does not equate to a hatred toward women: "Não vou dizer que é femea o que abomino." However, the poet clearly announces that he is not enticed by the aesthetically acceptable curves and arch of the foot he desires. Rather, in camp terminology, it might be said that he is a "size queen," sexually stimulated by the flatness and width of a large masculine foot. [see 0024] Similarly, dirt and odor replace the perfumed, sweet fragrance that emanates from the feet of the heroine. The pun in the final verse is significant, for "pé de pata," literally referring to the web of a female duck, also carries the slang connotation of a big foot. "Pato," the male duck, also has a colloquial rendering as a "bad player" or a "sucker," both configurations to which this Brazilian "maudit" poet self-identifies. [see 0065] [0020] Mattoso's "Sonnetto Autobiographico" defines a poetic voice who sees his present-day masochism and foot fetishism as inevitable outcomes of the sadistic events he suffered as a child. One of the few poems in the collection that is concerned

with tracing identity to traumatic experiences in formative years, this poem neither glorifies his own sexual uniqueness nor judges it. He is primarily concerned with clarifying that he did not choose any of the sexual facets of his identity. They emerged, rather, as a cause-and-effect relationship between the past and the present. The phrase "queira ou não queira" clearly alludes to a decision to reserve judgment, to remain neutral on the repercussions and consequences of the abuses suffered as a child. The verb "brincar" appears in this poem as it does in so many of Mattoso's works. Its usage is reminiscent of the semi-serious, semi-ludic exploitation of the term in Mario de Andrade's MACUNAHYMA, one of the most fundamental texts written during Brazilian Modernism. In the sense it is used here, "brincavam com as taras," the reader may infer an experimental sense of playfulness, in which the acts highlighted in the poem may be sadistic in nature but not entirely uninnocent.

After all, even though the abuse was not perpetrated by peers belonging to the age group of the poetic voice, they are still characterized as "caras mais velhos" and elsewhere as "moleques." Surely, this chapter need not elaborate upon the tendency of children to be cruel to others perceived as weaker, inferior, or different in any way. The abundance of grotesque and violent images of coerced subjugation in this poem does not function as an apology for an identity assumed in the present but rather a rational explanation for the possession of such aberrant desires. Becoming "the scum of the foot worshippers" is a self-attributed title in which the poetic voice seems to derive great pride and satisfaction. [see 0355] [0023] Pain, for Mattoso's poetic voice, seems inextricably linked to personal identity. To remove pain from his poetic universe would subsequently result in a silencing of his voice.

The "Sonnetto Futurista" romanticizes the pain of humiliation, using intertextual references to George Orwell's 1984 and Anthony Burgess' A CLOCKWORK ORANGE. Mattoso appropriates their horrifying visions of the future to paint a landscape where cruelty rules and where the masochistic urges of the poetic voice to demean himself are socially accepted. The only essential difference between the past and the present of the subject's life is "Glauco"'s blindness, conveyed in an almost optimistic light in this sonnet which cultivates suffering.

The third stanza is particularly poignant, for it identifies "Glauco" as an actor in a present where he is trapped with

grieving the loss of an abusive past. The masochistic poetic voice does not complain here of the traumas he suffered as a child; rather he laments the fact that those days have passed and that he no longer has the attention of the sadistic perpetrators who shaped his formative years. The only thing that has changed, he maintains, is the fact that he has lost his vision. However, this poem is somewhat peculiar in the unemotional, almost stoic way in which he confronts this loss.

The tone of the poetic voice is one in which his mourning is far more profound for the lack of sadistic oppression, and he remains quite uncharacteristically resigned about his blindness.

In my analysis, Mattoso's strategy is to designate the role of masochism as being far more fundamental and important to his identity than even the ability to see. Indeed, as in the tradition of Bataille's pleasurable pain, Mattoso's repression of his own feelings regarding his blindness and the painful disease that caused it may be the very condition for the pleasure that results. On the other hand, the abrupt manner in which the poem ends deliberately does not conceal a deep bitterness toward his lot in life. [see 0047] [0024] A similar rupture of aesthetic attitudes toward foot worship [see 0019] can be found in a number of Mattoso's poems throughout the CENTOPÉA. For example, in "Sonnetto Historico," the poetic voice elaborates specific requirements for his object of desire, factors which must be met as a prerequisite for the stimulation of his libido. Then, he attempts to locate ancient civilizations where his tastes were once revered and appreciated by others: {Ouvi que o pé que tenho procurado, / com seu dedão mais curto que o segundo, / ja foi muito commum no Antigo Mundo / e "grego" seu formato hoje é chamado.} Poems like this one demonstrate that the poet does indeed have an aesthetic prescription for the foot he desires but it is clearly one which bears little connection to the Western canon. Indeed, even podophilia has its standards of cleanliness and aesthetic appeal in conformity with historical literary tastes. In the Brazilian tradition, erotic foot imagery is evidenced, for example, in José de Alencar's A PATTA DA GAZELLA, which is essentially a rewriting of the Cinderella fable, adapted to the aristocracy of nineteenth-century Rio de Janeiro. What has traditionally been considered acceptable in the Western canon is the admiration (if not a disguised or aestheticized fetish) for the feminine, delicate,tiny foot, imbued with an erotic symbolism that

accentuates the sensuality of the female body. Mattoso's performance is dependent upon a rupture of the aesthetically perfumed foot of a lady, preferring instead the stinky, toejaminfested, large, flat feet of a "machão." [see 0401] [0026] In "Sonnetto Lyrico," we see a marked contrast from the stoicism conveyed in the poem above [0023]. Instead, the poetic voice declares an anguished lamentation of his blindness, believing his life to be deprived of romantic companionship because of it. He argues that vision is the way to access the erotic and that love, consequently, is only for the sighted.

The physical pain expressed in this poem is not a desired one, no matter how well Mattoso plays the role of the masochist. His sexual energies are stifled by constant headaches, provoked by the pressure build-up characteristic of glaucoma. Not only are his eyes rendered useless, but the only functionality they have is to cause him further pain. [see 0073 and 0234] [0027] In Mattoso's semi-parodic quest to depathologize the foot as an avenue to the attainment of erotic pleasures, he composes a number of sonnets that satirically point out the importance of the foot as a symbol in contemporary Brazilian culture. Equating socially-sanctioned activities with sexual practices and thereby reaffirming both, Mattoso's poetic voice is determined to glorify the sanctity of the foot in his own culture as well as others, notably France and Germany. [see 0037 and 0070] The absurdity of some of his conclusions is quite humorous, especially the generalizations on the foot's connection to "brazilidade," such as this one: "O pé do brazileiro é vagabundo." ("Sonnetto Historico," [0024]). In "Sonnetto Brazileiro," Mattoso wonders why his foot fetishism is perceived as foreign and treated with such disdain in a culture where a passion toward the feet is reflected in its most nationalistic activities. [see 0050 and 0500] [0028] The motif of fetishism is most notable in CENTOPÉA: SONNETTOS NOJENTOS & QUEJANDOS, a collection of 100 Camonian (heroic) sonnets, where the precise decasyllabic pattern is rigorously and consistently (perhaps one can even say fetishistically) maintained throughout all of the poems. The unifying themes addressed in this work are as obsessively repetitive as the rigid model in which they are placed: the homoerotic love of the male foot and the simultaneous

cultivation and lamentation of masochistic suffering. The entire collection was composed in 1999 over a period of three months and then published shortly thereafter. In light of the discussion above, it may indeed be most appropriate to begin with a discussion of the "Sonnetto Psychanalytico," where Mattoso parodically addresses the work of Freud on fetishism.

Mattoso's poetic voice, as is the case with the majority of poems in CENTOPÉA: SONNETTOS NOJENTOS & QUEJANDOS, takes a confessional tone, openly admitting an inferiority complex. At the same time, the poet proudly demystifies the complexity of psychoanalytic theories of fetishism by stating, quite simply, that the foot is the phallic symbol to which he subscribes. The opening verse, alerting the reader immediately that to understand his "ego" is anything but complicated, enhances the naturalization or normalization of the "perversity" being reclaimed. The simplistic words and frank language, "O pé, symbolo phallico evidente / illustra todo o tal do inconsciente" sarcastically cut the psychoanalyst to the chase, for in the ownership of his fetish, the poetic voice requests no diagnosis of its origins nor does he desire recommendations to "normalize" his aberration. However, it is quite clear that the poet does not merely see the foot as an instrument to attain erotic satisfaction. His "libido," he claims, will be stimulated only once he becomes humiliated during the sexual encounter. The foot, then, is imbued not only with aesthetic sensuality and eroticism but also with violence and subjugation -- the power to step on, to crush, to reduce the inflated ego of a classical sonnetist to the role of human doormat. This sonnet summarizes Mattoso's use of foot fetishism as an avenue to attain masochistic fantasies of degradation. In the colloquialization of complex psychoanalytic concepts like "Edipo" and "libido," Mattoso effectively subverts the cerebral intellectualizations under which fetishism is evaluated and judged, reducing the jargon to its bare elements in order to access a natural and potent eroticism. The formula for sexual stimulation is a simple one, which does not directly involve using genitality. The sexual exchange consists of the scent and the feel of the sole of a man's foot, for the self-acknowledged blindness of the poetic voice deprives him of any visual satisfaction. Because he cannot see in a conscious mode, the "sonhos coloridos," the ability to dream in color, heightens his erotic imagination.

For me, the "sonhos coloridos" are a metaphor for a sort of compensation; the colorfulness of fantasies is enhanced since

his access to the visual is now permanently deprived. In any case, the actions themselves are clearly specified: the bottom of the foot is treated to a bath performed by the poet's tongue.

The encounter is not -- need not be -- developed any further.

Within the framework of conventional genital sexuality, such a scene would be undoubtedly viewed as perverse -- even if it occurred between heterosexual partners. More importantly, even if the actions of the event were not judgmentally assessed, they would most certainly be perceived as a prelude to further sexual activity, an act of "foreplay" or the sexualized "brincadeira" or "sacanagem" in Brazilian Portuguese. Mattoso's sonnet is frozen at the moment where the tongue makes contact with the sole of the foot, implying that the climax, the height of passion for the poetic voice, occurs at precisely this point. [about colors, see also 0613] [0032] The poetic voice may not be accused, therefore, of embracing an anti-aesthetic posture for its own sake or merely to self-identify as a radical subject. Indeed, in poems like "Sonnetto Christão," where the poetic voice assumes the identity of a "cego pervertido," proudly celebrating his own "verve e perversão," there remains a constant need to reaffirm the subversive perversity of his desires, an argument proclaimed as vigorously as the goal to normalize these very desires.

[0033] Mattoso uses the foot fetish to construct a bridge -- a marriage so to speak -- of sadism with masochism. His "Sonnetto Chinez" demonstrates that the foot is an almost mystical emblem of eroticism -- and particularly sadomasochism -- throughout Chinese history. Not only does the poet use the metaphor of the foot to symbolize and generalize practices of sexual domination and submission throughout Chinese civilization, but he also exploits the image to derive gender constructs that are specific to the nation he is characterizing. Furthermore, he successfully subverts Deleuze's theory which holds the suffering position to be almost exclusively male. In ancient Chinese culture, women have stoically accepted foot-binding as part of their submission to the sexual desires of the males. The dainty female foot, virtually crushed and broken into its tiny size, is juxtaposed against the image of the cruel fighting feet of the male. The foot in the face of the defeated opponent or foe represents a phallic victory just as the penis is used to represent the violence and "machismo" of patriarchy. In other words, Mattoso

inscribes the human foot with the same (self-)destructive powers used to define male and female sex organs in conventional psychoanalytic theories.

[0035] A significant portion of the poet's performance revolves around a continual reassertment of foot and boot fetishism.

This sexual universe is exploited to propose a more fluid, less non-judgmental posture toward diverse sexualities. However, the de-intensification of the male sexual organs and the reobjectification of foot and the tongue in its place also has the powerful effect of decentering phallogocentric discourse. This activity occurs on a literal level, despite Mattoso's attempt to equalize the substitution by arguing that the foot functions as his phallus, a parodic assertion made in the "Sonnetto Psychanalytico" examined earlier [see 0028]. The performative nature of Mattoso's fetishism is reflected quite well in the "Sonnetto Linguopedal," where the poetic voice rebelliously declares: "Creei assim um vivo typo novo: / o podofellador profissional. / Meu nome andou na má lingua do povo." This highly ludic poem, which overtly admits "Em tudo vejo logo a sacanagem," presents a neologism which replaces the penis with the feet and maintains the orality of the mouth as the tool used to generate sexual stimulation. As such, no genital contact is made during the encounter. While I have examined this proposal in previous sonnets discussed throughout this chapter, the "Sonnetto Linguopedal" is fundamental in that it calls for the professionalization of this new category of sexual service. As a result of the poetic voice's glorification and personal association with such a perverse practice, he suffers (or delights) in the negative reputation which he has created for himself. Out of this creative perversity comes rejection, repugnance, and condemnation. However, Mattoso's choice of words, "má lingua," also parodies the inexperienced tongues of his enemies, for in their inability to comprehend Mattoso's sexual universe, they have demonstrated their own sexual shortcomings and lack of imagination. In addition, "má lingua" may be interpretated from the romanticized negativity, the "lado maldicto," of the marginalized poet who still takes pride in the "badness" of his perversity as late as 1999. According to David William Foster's bio-critical sourcebook [LATIN AMERICAN WRITERS ON GAY AND LESBIAN THEMES. Westport, Greenwood, 1994], {Mattoso's most ambitious work brings together his analysis of so-called dirty sex and the judicious use of bibliographic

sources. MANUAL DO PODOLATRA AMADOR: ADVENTURAS & LEITURAS DE UM TARADO POR PÉS (Manual of the Amateur Foot Fetishist: Adventures and Readings of Someone Really into Feet; 1986) is loosely structured as the autobiography of the narrator, who describes his discovery, through the initiation rites of an academic fraternity [see 0052], that he is a foot fetishist. His sexual explorations and development, both heterosexual and homosexual, turn on the increasingly metonymic displacement of sexual possibilities, especially those of the allegedly dirty variety, toward the foot -- dirty or clean, shod or bare -- and include the establishment of a professional practice based on the manipulation of the foot to cure illness and disease, with the added dimension of the erotic possibilities of that manipulation (at least for the attending professional). In part a sendup of Western-style sex manuals and first-person "sentimental education" narratives, Mattoso's work is most productively read as part of his larger literary project of naturalizing the supposedly outer fringes of erotic experience and, in the process, underscoring the hypocrisies and ideological slippages of heterosexism. Thus, one of the virtues attributed to foot fetishes is a range of intensely erotic experiences that all fall within the range of safe sex, since the MANUAL poses the rhetorical question of how many people have contracted AIDS through pedal manipulation. With the graphic artist Marcatti, Mattoso has produced a comic book version of the MANUAL, AS ADVENTURAS DE GLAUCOMIX, O PODOLATRA (The Adventures of Glaucomix, the Foot Lover; 1990).} A more detailed analysis of the MANUAL DO PODOLATRA AMADOR can be found in Foster's essay "Some Proposals for the Study of Latin American Gay Culture," in his book CULTURAL DIVERSITY IN LATIN AMERICAN LITERATURE (Albuquerque, University of New Mexico Press, 1994).

[0037] Two notable examples deserve mention: "Sonnetto Gallicista," which celebrates the contributions of Sade and Rétif, and "Sonnetto Teutonico" [see 0070], which relishes the work of Goethe and Musil and includes a powerful final stanza, reading as follows: "O pé germanico é, como o racismo, / synonymo de força e de oppressão. / Meu fracco é imaginal-o com lyrismo." [see 0027] [0038] Mattoso's grotesquely absurd "Sonnetto Modernista" opens with the following valid but controversial question: "Quem foi mais importante, Oswaldo ou Mario?" Ultimately, by the end of

the sonnet, the reader learns that only a single criterion is used to resolve this question, transcending any serious evaluations of their contributions: the size and shape of their feet. Mario de Andrade is the victor of course, for "O Mario tinha pé mais largo e chato." This sonnet, beginning with a serious question and concluding with a ridiculous answer, satirizes the (lack of) decision-making when an author's work is granted or denied canonization. The fetishistic obsession of the poetic voice is so powerful and blinding that he is willing to overlook any bona fide characteristics to evaluate two of the most fundamental modernists in Brazilian literature. I do not believe this poem denigrates the work of either of the authors in question; rather, I think it is highly critical of literary critics and their criteria on which they base the merits of the works they evaluate.

[0041] Mattoso is [...] trying to show how fetishism may be an expression of everyday lives, carving out an autonomous sense of self whose boundaries resist simplistic categorization.

However, Mattoso simultaneously adopts and mocks the traditional psychoanalytic theory which views all fetishes as phallic symbols and therefore deliberately reduces the complexity and multiple levels of meaning explored in feminist writings on fetishism since the 1980s. Much of this work has effectively shown that the idea of perversion is completely dependent upon the patriarchal subscription to genital heterosexuality as the norm in sexual relations. Mattoso's poetry, filled with protests against anti-phallogocentric impositions upon an autonomous self, most certainly subscribes politically to the neutralization of "perversion" explored above. His "Sonnetto Orogenital" conveys contempt for heterosexual fellatio, relocating the sexual activity far below the equator and reconfiguring what is conventionally conceived as "fore-play" or "end-pleasures" to the center stage of the sexual performance.

The poem laments the rigid roles of submission that the woman is expected to play in patriarchal cultures. Her responsibility, the poetic voice implies, is to quietly satisfy the desires of the man, subjecting herself to the the foul odor of "cockcheese" that emanates from the foreskin of the penis and ingesting vast quantities of his semen and urine. The experience of oral sex is rendered, at the hands of the poet, a repulsive one, thereby inverting and demeaning the age-old "lesson" of fellatio to the status of perversion. The use of the phrase

"zona impura" contributes further to the pathologizing of erotically-acceptable behaviors in general. By the same token, he inserts the foot in the place of the penis, normalizing the act of oral sex itself while arguing that the only essential difference in foot worship is the body's natural emission of other foul odors. In fact, the poetic voice seems to advertise the benefits of sucking the foot, for it is wider than the penis and does not entail the ingestion of repulsive and potentially harmful bodily substances. As we have seen before, Mattoso is literalizing and simplifying (thus mocking) Freudian psychoanalytic theories which cannot escape the phallus as a point of reference to any and all sexual desires. [see 0139] [0047] [see 0023] [0050] Mattoso's definition of "machismo," in addition to being homoerotic, sanctifies the skillful feet of the soccer player.

In "Sonnetto Futebollistico," he declares: "Machismo é futebol e amor aos pés. / São machos adorando pés de macho." [see 0027] [0052] Mattoso's "Sonnetto Estudantil" is undoubtedly a poetic expression of the extensive research that went into his 1985 sociological work, O CALVARIO DOS CARECAS: HISTORIA DO TROTE ESTUDANTIL. In addition to clearly delineating roles of master and slave, torturer and tortured, Mattoso reveals in this poem an apparent agreement with [...] perspective that the masochist, regardless of gender or sexual orientation, is better defined as manipulator than as victim. As is customary in Mattoso's sonnets, the epitome of his transgressive expression is thoroughly revealed only in the final stanza, where, in this case, he subverts the victimization of the initiate. He applauds his own successful manipulation of his oppressor, actually soliciting and directing the abuse he receives at the feet of the sadist. Contrary to the common belief that the masochist is victim, the poetic voice in this poem, performing the deceptive role of "calouro disfarsado," is in total command of the situation. Indeed, the irony evident in the final three verses causes the reader to pause and contemplate fluid roles of perpetrator and victim. The "sacanagem" has been successfully inverted; Mattoso's ultimate pleasure apparently stems from making a victim out of the torturer and in affirming that the masochist indeed has the upper hand in the exchange.

[0060] One of the most recurrent motifs in CENTOPÉA: SONNETTOS

NOJENTOS & QUEJANDOS is a poetic voice who wears a mask of masochism and celebrates an individuation and individuality based on embracing unconventional sexual practices. However, as is customary in Mattoso's verse, no pretense to originality is made. In fact, the poet constantly reasserts that he is merely performing and perhaps rejuvenating themes which belong to an extensive tradition of literature of transgression, from the Western canon to the earliest verses constructed in Brazilian colonial literature. [...] Mattoso merely attempts to add his name to a long list of renowned authors of erotic poetry, using the image of cross-dressing to represent intertextuality and ultimately appropriation of consecrated (albeit notorious) poetic voices to accomplish this task. Assuming the voice of literary precedents to re-imagine and re-acclimate their perspectives in a postmodern context is a strategy which contributes significantly to the performative nature of Mattoso's poetry, as evidenced in "Segundo Sonnetto Masochista."

The allusions in this poem are, of course, to the erotic poetry of Gregorio de Mattos, Masoch's VENUS IN FURS, and finally Mattoso's own poetic voice. The interrelationships between Wanda, Gregorio, Glauco, and the Greek lover [...] (clearly what Mattoso meant by "o outro amante") are portrayed in the collage-like enmeshment occurring in the final two stanzas. Just as Gregorio replaces Severin and Glauco replaces Gregorio, these three male masochists are conceived as part of a unified personality; that is, many generations of masochists have preceded this unpretentious Brazilian one. The conventional role of the female sadist, Wanda, is, in fact, the only character that becomes transformed in this archetypal drama. Masoch's Wanda abandons Gregorio, and she undeniably violates the "contract" of abuse by designating another male to perform the role of sadist. This substitution makes a significant leap toward Mattoso's homoerotic appropriation of a nameless male sadist, "o sadico rapaz do qual appanho." The poem skillfully demonstrates Mattoso's equilibrium between an acknowledged adherence to literary traditions and a contemporary advertisement of same-sex desire -- to achieve a queering of the sadomasochistic entries in the canon. Mattoso obviously believes that the male is capable of being both sadist and masochist.

However, his personal inclination, he reminds us repeatedly, is to assume the role of the latter. Mattoso undoubtedly recognizes the potential for transformation that the male masochist possesses.

[0065] There are other poems in the collection which may be analyzed from the standpoint of anti-aestheticism, most notably "Sonnetto Descalço." [see 0019] [0066] In addition to reinventing himself as a victim of a cruel and relentless disease, the poetic voice plays the role of clown and idiot, a degrading self-characterization reminiscent of the final poems of Portuguese modernist, Mario de Sa-Carneiro.

Painfully aware that he is being mocked and ridiculed, the poetic voice dwells in narcissistic self-pity, perhaps in hopes of contracting a good sadist to repeatedly re-confirm his own inferiority. A self-consciousness of performing the role of clown is also evident in "Sonnetto Circense," where the poetic voice designates his blindness as grotesque, even carnivalesque: "Meu caso é certamente mais grottesco, / Ridicularizar-me vem a ser / a grande diversão de quem me vê, / emquanto eu, que não vejo, dou prazer."

[0070] [see 0027 and 0037] [0073] [see 0026] [0093] Because [Butterman's] thesis is concerned with performative aspects of Mattoso's poetic identities, it is important to look more closely at the labels often thrown around in order to arrive at a more specific conceptualization of fetishism, sadism, and masochism as individual as well as interdependent entities. This precision will allow us to contemplate whether or not fetishism is sadomasochistic in nature and, for our purposes, in Mattoso's sonnets. Most importantly, I will illustrate how Mattoso views S & M as a metaphor of selfhood and exploits fetishism to attain individuation and, ultimately, a profound sense of poetic and personal autonomy. Deleuze offers an interesting analogy when he equates the sadist's role as that of "instructor" and the masochist as "educator." While the differences may not appear significant on a superficial level, Deleuze convincingly argues that they are indeed vast. Essentially, he proposes that the sadist typically dictates actions while the masochist's chosen realm of influence is that of persuasion: {The sadist [...] demonstrate[s] that reasoning itself is a form of violence, and that he is on the side of violence, however calm and logical he may be [...] In the work of Masoch [...] we are dealing instead

with a victim in search of a torturer and who needs to educate, persuade and conclude an alliance with the torturer in order to realize the strangest of schemes. This is why advertisements are part of the language of masochism while they have no place in true sadism, and why the masochist draws up contracts while the sadist abominates and destroys them. The sadist is in need of institutions, the masochist of contractual relations.} The common misperception that the sadist is the perfect partner for the masochist and vice-versa is systematically destroyed in the analysis of Deleuze and other philosophers. Most recently, Anita Phillips' long essay, A DEFENCE OF MASOCHISM, abruptly maintains that "the masochist and the sadist are an impossible couple."

Deleuze and Phillips hold many similar views, particularly with respect to sadism and the roles of the sadist; however, they are markedly different in their perceptions of the masochist.

While Deleuze repeatedly argues that the masochist is speaking from -- and is, in fact, empowered by -- the standpoint of victim, Phillips believes the contrary, asserting that "the masochist is a conscious manipulator, not a victim." Phillips rather convincingly reveals that the masochist is often in charge, actively seeking punishment and pursuing partners who will faithfully fulfill that desire. In each of the scenarios she portrays, making specific references to Sade's ONE HUNDRED AND TWENTY DAYS OF SODOM and, more frequently, Masoch's VENUS IN FURS as well as alluding to personal experiences and interviews, Phillips never transcends the boundary of monogamous masochism; by her definition, the bonafide masochist will only make contractual agreements with one other person and for a specified time period. The rigidity implied in the periodicity and the prerequisite of contractual relations that resonates among both critics and proponents of sadomasochistic behaviors is reminiscent of the discussion of fetishism. [...]

Deleuze's desperate attempts to undermine the illusion of "the sadomasochistic entity" result in a virtually endless list of dualities, a polarization between sadism and masochism whose rigidity itself reeks of reductionism and over-simplification.

For example, when summarizing the most essential differences between sadism and masochism, Deleuze goes so far as to assert without further elaboration that "there is an aestheticism in masochism, while sadism is hostile to the aesthetic attitude."

What, frankly, is meant by the phrase "the aesthetic attitude"?

Sadism and masochism may be linked or identified with differing aesthetic characteristics, but such a monolithic conception of

THE aesthetic posture is just as disturbing and problematic as "THE sadomasochistic entity," the indiscriminate and careless combining of the two terms which Deleuze tries to deconstruct.

On the other hand, Deleuze's efforts to highlight the separateness of sadism and masochism are admirable, for it is still quite rare to find a contemporary critic who is sensitive to discerning such differences. Paul Mann's overly simplistic definition provided in MASOCRITICISM is a case in point: "Masochism is primary sadism turned inward; sadism is primary masochism turned outward." In Mattoso's poetry, the roles and responsibilities of sadist and masochist are far more fluid in nature, as we shall see below in our discussion of three sonnets from CENTOPÉA: SONNETTOS NOJENTOS & QUEJANDOS. [see 0017, 0018, 0052, and 0117] [0117] [see 0093 and 0541] [0139] [see 0041] [0234] [see 0026 and 0541] [0355] [see 0020] [0401] [see 0024] [0500] [see 0027] [0541] This sonnet reflects a baroque paradox that Mattoso's poetry sustains throughout. There are poems which fervently attempt to normalize alternate sexualities, and there are others which remain committed to preserving the romantic isolation and severe judgment of the bizarre perversity of fetishistic and sadomasochistic desires. One of the strengths of Mattoso's work falls in the tension he is able to maintain expressed by a conflicted poetic voice who clamors for acceptance as intensely as he asserts a radical distantiation of the self. [...] Mattoso's valorization of the necessity of tension itself is representative of his sustained contradiction between clamoring for acceptance and endorsing perversity, a motif I have attempted to address throughout [Butterman's] dissertation.

This intentionally dramatized dilemma in Mattoso is at the core of his project, one which embraces ambiguity, irreconcilable dualities, and perhaps most importantly, an escape from categorical definitions which would ultimately have the power to de(con)struct the author's development of transgressive themes.

[0613] The following excerpts were taken from chapter four, {"Cagar é uma Licença Poetica": The Anti-Aesthetic Aesthete and "Turd World" Poetics in Glauco Mattoso} of Butterman's thesis, focusing on "Manifesto Coprophagico" and other scatological poems.

MANIFESTO COPROPHAGICO (I) [1977] "Mierda que te quiero mierda" (García LOCA) a merda na latrina daquelle bar da exquina tem cheiro de batina de botina de roptina de officina gazolina sabbatina e serpentina bosta com vitamina cocô com cocaina merda de mordomia de propina de hemorrhoida e purpurina merda de gente fina da rua francisca michelina da villa leopoldina de therezina de sancta catharina e da argentina merda communitaria kosmopolita e clandestina merda metrica palindromica alexandrina ó merda com teu mar de urina com teu céu de fedentina tu és meu continente terra fecunda onde germina minha independencia minha indisciplina és advessa foste cagada da vagina da america latina

MANIFESTO COPROPHAGICO (II) [1999] A merda na latrina desse bar da exquina de officina cheiro tem.

De fina serpentina tem, tambem, si folga com roptina combinar.

Cocô com cocaina, em tal logar, commum é tanto quanto ter alguem cagado as hemorrhoidas. Alli vem o povo do Brazil todo cagar.

Cocô kosmopolita, palindromico, até kaleidoscopico e mutante, se caga no latino reino momico.

Vagina americana advessa, cante meu verso a merda metrica, com comico cynismo, e faça a antithese de Dante!

The poem begins with a pseudo-epigraph, "pseudo" because it consists of a subverted poetic verse appropriated by one of Mattoso's own heteronyms, the flamboyant Garcia Loca: "Mierda que te quiero mierda." The verse was excerpted, digested, and wasted from Garcia Lorca's famous "Romance Sonámbulo," "Verde que te quiero verde." An analysis of the last three letters of each verse reveals the repetition of "-ina," which resembles closely the word "rhyma," therefore satirizing an age-old convention of poetry. This poem exemplifies a natural progression, a "movement," so to speak, from the specific to the more general. The "Manifesto Coprophagico," quoted in its entirety, appears above.

The initial setting occurs in a dirty bathroom in a neighborhood bar or pub. The poem is a factory of olfactory sensation, for the waste deposited there contains the smells that are metaphorically associated with the identities of those who have left their mark, so to speak. For example, the scent of "botina" (boot) may represent a member of the Military Police, or perhaps some other uniformed public official; "roptina" may be indicative of a nine-to-five worker; "sabbatina," or schoolwork, implies that a diligent student has been to this

dirty bar and left a "piece" of herself; "serpentina," carnival decoration, is evidence that a "malandro" or a "carnavalesco" has contributed to the mass of cultural production. In other words, one may infer that a dirty public bathroom in a bar is an internationally democratic "melting-pot," one of the few places in the world where true diversity is upheld! Repugnantly, the poetic voice becomes more specific: "Bosta com vitamina / cocô com cocaina" -- the well-nourished, the drug-addict; "Merda de gente fina" -- the rich and beautiful. The process of generalization becomes more evident at this point, as the reader's journey continues out of the bar and onto an ordinary street, then a neighborhood, then a marginalized city (Therezina, the capital of Piauhy, a geographically large but politically marginalized state in the Northeast); then, another often-neglected state; and, finally, any country in Latin America (in the case of the poem, Argentina is selected, if for no other reason than to maintain the integrity of the simple and -- in stark contrast to the grotesque content within -- rather childlike musical rhyme). The dirty bathroom in an average bar defeats artificial borders and barriers, becoming a cross-cultural point of exchange for an entire continent.

"Merda communitaria kosmopolita e clandestina" is a rather unconventional description of a city like São Paulo. On a macrocosmic level, and in cultural terms, São Paulo may be defined as just another dirty bathroom in a bar because the enormous concrete jungle is also a great melting-pot of races and immigrants, some of whom are illegal residents or living in exile from their native countries.

We finally arrive, then, at Mattoso's meta- (or shall we say merda-) poetic contention: "merda metrica palindromica alexandrina." "Why palindromic?" I asked the author during one of our interviews. His response was as follows: "Ué, porque o formato de um cocô começa ponctudo, augmenta, e depois termina ponctudo. Ou seja, de traz para frente, e de frente para traz, elle é um palindromo." In the final verses, the poem's configuration seems to be transformed into somewhat of an ode.

The poet pays tribute to the turd, glorifying its life-giving properties: "Ó merda com teu mar de urina / com teu céu de fedentina / tu és meu continente terra fecunda onde germina."

Any farmer would agree, with little or no contention, that manure is indeed the best fertilizer for the earth. What is also born from this life-giving magical substance called "merda"

is the very personal (and perhaps collective as well) "minha independencia minha indisciplina," alluding to the frustration and rebelliousness of the poetic voice -- there is no "high" or "elite" culture being devoured in these verses. This manifesto seems rather utopian in its democracy and egalitarianism. Shit has the same worth, regardless of the maker's class, race, social status, or whatever other defining characteristic.

Interestingly, Mattoso recited this poem, in a solemn and patriotic tone, at the Sixth Annual Poetry Contest, hosted by the journal ESCRIPTA, in 1979, and while it generated considerable controversy, ended up winning first place.

Rather than discounting the metaphor of coprophagy as merely humorous and in bad taste, I would like to explore philosophical and then psychoanalytic interpretations of fecality as they are relevant to a postmodern conception of literary production. In his illuminating article called, "The Metamorphosis of Shit," Martin Pops brilliantly traces the symbolism and archetype of defecation in Western philosophy and literature, from Sade to James Joyce to Freud to Baudelaire to Swift to Jean Genet, and many others. There are two statements from this article which bear quoting, since, re-thought or applied to a universal context of repression -- and, more specifically, Brazilian culture and society during military dictatorship -- they loom significant: "Shitting is the bodily archetype of spiritual rebirth insofar as it LIBERATES THE BODY FROM ITSELF." In the context of self-censorship and self-hatred (such as internalized homophobia), the metaphors of blockage and release are relevant.

W.H. Auden in "Greatness Finding Itself" states: "Excretion is both the primal creative act -- every child is the mother of its own feces -- and the primal act of revolt and repudiation of the past -- what was once good food has become bad dirt and must be got rid of." Robert Coover goes so far as to claim that the real reason we look back to examine our own turds is to admire our own creative production -- he writes, "it's the closest we ever come to being at one with the gods."

While James Joyce identifies excretion as the "chamber music" of creativity, the Marquis de Sade, in THE HUNDRED AND TWENTY DAYS OF SODOM, goes so far as to revere it: "THE 120 DAYS OF SODOM is an extraordinary exercise in coprophilia. Sadean libertines are connoisseurs of shit. They chew and savor and wallow in shit [...] They are 'worshippers' of shit who make a chapel into a privy, a rump into an altar, and the asshole of a victim the depository of a consecrated wafer."

Evaluating the performative subjectivity exemplified in the poetry of Glauco Mattoso [see 0028] reflects a striking similarity with Sigmund Freud's definition of the "anal character" that appears in CIVILIZATION AND ITS DISCONTENTS as well as Freud's 1908 essay on "Character and Anal Erotism," a disposition whose rebelliousness and eccentricity are the key traits that allow such a character to disrupt the social order of a repressive society that would otherwise seek to destroy his nonconformist personality. In CIVILIZATION AND ITS DISCONTENTS, Freud conceives anal retention as "a most remarkable strategy for the sublimation of a particular kind of subjectivity, that is, an original personality, which is still untamed by civilization and may thus become the basis [...] of hostility to civilization." Obstinacy, orderliness, and parsimony are specific characteristics that Freudian analysis attributes to this character type. It is interesting but not surprising to note that this document itself, now among Freud's most commonly cited presentations, "aroused considerable astonishment and indignation when it first appeared," according to Peter Gay, editor of THE FREUD READER. Mattoso's insistence on eating the "cagada" is enhanced by his acknowledgment that the supposedly rejected remnants have the potential to provide a feast of difference, a veritable banquet of societally-rejected truths with which the author is attempting to re-nourish Brazilian, and by extension, postmodern consciousness.

[4140/4204] These twenty sonnets constitute the first part of the poetic novel RAYMUNDO CURUPYRA, O CAYPORA, published in 2012. According to the author's note, {In the native Brazilian mythology, Curupyra and Caypora are two feared characters. The Curupyra, described as a boy with inverted feet (heels pointing forward and toes pointing backwards), roams the woods mounted on a hog, scaring and confusing hunters. The Caypora, described as a hairy man, is also hostile to hunters and evil to the ones who see him. Fused into the same creature by some folklorists, I used them both to name my urban anti-hero who, tainted by a supernatural curse, or "cayporism", lives his adventures and misadventures with his equally jinxed friend, who defends and protects him against his misfortunes. It happens that, instead of fiction prose, I opted to narrate my novel in verse, chaining together two hundred sonnets, composed during the span of mere

two months. This deed called the attention of the literary circle, and received awards in Brazil. Thanks to the efforts of Rodrigo Bravo, an erudite teacher and skilled translator, the opportunity of recomposing this human and inhuman, perhaps superhuman, tragicomedy, conserving the petrarchian decassyllable (or iambic pentameter) and the rhyming pattern of the original, was made possible. This was done in order to offer this work to the anglophone public, whom I became closer with after Steven Butterman (professor in Miami) published a doctoral thesis on my poetry. I hope this translation contributes to a revaluation of the classic sonnet which, as Milton would before me (whom I compare myself to regarding the eyesight loss), I worshipped as a gift from the gods, or as a mystic antidote against the curse of blindness.}

Titles released by Smithouse: A PLANTA DA DONZELLA ODE AO AEDO E OUTRAS BALLADAS INFINITILHOS EXCOLHIDOS MOLYSMOPHOBIA: POESIA NA PANDEMIA RHAPSODIAS HUMANAS INDISSONNETTIZAVEIS LIVRO DE RECLAMAÇÕES VICIO DE OFFICIO E OUTROS DISSONNETTOS MEMORIAS SENTIMENTAES, SENSUAES, SENSORIAES E SENSACIONAES GRAPHIA ENGARRAFADA HISTORIA DA CEGUEIRA INSPIRITISMO MUSAS ABUSADAS SADOMASOCHISMO: MODO DE USAR E ABUSAR DESCOMPROMETTIMENTO EM DISSONNETTO DESINFANTILISMO EM DISSONNETTO SEMANTICA QUANTICA INCONFESSIONARIO DISSONNETTOS DESABRIDOS SONNETTARIO SANITARIO DISSONNETTOS DESBOCCADOS RHYMAS DE HORROR DISSONNETTOS DESCABELLADOS NATUREBAS, ECOCHATOS E OUTROS CAUSÕES A LEI DE MURPHY SEGUNDO GLAUCO MATTOSO MANIFESTOS E PROTESTOS LYRA LATRINARIA DISSONNETTOS DYSFUNCCIONAES O CINEPHILO ECLECTICO A HISTORIA DO ROCK REESCRIPTA POR GM SCENA PUNK CANCIONEIRO CARIOCA E BRAZILEIRO CANCIONEIRO CIRANDEIRO

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