Arranjado e produzido pela banda Código Genérico, o disco foi gravado no João Neto Studio - Passo Fundo/RS (2003). O trabalho traz novas versões de renomados artistas brasileiros, como Os Tribalistas (Velha Infância), Os Mutantes (Ando meio desligado), O Rappa (A minha alma), Belchior (Como nossos pais) e Cláudio Zoli (Noite de prazer). O grupo era formado por Diego Motta (vocais), Márcio Noal (guitarras), Norton Severo (bateria), Samuel Quadros (teclados) e Douglas Voss (baixo).
From his magnificent debut novel, Jangadas, released in 2016 to this his sixth book, Marcio Noal's talent for story-telling is clearly evident. The wonder of these 26 short stories is in their destruction of the barriers that confine beings to their own place in the space-time continuum. By deconstructing what is considered reality, allows for multi-combinations of people and stories to be woven and interlinked. Fictional characters meet famous identities from our past and present. Sophisticated theories from elite philosophical and scientific society appear alongside myths, fantasy, cultural tales. Historical events in human history are treated in the same way as fantastical tales from the mind of Noal. The limits of the plausible and possible now boundless. To him, the laws of our very nature can be placed in a proverbial mixing bowl to create the ultimate literary manifesto.
The theme of the duality between reality and phenomena has always fascinated philosophers. From Plato to Schopenhauer, through to Kant et al, many claimed that the world we live in is nothing more than an illusion, apparition, a mirage. The real world, the very thing-in-itself, of reality as it is without the distortion of our senses, would be forever unintelligible to our understanding. Therefore, it is not possible to have any true idea about it, only a representation. Desestilhaços discusses precisely this duality, between what is visible and invisible, what needs to be hidden and what has to be shown. Noal differs from these aforementioned philosophers in two ways. He is both less and more ambitious than they were. Less because he reduces the object of his literary investigation to a mere fraction of reality, that which is represented by human emotion. More because he intends to move these feelings from the shadows of the hidden world and bring them forth into light, exposing the truths of all their nakedness and ugliness.
How many times would we need to relive our lives in order to learn from our mistakes? This is the central question of a book that narrates a day in the life of four people: Genovês, an elderly man in an advanced stage of dementia who spends all his time disturbing the streets of Vila Mariana; Daniel, a terminal cancer patient and publicist by profession ,who wants one last night of passion with his ex-girlfriend although she is married; and the brothers Silvio and Bernardo, college students of the University of São Paulo who, although involved in the blackmail of a girl with whom one of them had a previous relationship, prepare to go to a rally against the leader of the current government . A reader of Joyce, Márcio finds in this work a way to pay tribute to the Irish writer, borrowing from him a narration structure similar to that used in Ulysses.
There are five central characters in this book, Buck, Cassidy, Sarge, Zero and Bishop; all partakers in a war that we, the reader does not know where, when, why or against what enemy it was waged. The characters spend the night in a clearing, awaiting rescue after the rest of their platoon was killed. The story ensues over alternating chapters where we uncover the reasons that led them to this Kafkaesque war. The trouble for the reader is to solve the mystery of which character unveiled is which considering that they are only called by their nicknames in the chapters about the war. In this book we see another example of Noal’s preferred character model; that of the empty, lonely man, crushed by the frustrations of life, disappointed by the loss of his dreams, somewhat of a living corpse who despite the appearance of success and happiness is in fact leading an existence of silent desperation.
Leaving behind the world of social criticism that encapsulated Jangadas, Noal looks inwardly at the individual, the broken dreams, the dashed hopes, the trials and tribulations of the mundane. With a sharp merciless gaze, he parades before our eyes a litany of lonely, alienated, suffering creatures. This loneliness that suffocates them is inherent in all of us, some more suited to deal with it than others. The concepts of family and love are central to this book but not as we know them. Instead, in Dead Eyes we have a father doing his utmost not to return home to his wife and children. In Chronicle of rejected love and Etipathogeny love is portrayed as useless, devoid of common connections and interests. Nor does society even care, for what should it care, being full of vain people professing to know something about nothing at all.
Set in the arid, barren north east of Brazil lies the fictional city of Jangadas, where nothing ever seems to happen. Since the magnetite industry declined and the influx of eager migrants halted, this plunged the city into a kind of stupor, a silence broken only by the gossip and poisonous backbiting of its inhabitants. Everything starts to unravel when the poet Sallim is arrested, accused of the murder of the butcher Ataídes, a black Jew of German descent. The investigation is conducted by the powerful Floriano Costa e Aguiar, who, in addition to being the chief police officer, also holds the positions of mayor, vice mayor, prosecutor, judge, president of the City Council and director of the electoral board. To assist in the investigation, the famous Belgian detective Gaspard Riquet, who had previously worked with Hercule Poirot, was brought from Codó, where he was studying the black arts of macumba.