VULTURES IN THE LIVING ROOM-UPDATE

We had a lovely mention in Suroor Alikhan’s TALKING ABOUT BOOKS a blog that seeks to promote world literature. It’s for the cosmopolitan-minded who are interested in outside narratives from diverse cultural and geographical perspectives. We are very grateful they were interested in the work of Lula Falcão. His work is essential in understanding how truly dystopian reality is in Brazil.

Reading Vultures in the Living Room is like unlocking hidden clues in a landscape stretched by physical, political, environmental and metaphorical upheaval.

You can follow Suroor on Twitter @surooralikhan, Instagram @booktalksuroor and Facebook http://www.facebook.com/booktalksuroor.

Casa Forte Publishing

ISBN-13: 9781087881447

****NOW AVAILABLE IN AUSTRALIA, UK****

YOUTUBE: https://www.youtube.com/watch?v=IdUiXBoPy2w

“It is genius. It reminded me of Gabriel Garcia Marquez and his magical realism, but Marquez is more airy, somehow vaster and less dense. ““Falcão effectively paints the fear and the calm before the reality of the storm hit the world, not just Brazil. He writes these moments of calm and lack of knowledge of the disaster afoot with such uncanny clarity that it touched some deeply traumatized part of my psyche, that linked the author to the human condition, and the horror of the last year and a half.” The Paltry Sum

DIGITAL COPIES AVAILABLE TO REVIEWERS

THIS IS A BI-LINGUAL BOOK/ESTE É UM LIVRO BI-LINGUE

INTERNATIONAL TITLE: VULTURES IN THE LIVING ROOM

Casa Forte Press is delighted to announce the first English translation of Vultures in the Living Room,a book of short stories by Brazilian author Lula Falcão, now…

View original post 660 more words

VULTURES IN THE LIVING ROOM (URUBUS NA SALA)–LIST OF RECENT ARTICLES

CRÍTICAS

NO BLOG DA GRANDE TAIS PARANHOS:
“Absurdo, político, poético, mas também engraçado, como observou recentemente o blogueiro de cultura Detroit Richards em The Paltry Sum:

“A peça de abertura, Sea of Mud me lembrou da ‘música de uma sala distante ’de Elliot, na medida em que o leitor está recebendo uma transmissão da cena de um desastre que se desenrola. A música é fraca e nos esforçamos para ouvir, mas algo está acontecendo. Ninguém parece saber exatamente o que é esse desastre assustador. Esta vinheta apresenta um microcosmo da humanidade diante de nós, usando o dispositivo de uma nave em apuros habitada em parte por jogadores e idosos. Não somos todos jogadores no navio da vida? Falcão cria cuidadosamente uma sensação de estranho, uma sensação de que há algo errado.”

https://www.taisparanhos.com.br/2021/08/lula-falcao-lanca-livro-urubus-na-sala.html

TESÃO LITERÁRIO:

“Uma leitura obrigatória. O livro está nas melhores livrarias e também em formato digital para o Kindle.”

Detroit Richards

THE PALTRY SUM:

Falcão does not hit a false note in this collection, I particularly enjoyed the opening Sea of Mud, and The Man In A Box, a delightfully surrealist piece which had me hooting with laughter. This particular vignette took sniper aim at its target and destroyed him with precision humor-bombs. It is here that the immensely sympathetic and organic translation shines. I don’t read Portuguese, but at no point did this feel like a work in translation, the poetry and intent remained intact.

https://thepaltrysum.com/2021/06/02/vultures-in-the-living-room-by-lula-falcao-a-review-in-parts-part-1-sea-of-mud/

(Livro bi-lingue, versão internacional)
Para pedir no Brasil: Vultures in the Living Room
ISBN:9781087881447

***PARA RESERVAR CÓPIA NA AMAZON, CLIQUE AQUI

ÚLTIMO “UPDATE” DA TRAGETÓRIA DO LIVRO “VULTURES IN THE LIVING ROOM”, EM PORTUGUÊS: URUBUS NA SALA.

ATENÇĀO: POR ENQUANTO, O LIVRO, QUE É BI-LINGUE, ESTÁ DISPONÍVEL COM O TÍTULO SÓ EM INGLÊS:

Gostaríamos de sempre dar importância as livrarias nacionais, não às multinacionais.

OBRIGADA LIVRARIA MARTINS FONTES!!!

link para a compra:
https://www.martinsfontespaulista.com.br/vultures-in-the-living-room-and-other-stories-951761/p

PAÍSES EM DISTRIBUIÇĀO:

* Esta chegando aos poucos como um livro importado no Brasil.
https://www.martinsfontespaulista.com.br/vultures-in-the-living-room-and-other-stories-951761/p

*Estados Unidos

*Reino Unido

*Australia

A Casa Forte Press tem o prazer de anunciar a primeira tradução para o inglês de Urubus na Sala, do escritor brasileiro Lula Falcão, agora disponível em todas as livrarias e, em todo mundo, no formato Kindle.

Depois de décadas trabalhando como jornalista em São Paulo, ele agora mora na cidade portuária de Recife, Nordeste do Brasil. É autor de “Todo dia me atiro do térreo”, Iberê Segundo Paulo”, – transformado em roteiro para o cinema -, “Notas do Aquém”, ainda no prelo, e coautor de “Frevo – 100 de folia”.

A escrita de Falcão é inconfundivelmente original. Ele equilibra o impossível na narrativa: sua prosa é atemporal, mas profundamente enraizada na obscura história recente do Brasil. São pequenos contos que oscilam entre o absurdo e o sentido e a falta de sentido da vida.
Em Vultures in the Living Room, o que parece impossível é negociado através da escrita fluida de Falcão. Aqui, o universo se estende e se expande, jogando a já maníaca vida urbana do Brasil em um caos celestial.

Absurdo, político, poético, mas também engraçado, como observou recentemente o blogueiro de cultura Detroit Richards em The Paltry Sum:
“A peça de abertura, Sea of ​​Mud me lembrou da‘ música de uma sala distante ’de Elliot, na medida em que o leitor está recebendo uma transmissão da cena de um desastre que se desenrola. A música é fraca e nos esforçamos para ouvir, mas algo está acontecendo. Ninguém parece saber exatamente o que é esse desastre assustador. Esta vinheta apresenta um microcosmo da humanidade diante de nós, usando o dispositivo de uma nave em apuros habitada em parte por jogadores e idosos. Não somos todos jogadores no navio da vida? Falcão cria cuidadosamente uma sensação de estranho, uma sensação de que há algo errado. ”

“Em suma, se você ainda não está convencido, eu diria que isso é algo que quem quer mergulhar no mundo do iconoclasta, do bufão, do humanista e, portanto, ter sua humanidade reafirmada e afirmada, deve se dar o tempo. ler. Esta é a carne com osso da literatura moderna e ainda pode me arrastar para fora da minha zona de conforto apolítica ”, disse Richards.

Urubus na Sala é uma reflexão importante sobre a vulnerabilidade humana em tempos de incerteza política e social.

VULTURES IN THE LIVING ROOM

VULTURES IN THE LIVING ROOM-UPDATE

We had a lovely mention in Suroor Alikhan’s TALKING ABOUT BOOKS a blog that seeks to promote interests and connections in world literature. It’s for the more cosmopolitan-minded who are interested in outside narratives from diverse cultural and geographical perspectives. We are very grateful they were interested in the work of Lula Falcão. His work is essential in understanding how truly dystopian reality is in Brazil. I hope Words without Borders subscribes!

Reading Vultures in the Living Room is like unlocking hidden clues in a landscape stretched by physical, political, environmental and metaphorical upheaval.

You can follow Surroor on Twitter @surooralikhan, Instagram @booktalksuroor and Facebook www.facebook.com/booktalksuroor.“I found these stories intriguing. They are short, but Falcão can convey a lot with a few strokes of his pen: he takes you into his world where things don’t always make sense, and you share his characters’ sense of disorientation.”

“This collection is an unusual one and short enough to encourage re-reading, which I think helps to really appreciate the writing. And having the translation and original in the same edition will reward people who can read both languages. I am looking forward to seeing more of Falcão’s work translated.”

ISBN-13: 9781087881447

****NOW AVAILABLE IN AUSTRALIA, UK****

YOUTUBE: https://www.youtube.com/watch?v=IdUiXBoPy2w

“It is genius. It reminded me of Gabriel Garcia Marquez and his magical realism, but Marquez is more airy, somehow vaster and less dense. ““Falcão effectively paints the fear and the calm before the reality of the storm hit the world, not just Brazil. He writes these moments of calm and lack of knowledge of the disaster afoot with such uncanny clarity that it touched some deeply traumatized part of my psyche, that linked the author to the human condition, and the horror of the last year and a half.” The Paltry Sum

DIGITAL COPIES AVAILABLE TO REVIEWERS

THIS IS A BI-LINGUAL BOOK/ESTE É UM LIVRO BI-LINGUE

INTERNATIONAL TITLE: VULTURES IN THE LIVING ROOM

Casa Forte Press is delighted to announce the first English translation of Vultures in the Living Room,a book of short stories by Brazilian author Lula Falcão, now available HERE, on Amazon, IngramSpark and other International distributors. It is also available on Kindle.

Writing from the port city of Recife, northeastern Brazil, Falcão’s books have received wide acclaim by national critics.
In Vultures in the Living Room, what seems impossible is negotiated through Falcão’s fluid writing style. Here, the universe stretches and expands, throwing the already manic urban life in Brazil into a celestial chaos.

Absurdist, political, poetic, but also humorous, as recently observed by culture blogger Detroit Richards in The Paltry Sum:
“The opening piece, Sea of Mud reminded me of Elliot’s ‘music from a farther room’, in so far as the reader is receiving a transmission from the scene of an unfolding disaster. The music is faint and we strain to hear, but something is happening. No-one seem to know exactly what this creeping disaster is. This vignette lays a microcosm of humanity before us using the device of a ship in trouble populated in part by gamblers and elderly. Are not we all gamblers on the ship of life? Falcão carefully sets up a feeling of the uncanny, a sense that there is something wrong.”
“In short, if you are not yet convinced, I would say that this is something anyone who wants to immerse themselves in the world of the iconoclast, the jester, the humanist, and therefore have their humanity reasserted and affirmed, should take the time to read. This is the meat on the bones of modern literature, and might yet drag me out of my apolitical comfort zone,” Richards said.
Vultures in the Living Room is an important reflection on human vulnerability during times of political and social uncertainty.

Em Português

A Casa Forte Press tem o prazer de anunciar a primeira tradução para o inglês de Urubus na Sala, do escritor brasileiro Lula Falcão, agora disponível em todas as livrarias e, em todo mundo, no formato Kindle.

Depois de décadas trabalhando como jornalista em São Paulo, ele agora mora na cidade portuária de Recife, Nordeste do Brasil. É autor de “Todo dia me atiro do térreo”, Iberê Segundo Paulo”, – transformado em roteiro para o cinema -, “Notas do Aquém”, ainda no prelo, e coautor de “Frevo – 100 de folia”.

A escrita de Falcão é inconfundivelmente original. Ele equilibra o impossível na narrativa: sua prosa é atemporal, mas profundamente enraizada na obscura história recente do Brasil. São pequenos contos que oscilam entre o absurdo e o sentido e a falta de sentido da vida.
Em Vultures in the Living Room, o que parece impossível é negociado através da escrita fluida de Falcão. Aqui, o universo se estende e se expande, jogando a já maníaca vida urbana do Brasil em um caos celestial.

Absurdo, político, poético, mas também engraçado, como observou recentemente o blogueiro de cultura Detroit Richards em The Paltry Sum:
“A peça de abertura, Sea of ​​Mud me lembrou da‘ música de uma sala distante ’de Elliot, na medida em que o leitor está recebendo uma transmissão da cena de um desastre que se desenrola. A música é fraca e nos esforçamos para ouvir, mas algo está acontecendo. Ninguém parece saber exatamente o que é esse desastre assustador. Esta vinheta apresenta um microcosmo da humanidade diante de nós, usando o dispositivo de uma nave em apuros habitada em parte por jogadores e idosos. Não somos todos jogadores no navio da vida? Falcão cria cuidadosamente uma sensação de estranho, uma sensação de que há algo errado. ”

“Em suma, se você ainda não está convencido, eu diria que isso é algo que quem quer mergulhar no mundo do iconoclasta, do bufão, do humanista e, portanto, ter sua humanidade reafirmada e afirmada, deve se dar o tempo. ler. Esta é a carne com osso da literatura moderna e ainda pode me arrastar para fora da minha zona de conforto apolítica ”, disse Richards.

Urubus na Sala é uma reflexão importante sobre a vulnerabilidade humana em tempos de incerteza política e social.

VULTURES IN THE LIVING ROOM

From College Park to the Orange Revolution in Search of Eggs

From College Park to Ukraine’s Orange Revolution, A woman’s Journey for Donor Eggs

Helena Cavendish de Moura

The act of conception and its aftermath triggers a revolution in a woman’s mind and body.
Describe physical changes during pregnancy to an extra-terrestrial and they’ll think you’re describing transfiguration: our organs are rearranged, we become musculoskeletally and emotionally elastic beings enwrapped in a web of varicose, in a constant state of lachrymosity. To little 8-year-old Lenora zigzagging with hyperactivity in her parent’s brick College Park fixer-upper in her brick College Park mansion, that physical morphing is like super hero magic, an accepted part of her programming and play schemes in a universe of talking dolls and other pretend parenting paraphernalia. Later in life, Lenora will discover that she is like 12% percent of women in America of childbearing age and that pregnancy is not a given. Like a growing number of American women, the full-grown woman will pour all her financial and emotional resources into reaching that elusive and emotionally draining goalpost of becoming pregnant. More and more, getting pregnant is less and less of a choice for many as fertility rates continue to plummet. It is certainly not an option for the middle class as treatments become financially prohibitive.

Now bring together the aforementioned anxieties, desires and obstacles of modern Americans and fertility issues, pepper them with class-struggles, ADHD and wrap them into a 5’5” adult Lenora and send her on a train to the Ukraine to get donor eggs during a revolution and you have High Risk, Baby! a hilariously honest discussion about fertility, identity and what it means to be a “real” mother. You’ll hear one of the most honest and inner and outer dialogues, as well as a surrounding chorus of puppet voices with some strong opinions, while we navigate the tricky fault lines between a woman’s identity and her fertility. It is also the true story of actress and Push Push Arts co-founder Shelby Hofer and the distances she traveled in her quest to get pregnant with her husband, actor and director Tim Habeger. I sat down with Hofer after watching the play in Push Push Art’s new space in College Park. Her energy is unstoppable, and Hofer is, excuse the pun, impregnated with ideas about working more with women-teams to translate the feminine world.

“The whole play is filled with feminine energy, Hofer. “I started out with a creative Doula. We laughed so hard and we knew it’d work,” as she described Kali Quinn, a fellow art director who worked on the earlier stages of the surreal cosmology of a woman child who is jonesing for a baby. The multi- award-winning actress who is in fact from College Park, counted on some of Atlanta’s top talent to bring together all the emotional pieces strewn around from her personal story. Directed by Ellen McQueen, the play also features the work of New York-based actor, director and puppeteer Ariel Francoueur as the puppeteer, known for experimental and feminist theatre, and also going through IVF herself.

Hofer, whose mental and physical acrobatics on stage seamlessly connects all the dots and associations, from her hyperactive inner life as a child surrounded by her mad, alter-ego dolls to the 16th Century forceps used in the Ukraine clinic, said she believes in a certain “theatre magic” that takes place, especially when she joins forces with other creative women. That was the secret of bringing together such a rich tapestry of mediums and concepts, from film, to puppeteering, from cartoons and visual collages to sound, to finally tell her story, which at the end, is resolved with ease, love, simplicity.

“As women we are wired to handle a lot,” Hofer said. “You are always thinking in the future and the past. Acting, though, brings me 100 percent to the present.”

This is not a women’s play, Hofer said. It’s one fertility path for certain would-be parents of any gender. She said she is fascinated by the reaction by different genders to Lenora’s travails. The Push Push audience, when called by an 8-year old Lenora to answer questions about fertility and parenting as part of the play, bring a rich array of experiences and perspectives whether from a LGBTQ or heterosexual gaze.

The fast-paced, comedic monologue is 75 minutes and never misses a beat. A heart-warming, tender moment awaits us at the end. Ultimately, the play has a lot to do with taking risks and what she called “dancing with the universe.” Don’t be surprised or ashamed if, at the end, you might find yourself sniffling in unison with all genders and sexual orientations for a kind of love is somewhere inside all of us.

”Dancing With the Universe”
Paper doll/photography art work by Rob Nixon for High Risk, Baby!

LITERARY CRITIC DANIEL OSIECK INTERVIEWS LULA FALCÃO

General information:
Vultures in the Living Room is now available internationally
ISBN-10 ‏ : ‎ 1087881447
ISBN-13 ‏ : ‎ 978-1087881447
For a copy, please email: casafortepress@gmail.com
Digital copies: https://store.bookbaby.com/book/vultures-in-the-living-room
Or Kindle/Amazon: Please leave a review
ISBN #9781087881447

VULTURES IN THE LIVING ROOM, BY LULA FALCÃO

PRESS RELEASE: Daniel Osieck interviews Lula Falcão live May 5 2021

Falcão spoke with Brazilian literary critic Daniel Osiecki during his weekly Viva Literatura program about the very moment he thought he’d become a writer: it was in 1964, when news arrived of the military coup, which forced his father to immediately strike a match and set the entire family library on fire. Book-lovers, intellectuals, artists, students, became enemies of the state.

“From Lenin to (Pope) John XXII, we burned everything,” said Falcão, describing his father’s attempt to save his own neck in the days following the coup. “My father was an Atheist but he loved John XXIII,” he added. A Communist and intellectual, Falcão said his father was a voracious reader of Russian literature, sharing his devotion early on with his son.

Disappearing for six months into the mythical Sertão, the semi-arid Brazilian outback, his father later re-emerged to a country ravaged by the ultra-nationalist, U.S.-backed regime. The “Lead Years” ensued, and echoes of the torture chambers resonated through every corner, a dark, overhanging cloud of horror became stationary for many years to come. That eeriness, against a backdrop of our paradisiacal tropics, has given birth to this very contemporary narrative we associate with Falcão.

Lula is a newspaperman, a product of clacking and chaos of the Diario de Pernambuco newsroom, as he told his host. Having been there, I can attest it was like stepping into a film noir classic, where most of the editorial decisions were negotiated at the seedy downstairs bar. He opened up about his circadian, extra-curricular activities during the military dictatorship: “In the daytime I was a newspaperman, but I was also working for the “movement” clandestinely.”

Here are some translated quotes from the interview:

“I place my characters in completely absurd situations from the standpoint of physics, they traffic through a disturbed natural landscape.”

“I have no ritual and I try to have an undisciplined approach. In the old days, I used to think that I could only write if I heard newsroom noises, those newsroom noises were something phenomenal, I began noticing that I was distancing myself from journalism when those noises began disappearing. And as I left the noise of the newsrooms, the noise also left the newsrooms. Today newsrooms sound like intensive care units, incredibly quiet… in the old days we would shout, smoke… even when computers arrived, but suddenly, newsrooms became smaller, more quiet…”

“ I don’t try to be fantastical in my stories. They are stories sometimes set in a dystopian environment, sometimes in a distorted in environment, sometimes in an environment that seems apparently normal…our reality now shows that anything could happen, may happen, could have happened.”