João do Rio was the pseudonym of the Brazilian journalist, short-story writer and playwright João Paulo Emílio Cristóvão dos Santos Coelho Barreto, a Brazilian author and journalist of African descent (August 5, 1881, Rio de Janeiro – June 23, 1921, Rio de Janeiro). He was elected on May 7, 1910 for the chair # 26 of Brazilian Academy of Letters.
Son of Alfredo Coelho Barreto (a Mathematics teacher and positivist), and Florência dos Santos Barreto (housewife), Paulo Barreto was born in Hospício St., 284 (current Buenos Aires St., in Rio de Janeiro's downtown). He took Portuguese classes in the traditional Colégio de São Bento (São Bento School), where he started to exert his natural endowment for literature. At the age of 15, he was admitted in the National Gymnasium; today, Colégio Pedro II (D. Pedro II school).
On June 1, 1899, with less than 18 years, he had a text published for the first time in a newspaper, A Tribuna. Signed with his own name, it was a review entitled Lucília Simões about Ibsen's play A Doll's House, performed in Santana Theater (currently Carlos Gomes Theater).
Prolific writer, between 1900 and 1903 he collaborated under various pen names with some prominent publications of the time as O Paiz, O Dia (not the same newspaper of today), Correio Mercantil, O Tagarela and O Coió. In 1903, he was appointed by Nilo Peçanha for the newspaper Gazeta de Notícias, where he would stay until 1913. It was in this periodical that his most famous pseudonym was born, João do Rio, when on November 26, 1903 he signed an article called O Brasil Lê (Brazil Reads), an inquiry about the literary preferences of the Carioca reader. And, as indicated by Gomes (1996, p. 44), "from this time forth, the name that fixes the literary identity swallows Paulo Barreto. Under this mask he will publish all his books and cultivates his fame. Next to the name, the name of the city".
According to his biographers, Barreto represented the outgrowth of a new type of journalist in the Brazilian press of the beginning of the 20th century. Until then, the literary and journalistic practice by intellectuals was regarded as of little account, a lesser activity for people with many vacant hours (e.g., public servants). Paulo Barreto moved the literary creation frontwards and started to live from this, using his pen names (more than ten) to attract various audiences.
Between February and March 1904, he carried through a series of news articles entitled As religiões no Rio (The religions in Rio). Beyond its character of "investigative journalism", it constitutes an important anthropological and sociological analysis, early recognized as such, particularly by the four pioneering texts about African cults, which precedes in more than a quarter of century the publications by Nina Rodrigues on the subject (beyond that, the works of Rodrigues were in large measure restricted to the academic circles of Bahia).
Scholars had pointed out similarities between "As religiões no Rio" and the book "Les petites réligions de Paris" (1898), by French writer Jules Bois. However, the similarity seems to be much more in the general idea (an inquiry on the manifestations of religious minorities in a big city) than in the plan of the formal accomplishment.
The news articles series aroused such great curiosity that Barreto published them in book form, and sold more than 8,000 copies in six years. This achievement is still more impressive in view of the restricted reading public of the time, in a country with high illiteracy rates.
Some biographers criticize Barreto for the fact that, when he realised the bonanza he could obtain by the publication of collections (something that would become common in Brazil in the second half of 20th century), he developed a "formula" to inflate his own bibliography.
Elected for the Brazilian Academy of Letters in his third attempt (1910), Paulo Barreto was the first person to be admitted there wearing the now famous "fardão dos imortais" (the "robe of the immortals"). Years later, with the election of his adversary, the poet Humberto de Campos, Barreto moved away from the institution. According to some biographers, when informed of his death, his mother ordered that the funeral service should not be held at the Academy hall, as usual for members, because her son would not have approved the idea.
Since early, the sexual preferences of Barreto brought forth suspicion (and, later, gibe) among his contemporaries. Bachelor, without girlfriend or known mistress, many of his texts transpire a sufficiently explicit homoerotic inclination. The suspicion was eventually confirmed when he presented himself as promoter in Brazil of the "cursed" Oscar Wilde, whose works he translated into Portuguese. Historians have labeled him as a "notable black homosexual writer".[1]
An odd person, dressed like a "fashion plate" (Rodrigues, 1996, p. 239), Barreto never dared to defy the stereotypes of that era. However, for aspiring to defend new ideas in social and political fields, his "voluminous, thick-lipped and dark figure with a very smooth coat" (as registered by Gilberto Amado) became a perfect target for all sorts of reactionaries, homophobics and racists like Humberto de Campos.
His presumed "flirt" with Isadora Duncan in 1916 (when she was performing in the Theatro Municipal of Rio de Janeiro), expresses this sexual ambiguity. Duncan and Barreto had met previously in Portugal, but it was only during her performance in Rio that they became close. The exact level of this intimacy is a mystery. Rodrigues (1996) talks about a factoid or hype, an expedient to attract the attention of the press, whilst other sources cite a supposed dialogue where the dancer would have questioned Barreto about his pederasty, and he would have answered in French: Je suis très corrompu (I am very corrupted).
In 1920, Barreto established the periodical A Pátria (The Fatherland, ironically called A Mátria–or The Motherland– by his detractors), in which he sought to defend the interests of the Poveiros, Portuguese fishermen from Póvoa do Varzim that supplied with fishes the city of Rio de Janeiro. Threatened by a fishing nationalization law decreed by the Brazilian government, the Poveiros went on strike.
The activity of Barreto in favor of the Portuguese colony brought to him a lot of enemies, numberless moral offences (leaf lard with two eyes was one of the lightest) and even a despicable episode of physical aggression: entrapped alone when he took a meal in a restaurant, he was beaten by a group of nationalists.
Overweight, Barreto was feeling ill during all June 23, 1921. He took a taxi and, with the increase of the malaise, he asked the driver to stop the car and bring him a glass of water. However, before help could arrive, he died of a sudden myocardial infarct.
The news about João do Rio's death quickly spread all over the city. A guessed number of 100,000 people went to the burial of the writer that years before, under the pen name of Godofredo de Alencar, had registered his preferential option for the diversity:
The name Paulo Barreto christens an ordinary street in the quarter of Botafogo, in Rio de Janeiro. As Graciliano Ramos pointed out, the homage made is modest: they had offered a short street to him (Gomes, 1996, p. 11). His name is also the name of a square in Lisbon, Portugal, where there is a small monument in his honour (containing the following citation "The Portuguese owe me nothing for loving and defending Portuguese people, for that way I love, worship, and long for my motherland twice."/"Nada me devem os portugueses por amar e defender portugueses, porque assim amo, venero e e quero duas vezes a minha pátria.").
João Do Rio has been portrayed in Brazilian cinema and television. He was played by José Lewgoy in the movie Taboo (1982) and by Otávio Augusto in the movie Brasilia 18% (2006).
1 (Adelino Fontoura): Luís Murat ► Afonso d'Escragnolle Taunay ► Ivan Monteiro de Barros Lins ► Bernardo Élis ► Evandro Lins e Silva ► Ana Maria Machado 2 (Álvares de Azevedo): Coelho Neto ► João Neves da Fontoura ► João Guimarães Rosa ► Mário Palmério ► Tarcísio Padilha ► Eduardo Giannetti da Fonseca 3 (Artur de Oliveira): Filinto de Almeida ► Roberto Simonsen ► Aníbal Freire da Fonseca ► Herberto Sales ► Carlos Heitor Cony ► Joaquim Falcão 4 (Basílio da Gama): Aluísio Azevedo ► Alcides Maia ► Viana Moog ► Carlos Nejar 5 (Bernardo Guimarães): Raimundo Correia ► Oswaldo Cruz ► Aloísio de Castro ► Cândido Mota Filho ► Rachel de Queiroz ► José Murilo de Carvalho ► Ailton Krenak 6 (Casimiro de Abreu): Teixeira de Melo ► Artur Jaceguai ► Goulart de Andrade ► Barbosa Lima Sobrinho ► Raimundo Faoro ► Cícero Sandroni 7 (Castro Alves): Valentim Magalhães ► Euclides da Cunha ► Afrânio Peixoto ► Afonso Pena Júnior ► Hermes Lima ► Pontes de Miranda ► Diná Silveira de Queirós ► Sérgio Correia da Costa ► Nelson Pereira dos Santos ► Cacá Diegues 8 (Cláudio Manuel da Costa): Alberto de Oliveira ► Oliveira Viana ► Austregésilo de Athayde ► Antônio Calado ► Antônio Olinto ► Cleonice Berardinelli ► Ricardo Cavaliere 9 (Gonçalves de Magalhães): Carlos Magalhães de Azeredo ► Marques Rebelo ► Carlos Chagas Filho ► Alberto da Costa e Silva ► Vacant 10 (Evaristo da Veiga): Rui Barbosa ► Laudelino Freire ► Osvaldo Orico ► Orígenes Lessa ► Lêdo Ivo ► Rosiska Darcy de Oliveira
11 (Fagundes Varela): Lúcio de Mendonça ► Pedro Augusto Carneiro Lessa ► Eduardo Ramos ► João Luís Alves ► Adelmar Tavares ► Deolindo Couto ► Darcy Ribeiro ► Celso Furtado ► Hélio Jaguaribe ► Ignácio de Loyola Brandão 12 (França Júnior): Urbano Duarte de Oliveira ► Antônio Augusto de Lima ► Vítor Viana ► José Carlos de Macedo Soares ► Abgar Renault ► Lucas Moreira Neves ► Alfredo Bosi ► Paulo Niemeyer Filho 13 (Francisco Otaviano): Alfredo d'Escragnolle Taunay ► Francisco de Castro ► Martins Júnior ► Sousa Bandeira ► Hélio Lobo ► Augusto Meyer ► Francisco de Assis Barbosa ► Sérgio Paulo Rouanet ► Ruy Castro 14 (Franklin Távora): Clóvis Beviláqua ► Antônio Carneiro Leão ► Fernando de Azevedo ► Miguel Reale ► Celso Lafer 15 (Gonçalves Dias): Olavo Bilac ► Amadeu Amaral ► Guilherme de Almeida ► Odilo Costa Filho ► Marcos Barbosa ► Fernando Bastos de Ávila ► Marco Lucchesi 16 (Gregório de Matos): Araripe Júnior ► Félix Pacheco ► Pedro Calmon ► Lygia Fagundes Telles ► Jorge Caldeira 17 (Hipólito da Costa): Sílvio Romero ► Osório Duque-Estrada ► Edgar Roquette-Pinto ► Álvaro Lins ► Antônio Houaiss ► Affonso Arinos de Mello Franco ► Fernanda Montenegro 18 (João Francisco Lisboa): José Veríssimo ► Barão Homem de Melo ► Alberto Faria ► Luís Carlos ► Pereira da Silva ► Peregrino Júnior ► Arnaldo Niskier 19 (Joaquim Caetano): Alcindo Guanabara ► Silvério Gomes Pimenta ► Gustavo Barroso ► Silva Melo ► Américo Jacobina Lacombe ► Marcos Almir Madeira ► Antônio Carlos Secchin 20 (Joaquim Manuel de Macedo): Salvador de Mendonça ► Emílio de Meneses ► Humberto de Campos ► Múcio Leão ► Aurélio de Lira Tavares ► Murilo Melo Filho ► Gilberto Gil
21 (Joaquim Serra): José do Patrocínio ► Mário de Alencar ► Olegário Mariano ► Álvaro Moreira ► Adonias Filho ► Dias Gomes ► Roberto Campos ► Paulo Coelho 22 (José Bonifácio the Younger): Medeiros e Albuquerque ► Miguel Osório de Almeida ► Luís Viana Filho ► Ivo Pitanguy ► João Almino 23 (José de Alencar): Machado de Assis ► Lafayette Rodrigues Pereira ► Alfredo Pujol ► Otávio Mangabeira ► Jorge Amado ► Zélia Gattai ► Luiz Paulo Horta ► Antônio Torres 24 (Júlio Ribeiro): Garcia Redondo ► Luís Guimarães Filho ► Manuel Bandeira ► Cyro dos Anjos ► Sábato Magaldi ► Geraldo Carneiro 25 (Junqueira Freire): Franklin Dória ► Artur Orlando da Silva ► Ataulfo de Paiva ► José Lins do Rego ► Afonso Arinos de Melo Franco ► Alberto Venancio Filho 26 (Laurindo Rabelo): Guimarães Passos ► João do Rio ► Constâncio Alves ► Ribeiro Couto ► Gilberto Amado ► Mauro Mota ► Marcos Vilaça 27 (Antônio Peregrino Maciel Monteiro): Joaquim Nabuco ► Dantas Barreto ► Gregório da Fonseca ► Levi Carneiro ► Otávio de Faria ► Eduardo Portella ► Antonio Cícero 28 (Manuel Antônio de Almeida): Inglês de Sousa ► Xavier Marques ► Menotti Del Picchia ► Oscar Dias Correia ► Domício Proença Filho 29 (Martins Pena): Artur Azevedo ► Vicente de Carvalho ► Cláudio de Sousa ► Josué Montello ► José Mindlin ► Geraldo Holanda Cavalcanti 30 (Pardal Mallet): Pedro Rabelo ► Heráclito Graça ► Antônio Austregésilo ► Aurélio Buarque de Holanda Ferreira ► Nélida Piñon ► Heloísa Teixeira
31 (Pedro Luís Pereira de Sousa): Luís Caetano Pereira Guimarães Júnior ► João Batista Ribeiro de Andrade Fernandes ► Paulo Setúbal ► Cassiano Ricardo ► José Cândido de Carvalho ► Geraldo França de Lima ► Moacyr Scliar ► Merval Pereira 32 (Manuel de Araújo Porto-Alegre): Carlos de Laet ► Ramiz Galvão ► Viriato Correia ► Joracy Camargo ► Genolino Amado ► Ariano Suassuna ► Zuenir Ventura 33 (Raul Pompeia): Domício da Gama ► Fernando Magalhães ► Luís Edmundo ► Afrânio Coutinho ► Evanildo Bechara 34 (Sousa Caldas): João Manuel Pereira da Silva ► José Maria da Silva Paranhos Jr. ► Lauro Müller ► Aquino Correia ► Magalhães Júnior ► Carlos Castelo Branco ► João Ubaldo Ribeiro ► Zuenir Ventura ► Evaldo Cabral de Mello 35 (Tavares Bastos): Rodrigo Otávio ► Rodrigo Otávio Filho ► José Honório Rodrigues ► Celso Cunha ► Cândido Mendes de Almeida ► Godofredo de Oliveira Neto 36 (Teófilo Dias): Afonso Celso ► Clementino Fraga ► Paulo Carneiro ► José Guilherme Merquior ► João de Scantimburgo ► Fernando Henrique Cardoso 37 (Tomás António Gonzaga): José Júlio da Silva Ramos ► José de Alcântara Machado ► Getúlio Vargas ► Assis Chateaubriand ► João Cabral de Melo Neto ► Ivan Junqueira ► Ferreira Gullar ► Arno Wehling 38 (Tobias Barreto): Graça Aranha ► Alberto Santos-Dumont ► Celso Vieira ► Maurício Campos de Medeiros ► José Américo de Almeida ► José Sarney 39 (Francisco Adolfo de Varnhagen): Manuel de Oliveira Lima ► Alberto de Faria ► Rocha Pombo ► Rodolfo Garcia ► Elmano Cardim ► Otto Lara Resende ► Roberto Marinho ► Marco Maciel ► José Paulo Cavalcanti Filho 40 (José Maria da Silva Paranhos Sr.): Eduardo Prado ► Afonso Arinos ► Miguel Couto ► Alceu Amoroso Lima ► Evaristo de Moraes Filho ► Edmar Bacha
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