Carolina Maria de Jesus (1914-1977), nicknamed Bitita, was a destitute black Brazilian woman born in the rural interior who migrated to the industrial city of Sao Paulo. This is her autobiography, which includes details about her experiences of race relations and sexual intimidation.
Carolina Maria de Jesus' book, Quarto de Despejo (The Trash Room), depicted the harsh life of the slums, but it also spoke of the author's pride in her blackness, her high moral standards, and her patriotism. More than a million copies of her diary are believed to have been sold worldwide. Yet many Brazilians refused to believe that someone like de Jesus could have written such a diary, with its complicated words (some of them misused) and often lyrical phrasing as she discussed world events. Doubters prefer to believe the book was either written by Audáulio Dantas, the enterprising newspaper reporter who discovered her, or that Dantas rewrote it so substantially that her book is a fraud. With the cooperation of de Jesus' daughter, recent research shows that although Dantas deleted considerable portions of the diary (as well as a second one), every word was de Jesus'. But Dantas did "create" a different Carolina from the woman who coped with her harsh life by putting things down on paper. This book sets the record straight by providing detailed translations of de Jesus' unedited diaries and explains why Brazilian elites were motivated to obscure her true personality and present her as something she was not. It is not only about the writer but about Brazil as recorded by her sarcastic pen. The diary entries in this book span from 1958 to 1966, five years beyond text previously known to exist. They show de Jesus as she was, preserving her Joycean stream-of-consciousness language and her pithy characterizations.
Carolina Maria de Jesus' book, Quarto de Despejo (The Trash Room), depicted the harsh life of the slums, but it also spoke of the author's pride in her blackness, her high moral standards, and her patriotism. More than a million copies of her diary are believed to have been sold worldwide. Yet many Brazilians refused to believe that someone like de Jesus could have written such a diary, with its complicated words (some of them misused) and often lyrical phrasing as she discussed world events. Doubters prefer to believe the book was either written by Audáulio Dantas, the enterprising newspaper reporter who discovered her, or that Dantas rewrote it so substantially that her book is a fraud. With the cooperation of de Jesus' daughter, recent research shows that although Dantas deleted considerable portions of the diary (as well as a second one), every word was de Jesus'. But Dantas did "create" a different Carolina from the woman who coped with her harsh life by putting things down on paper. This book sets the record straight by providing detailed translations of de Jesus' unedited diaries and explains why Brazilian elites were motivated to obscure her true personality and present her as something she was not. It is not only about the writer but about Brazil as recorded by her sarcastic pen. The diary entries in this book span from 1958 to 1966, five years beyond text previously known to exist. They show de Jesus as she was, preserving her Joycean stream-of-consciousness language and her pithy characterizations.
Carolina Maria de Jesus (1914-1977), nicknamed Bitita, was a destitute black Brazilian woman born in the rural interior who migrated to the industrial city of Sao Paulo. This is her autobiography, which includes details about her experiences of race relations and sexual intimidation.
A moving and powerful novel about the lives of the men, women, and children who endure a second-class existence and labor under dangerous conditions as migrant workers in California’s fields. “Viramontes depicts this world with sensuous physicality...working firmly in the social-realist vein of Steinbeck’s The Grapes of Wrath and Upton Sinclair’s The Jungle.”—Publishers Weekly At the center of this powerful tale is Estrella, a girl about to cross the perilous border to womanhood. What she knows of life comes from her mother, who has survived abandonment by her husband in a land that treats her as if she were invisible, even though she and her children pick the crops of the farms that feed its people. But within Estrella, seeds of growth and change are stirring. And in the arms of Alejo, they burst into a full, fierce flower as she tastes the joy and pain of first love. Pushed to the margins of society, she learns to fight back and is able to help the young farmworker she loves when his ambitions and very life are threatened in a harvest of death. Infused with the beauty of the California landscape and shifting splendors of the passing seasons juxtaposed with the bleakness of poverty, this vividly imagined novel is worthy of the people it celebrates and whose story it tells so magnificently. The simple lyrical beauty of Viramontes’ prose, her haunting use of image and metaphor, and the urgency of her themes all announce Under the Feet of Jesus as a landmark work of American fiction. Winner of the John Dos Passos Prize for Literature Selected as the Univesity of Oregon's 2019 Common Reading book
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