( d u a s ( l i n g ( u a g e (
n s d ) i f ) e r ) e n ) t e s
( u m a s ( o n a n ( t e & a (
O U T ) r a ) a u ) s e ) n t e
( l u a m ( I N g u ( a n t e (
l u a ) c r ) e s ) c e ) n t e
Translator’s Glossary
|
WORD
|
DEFINITION
|
POSSIBLE SYNONYMS
|
|---|---|---|
| & (conj.) | in addition | &, and, plus |
| a (art.) | denoting one or more people or things already mentioned or assumed to be common knowledge | the, that |
| ausente (adj.) | not present in a place, at an occasion, or as part of something | absent, missing, vanished, remote, not here, somewhere else, lost |
| crescente (adj.) | having a progressively larger part of a visible surface illuminated, increasing the apparent size | waxing, increasing, growing, rising, enlarging |
| diferentes (adj.) | not the same as each other | different, distinct, separate, dissimilar, unlike, unalike |
| duas (adj.) | equivalent to the sum of one and one | two, a couple, both, pair, duo |
| linguagens (n.) | the systems of communication used by particular communities or countries | languages, vocabularies, dialects, tongues, slang, lingos |
| lua (n.) | the natural satellite of the earth, visible by reflected light from the sun | moon, satellite, orb |
| minguante (adj.) | having a progressively smaller part of a visible surface illuminated, so that it appears to decrease in size | waning, declining, diminishing, shrinking, ebbing, dwindling |
| outra (pron.) | used to refer to a person or thing that is different or distinct from one already mentioned | other, another, second, next, alternative |
| sonante (adj.) | having or emitting a clear, resonant sound | resounding, voiced, expressed, pronounced, spoken, ringing |
| traduzir (v.) | to convert or be converted into another form or medium, especially from one language to another | translate, convert, render, rephrase, decode |
| uma (pron.) | a single person or thing | one, this one |
Bio
Carlito Azevedo was born in Rio de Janeiro, where he continues to write today. He is part of a “new generation” of Brazilian poets. After publishing several collections of poetry, he took a thirteen-year break, a difficult period during which he found himself unable to write. During those years, however, he cofounded and edited a journal of contemporary Brazilian poetry and translations.
This poem is an example of concrete poetry, a term that originated in Brazil. The idea is that the arrangement of the words on the page is as important to the meaning of the poem as the words themselves. Some concrete poems resemble real-life objects, whereas others form abstract shapes such as spirals and zigzags. In the 1950s, several Brazilian poets organized the first ever exhibition of concrete poetry and, a couple of years later, wrote a manifesto explaining the poetic form and its purpose.