1914 -
Writes poetry and fiction - Conto de Natal.
1915 –
Publishes his first text for the press – the musical critique "No
Conservatório Dramático e Musical: Sociedade de Concertos Clássicos" –
published in Jornal do Comércio, 11th of September,
signed M.
1917 –
Publishes his first newspaper and magazine art criticism essays;
publishes his first book, Há uma Gota de Sangue em Cada Poema,
under the pseudonym Mário Sobral. He directs the graphic design and the
book is well received critically.
Begins his Marginália.
1918
– Collaborates on A Gazeta as music critic; there he publishes, on
the 3rd of September, the article "A Divina Preguiça". Sends sonnets to
O Echo.
1919 – Is
contributer to A Cigarra, O Echo and A Gazeta.
1920 –
Collaborator on the Papel e Tinta magazine in São Paulo;
publishes short stories, sketches, critical writing and an open letter
to the State president, defending nationalism in the public statuary,
signing it as Saci Pererê.
Collaborates on
Ilustração Brasileira
and on Revista do Brasil, both cariocas [from the city of
Rio de Janeiro]; declares himself a columnist. His section "De São
Paulo", carries articles linked to the theme and the image of the city
of São Paulo, with its contrasts as a big city, the "harlequin-type"
diamond dress.
Collaborates on
Miscelanea, catholic periodical, signing as the "Eclesiásticas".
Writes the poems of
Paulicéia Desvairada.
1921 – In
response to the article "Meu Amigo Futurista", published by Oswald in
the Jornal do Comércio and in which he presents Mário de Andrade
to the readers, Mário publishes "Futurista?", repudiating aesthetic
labels and endorsing his own research on modernity.
Writes for the Jornal do
Comércio
the series "Mestres do Passado", against the Parnassianism.
Writes the "Prefácio
Interessantíssimo", of the book Paulicéia Desvairada.
1922 –
Publishes, with Casa Mayença, Paulicéia Desvairada, which
contains "Prefácio Interessantíssimo", with the cover by the author,
which is inspired in the cover of Arlechino, by Soffici.
According to Mário da Silva Brito, modernist poetry was born with this
book. And, according to the author himself, in a letter to Manuel
Bandeira, in May 1924: "Paulicéia is the crystallization of twenty
months of doubts, of sufferings and choleras. It is a bomb. It blew it!
Every bomb explodes with the dins and excesses of freedom. My sin, if
there is sin in this, was not to correct in it what it had of excessive
noise and excessive constructive freedom."
He is part of the group of
Klaxon
magazine, collaborating on all issues, multiplying himself in themes and
pseudonyms; as a critic, in defence of national cinema.
In the conferences of Vila
Kyrial, speaks about modernist poetry.
Writes Losango Cáqui.
1923 – In
the conferences of Vila Kyrial, speaks about the Paralelo entre Dante
e Bethoven.
Begins Amar, Verbo
Intransitivo, a romance in which the character Fräulein is inspired
in his German teacher.
Finishes A Escrava que
Não É Isaura.
Writes the poem "Carnaval
Carioca".
Collaborates on the São
Paulo magazine Ariel.
Begins the "Crônicas de
Malazarte", in the magazine América Brasileira.
1924 –
Translates Lieder
from the German for the recital, in the Conservatory, of the song by Lotte
Winzer Sievers.
Writes Noturno de Belo
Horizonte and
O Poeta como Amendoim.
Participates in conferences
at Vila Kyrial, with O Cubismo.
Sends texts to the Rio de
Janeiro magazine Estética.
1925 –
Collaborates on A Revista, in Belo Horizonte.
In the third issue of
Estética, publishes an open letter to Alberto de Oliveira,
supporting modernist ideas.
Is one of the writers
invited by the carioca newspaper A Noite to attend "O Mês
Modernista", which is a balance of the movement.
Composes Louvação
Matinal and Louvação da Tarde, included in Remate de
Males.
Publishes A Escrava Que
Não É Isaura. The book was written less than two months after the
Semana de Arte Moderna, in 1922. The polemic climate is apparent in
Mário’s words in the book’s preface: "The passadista
[that who worships the past] is he who drives a paper ox-cart on an
tarmac highway." Furthermore, "The passadista looks to find
nature in the work of art and, as he doesn't find it, ends up paranoid
or mystified."
1926 –
Macunaíma
has its first version written in one week.
Collaborates on Revista
de Antropofagia, on Revista do Brasil and on Terra Roxa e
Outras Terras.
On the invitation of Oswald
de Andrade, becomes critic of the São Paulo supplement in A Manhã.
Publishes Losango Cáqui
with a cover by Di Cavalcanti and in an edition of 800 copies, financed
by the author.
Publishes Primeiro Andar,
a book of short stories. In the preface, written in 1923, he writes: "If
now it sometimes happens that I balance myself alone over these
well-shod feet of mine, having stopped in none of the steps of the
twenties. I walked, therefore, in the orchards of many lands, eating
fruits grown by Eça and by Coelho Neto, by Maeterlinck (...)."
1927 –
Writes a diary of a journey, the first part of O Turista Aprendiz.
He doesn’t publish it immediately, only preparing a definitive edition
in 1943 and leaving it unpublished.
Publishes Amar, Verbo
Intransitivo
and Clã do Jabuti.
Begins to write the new
work Balança, Trombeta e Battleship.
Joins the recently founded
Diário Nacional, organ of the Democratic Party. Responsible for the
editorial department are Sérgio Milliet, Antônio Carlos Couto de Barros
and Amadeu Amaral. His largest production of journalistic texts is for
this newspaper: more than a thousand critical pieces, poetry, article
and short stories, between 1927 and 1932, when the newspaper closed
down.
Collaborates on the
Cataguases newspaper, Verde.
1928 –
Publishes Macunaíma, dedicating it to Paulo Prado. From the
journey he had made to the North, Mário would have collected new
elements with which to make a revision of the material he had for
publication. Mário writes about the book in a letter, of 1927, to Manuel
Bandeira: "I made a point of showing that, by being Brazilian as he is,
Macunaíma doesn’t have character. To make amends, some times he is
courageous, at other times a coward." In another letter, of 1930: "Very
secretly, it seems to me that the satire, besides being directed to the
Brazilian in general, of whom it shows some characteristic aspects,
systematically hiding good aspects, it’s certain that it always seemed
to me also to be a more universal satire [directed] to contemporary
man."
Publishes Ensaio Sobre
Música Brasileira.
During the trip to the
Northeast, writes, for the Diário Nacional, the series of
articles O Turista Aprendiz that will form the second part of a
book of the same name published later.
1929 –
Publishes Compêndio de História da Música, which later would be
rewritten and retitled Pequena História da Música (1942).
Is assigned as columnist to
the column "Táxi" in Diário Nacional.
Using material collected
during the trips to the North and to the Northeast, plans the work "Na
Pancada do Ganzá", which he leaves unpublished. The books that
compose it, Danças Dramáticas do Brasil,
Música de Feitiçaria no Brasil, Melodias do Boi e Outras Peças
and Os Cocos get to be published posthumously, through the work
of his student and disciple, Oneida Alvarenga.
Begins research for
Dicionáio Musical Brasileiro, also not concluded, later published by
Flávia Camargo Toni.
1930 –
Publishes, in the magazine Ilustração Brasileira, the important
essay "Origens do Fado".
Publishes Remate de
Males.
Publishes Modinhas e
Lundus Imperiais, anthology of pieces of the 19th Century.
1932 –
Publishes a series of smaller articles in Diário Nacional, under
the pseudonyms Luis Antônio Marques and Luis Pinho.
Collaborates on Boletim
de Ariel and on Revista Nova.
1933 – His
book Amar, Verbo Intransitivo is published in New York with the
title Fraulein.
1935 –
Writes the introduction to Estudos de Folclore by Luciano Gallet.
Publishes Belazarte.
The short stories were being written since 1924.
Publishes in Diário de
São Paulo
the essay "Os Congos".
Collaborates on Festa
and on Boletim de Ariel.
Publishes Música, Doce
Música.
1938 –
O Samba Rural Paulista is published as a separate supplement of the
Revista do Arquivo, vol. XCI.
Collaborates on Rio de
Janeiro’s Revista Acadêmica.
Writes for O Estado de
São Paulo
and writes literary criticism for Diário de Notícias. There, his
section "Vida Literária", will continue until 1940, with rich
production, from where Mário will select articles for Empalhador de
Passarinhos.
Os Compositores e a Língua
Nacional
and A Pronúncia Cantada e o Problema do Nasal Brasileiro, através de
Discos are published as a separate supplement of the Anais do
Primeiro Congresso da Língua Nacional Cantada.
1939 –
Namoros com a Medicina is published by Globo bookshop, Porto Alegre.
In the preface he writes: "Thrown outside writing by perhaps more human
passions, little by little I’m acquiring the old addiction of
literature."
Publishes the essays
"Cândido Portinari" and "A Expressão Musical nos Estados Unidos".
Publishes A Música e a
Canção Populares no Brasil through the Institut de Coopération
Intellectuele.
Begins work on Quatro
Pessoas.
1940 –
Beginning of the correspondence with Henriqueta Lisboa and Moacir
Werneck de Castro.
1941 –
Publishes Poesias.
Collaborates on Clima,
in which "Elegia de Abril" is published.
A Nau Catarineta
is published as a separate supplement of the Revista do Arquivo,
vol. XCIII.
Publishes Música do
Brasil, which is divided into two parts: Evolução Social da
Música Brasileira and Danças Dramáticas Ibero-brasileiras.
1942
–Takes part in the conference "O Movimento Modernista" in Rio de
Janeiro, at the invitation of Casa do Estudante do Brasil.
Makes contacts with the
publisher Martins about the publication of his Obras Completas.
Collaborator on O Diário
de São Paulo,
O Estado de São Paulo and on Folha de São Paulo.
Signs contract with the
Editorial Losada, of Buenos Aires, book about Portinari.
Rewrites Pequena
História da Música.
O Movimento Modernista
is published.
1943 –
Writes the essay "Arte Inglesa" and the lessons of the "Vida do
Cantador", for Folha de São Paulo.
Begins the publication of
Obras Completas: Pequena História da Música, Os Filhos da
Candinha, O Baile das Quatro Artes and Aspectos da
Literatura Brasileira.
Writes the poems of O
Carro da Miséria.
1944 –
Writes "Mundo Musical" and "O Banquete" for the Folha de São Paulo.
Writes Lira Paulistana.
Receives the Spanish
translation and the illustrations for the new publication of
Macunaíma.
Begins work on "A Meditação
sobre o Tietê", which is completed in February 1945.
1945 –
Padre Jesuíno do Monte Carmelo is published in an edition of SPHAN.
Lira Paulistana
comes out this year.
