Mário Peixoto begins to write and publish around the same period in which Limite has been planed and filmed. In 1931, he releases a collection of poems called Mundéu (reedited in 1996) which is characterized by a strong modernist accent. Mário de Andrade writes the foreword: “The poems of Mário Peixoto are especially characterized by their velocity. The impression they give is of a violent jet, irrepressible strikes. They are poems that are born complete, explosions of a unit, excellent at times, in which the plasticity of movement and images is incomparable to our contemporary poetry”. Peixoto himself soon disregarded Mundéu as being too false and artificially constructed.

In the same year Peixoto publishes, in a magazine called Bazar, three short stories and a play, that are part of a collection published by Saulo Pereira de Mello in 2004: Six stories and two short plays (aeroplane) which also includes undated and so far unpublished material written by Mário.

In 2002, another collection of poems written between 1930 and 1960, Poemas De Permeio Com O Mar (aeroplane), is published.

Constança Hertz, in her article Mapas Inexistentes, Caminhos Incertos: A Obra Poética De Mário Peixoto comments on the poetry: “The poetic images always reveal a oscillating reality, emerging and ready to disappear again. The reality that is part of the poems always carries the mark of the instability, as if the possible reality always had a consistency of dreams, clouds, seas - always unstable; [...] In Mário Peixoto’s poems, the flow is permanent […] and this uncertainty becomes the only possible reality”.

In 1933 Mário publishes, as a private edition, his first romance, O Inútil De Cada Um with a preface by Octávio of Farias who defines the romance as a “book of difficult penetration and understanding [...]; an admirable book, once assimilated” and a “romance to read and re-read”. Another version of the same romance is published a year later by Alfredo Frederico Schmidt and in 1996, Sette Letters re- edits the original text of 1933. From 1967 on, in Angra dos Reis and on his Sítio Do Morçego, Mário re-elaborates the original text of 1934/5, using it as matrix for an extended version divided in six volumes. So far only the first volume O Inútil De Cada Um– Itamar has been released in 1984 by publishing company Record,

through intervention of Jorge Amado, with whom Mário had worked on one of his film projects. The romance, a complex literary universe of about 2000 pages (six volumes) and extraordinary textual quality, dialogues visibly with two famous novels: In Search of Lost Time (1913-27) by Marcel Proust and Virginia Woolf’s Orlando (1928). Peixoto sends his main figure Orlando, with clear autobiographic references and who’s homosexuality is, in this first volume, still more latent then determent, on a trip through time where a fluctuant memory dictates the textual rhythm. Writing against time and the clock hand with its permanent message of “one less, one less”, counterbalancing the loss of temporal space with a gain of textual permanency, evoking memory without violating its potential and still aiming towards a contingent comprehension of the past, that is the paradoxical key of his novel which could have been – or still may turn into – one of the outstanding novels, not only in Brazilian literature.


Hertz, Constança. Mapas inexistentes, caminhos incertos: a obra poética de Mário Peixoto. http://www.secrel.com.br/jpoesia/ag17hertz.htm.

Peixoto, Mario. O inútil de cada um. Rio de Janeiro : Record, 1984.

Peixoto, Mário. O inútil de cada um. Rio de Janeiro : Sette Letras, 1996. (reedição da versão de 1931, 153 pages.)

Peixoto, Mário. Mundéu. Rio de Janeiro: Sette Letras, 1996.

Peixoto, Mário. Poemas de permeio com o mar. Aeroplano, 2002.

Peixoto, Mário. seis contos e duas peças curtas. Rio de Janeiro: aeroplano, 2004.