THE LAST SONGS OF AUTUMN é lançado nos USA e Reino Unido.

Ruy Câmara ganha nos USA e Reino Unido três edições do seu premiado romance “The Last Songs of Autumn, the Shadowy Story of the Mysterious Count of Lautréamont”.

O romance foi traduzido por John Jensen e está disponível nas melhores BookStores para os leitores de qualquer país, nos formatos, Paperback, Herdcover e E-book.

Vale à pena a leitura do Posfácio do Autor.

Afterword by the Author

The genesis of this work is intertwined with a decision that radically changed my life.  In 1991 I suffered a tragedy that greatly affected my family and left me with no way to find meaning in life. In spite of the pain and the longing that I felt for my daughter, my fascination with literature intensified and I started to imagine that I could use it as my personal refuge and then allow it to become a major life enterprise. The problem was how to support my children by writing books.

In 1992 I brought my family together and announced that I was going to devote myself exclusively to literature. I turned my house into a library and stayed there for eleven years, reading and writing to please my own spirit. In 1996 a friend sent me a terrible book with a note that said: “I committed a crime in a friend’s library in order to share with you the literary banquet of the Count of Lautréamont.”

Reading that book awakened in me a curiosity to do research on the life of the author.  The adventure that began in Montevideo, Uruguay took me to France, Spain, Portugal, and Belgium.  When I sat down to write the novel, I experienced in my own flesh a kind of suffering that felt like an atonement. In fact, I had been seeking someone like Lautréamont, mired in his own dilemmas, without room to express himself and without recourse to the heavens.  Perhaps I was in search of my “essential self,” or something that lies in the depths of all great writers.

The Last Songs of Autumn is the culmination of a journey, a journey that I shall never dare to repeat. At the beginning I thought that there was enough material available to do a faithful biography, but then I discovered the opposite was true. After three years of research I gave up on the project, supposing that I was facing an indecipherable enigma.  Then I suddenly found myself caught in a real trap: I had already used up a good part of my finances and I could not see a solution. Only later, when new discoveries put me back on the trail of Lautréamont, did I realize that at those times when art must triumph over the dry, objective rationality required to take decisive action, my conscience would escape into the foyer of reason. Once again, I found myself wandering through Paris, Pau, Tarbes, Brussels, and Montevideo, now before a tomb, now ensconced in those taciturn scenarios, surrounded by thoughts and afflictions, as if I really were a part of the whole imaginary world that I was recreating. I would spend days or even weeks on a single page that somehow would not come to resolution. I took two more years to structure the work, fearing to do injustice to the painful and degenerate will of the character.

I recall an episode that occurred in Paris that led me to relive the moments preceding Lautréamont’s suicide. It was dawn. There was lightening, thunder, wind, and intense rain.  I felt far too exhausted to write the epilogue, when I had the strange sensation that the genius of Lautréamont was wandering freely around the areas of intransitivity of my senses. What happened there seems surreal within the parameters of absolute reason, but within those of art, everything is possible. And on that autumn night, I was finally able to go to Calvary and finish the book. I reinvented Lautréamont, as if looking for a synthesis of understanding to justify the greatest of human stupidities:  suicide.

Today, eighteen years after my decision, I deliver this book into the hands of my reader, supposing that I have something to say to someone who one day might have found himself oppressed by intentions, by family, by society, or by the State.  I do so in the hope that you may come to an understanding of this real character, who perished at his own hand at twenty-four years of age, believing that art can outlast life. So much is this the case that it was in death, as the grand prize to justify his existence, that Lautréamont, bastard son of a Catholic and Positivist France which was mother to Baudelaire and Rimbaud, set the mark of supra-realist rebellion that so much inspires and teaches us.

Ruy Câmara

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One Response to “THE LAST SONGS OF AUTUMN é lançado nos USA e Reino Unido.”

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   Jason Stone Says:
   janeiro 14th, 2010 at 23:37

   Ruy amigo,

   Congratulo-me com seu sucesso, agora em vários idiomas, o que apenas reafirma a universalidade de sua obra. Cantos de Outono é atemporal e não tem pátria. Seu livro é uma história que pertence ao mundo.

   Sinto-me feliz de ter, mesmo modestamente, participado da gestação destas capas. Fico honrado com isso.

   Estarei sempre por aqui.

   Um forte e fraterno abraço.

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