Abstract
This essay aims to read O perfeito cozinheiro das almas deste mundo (1918-1919) as a laboratory of modernism: collective and diaristic writing, collage and montage are fundamental ingredients of this experiment in whose pages a dramaturgy of seduction is expressed. On the one hand, the material conditions of the diary allow for an approximation to traces of the outside world that are being moulded to the plasticity of the regular visitors who are protected by pseudonyms. On the other hand, these elements lead, in part, to the constitution of a new sensibility in which “love” and “loving” become readymade constructs. As floating signifiers, they adhere to the dynamics of humour, parody, and even the struggling dimension that comes with the death of Miss Cyclone. This reading of the diário da garçonnière follows fundamentally through the materialities that the facsimile edition releases throughout its pages.
Keywords:
Diary; Oswald de Andrade; collage; montage; parody
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