<?xml version='1.0' encoding='UTF-8'?><xml><records><record><source-app name="HighWire" version="7.x">Drupal-HighWire</source-app><ref-type name="Journal Article">17</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">Monteiro, Pedro Meira</style></author></authors><secondary-authors></secondary-authors></contributors><titles><title><style face="normal" font="default" size="100%">Todo instante</style></title><secondary-title><style face="normal" font="default" size="100%">Luso-Brazilian Review</style></secondary-title></titles><dates><year><style  face="normal" font="default" size="100%">2010</style></year><pub-dates><date><style  face="normal" font="default" size="100%">2010-06-01 00:00:00</style></date></pub-dates></dates><pages><style  face="normal" font="default" size="100%">61-70</style></pages><doi><style  face="normal" font="default" size="100%">10.1353/lbr.0.0108</style></doi><volume><style face="normal" font="default" size="100%">47</style></volume><issue><style face="normal" font="default" size="100%">1</style></issue><abstract><style  face="normal" font="default" size="100%">This article aims at understanding the fictional work of Brazilian contemporary writer João Almino. From his first novel, Ideias para onde passar o fim do mundo (1987), to his most recent one, O livro das emoções (2008), Almino sounds out the legacy of the 1960s, suggesting that its libertarian impulses define a whole generation of Brazilians, who nevertheless see themselves, by the end of the dictatorship, oscillating between a most promising utopia and the helpless failure of all dreams. Such an oscillation shapes most of his characters, who live in a dream-like Brasília where politics, love and writing form a complex subject. Finally, this article argues that both cinema and photography provide the clues for the understanding of Almino’s subtle and sophisticated writing, whose metanarrative features are coupled with a touching lyricism.</style></abstract></record></records></xml>