"If he gave the book the first title, which prevailed until the eve of its publication, the writer would emphasize more the status of a story than a chapter of each of the divisions of the work," he explains. "This is because, metonymically, he would choose the name of a part to name the whole, a very common procedure in the titling of story books.In addition, if he opted for The Covered World of Feathers, a section that deals with the preparation of the family to leave the ranch, would make a more restricted reading of the life of the sertanejos, privileging only the ingrained fatalities and fatalism in the northeastern backlands. On the other hand, when choosing Dry Lives, his only title adjectivado, chose a name capable of encompassing all the narratives and give unity to the whole, highlighting the precise and well structured architecture of the whole.The title chosen, as explained by Graciliano Ramos himself, highlights the "miserable existence of work, struggle, under the glove of implacable nature and human injustice." The researcher points out: "Dry Lives embodies very well what in my opinion is the great legacy of Graciliano: the conjunction between formal rigor, introspection and problematization of different social themes such as misery, exploitation, humiliation , Among other ingredients that make up a very brazen cauldron of conflicts, about to explode. "Picture 7Graciliano Ramos - Photo: via Kurt KlagsbrunnGraciliano Ramos de Oliveira was a novelist, chronicler, short story writer, journalist, politician and Brazilian memoirist of the 20th century, best known for his book Vidas Secas.Born: October 27, 1892, Quebrangulo, AlagoasDeath: March 20, 1953, Rio de Janeiro, Rio de JaneiroNationality: BrazilianChildren: Ricardo Ramos, Clara Ramos, Junio Ramos, Heloisa Leite de Medeiros (from 1928 to 1953), Maria Augusta de Barros (from 1915 to 1920)fonte: @edisonmariotti #edisonmariottihttp://jornal.usp.br/cultura/vidas-secas-denuncia-o-descaso-social-e-a-exploracao-humana/Cultura nao e o que entra pelos olhos e ouvidos,mas o que modifica o jeito de olhar e ouvir. A cultura e o amor devem estar juntos.Vamos compartilhar.Culture is not what enters the eyes and ears, but what modifies the way of looking and hearing.--brVidas Secas denuncia o descaso social e a exploracao humanaEm dois breves paragrafos os que abrem o primeiro capitulo, Mudanca , o alagoano Graciliano Ramos sintetiza Vidas Secas. Descreve o cenario e apresenta a saga da cachorra Baleia, da mae Sinha Vitoria, do pai Fabiano e de seus dois filhos, que, no decorrer da historia, sao chamados de mais novo e mais velho. Sem nome e sobrenome, eles carregam a identidade das familias que ainda hoje vivem o descaso social e a exploracao humana no Pais.imagem 1O romance conta a historia de uma familia de retirantes do sertao brasileiro. Fotomontagem sobre imagem de uma das diversas capas de Vidas Secas (personagens) e Paisagem de caatinga, de Glauco UmbelinoNa planicie avermelhada os juazeiros alargavam duas manchas verdes. Os infelizes tinham caminhado o dia inteiro, estavam cansados e famintos. Ordinariamente andavam pouco, mas como haviam repousado bastante na areia do rio seco, a viagem progredira bem tres leguas. Fazia horas que procuravam uma sombra. A folhagem dos juazeiros apareceu longe, atraves dos galhos