His work is recognized by its torn eroticism, by showing violence in all its dimensions, and by the moral cynicism that unmasks the hypocrisy - everyone knows that, even those who don´t know his work.
Curiosamente, todas as cinco fases estéticas na evolução do trabalho de Nelson Rodrigues correspondem a mudanças na sua vida profissional como jornalista.
Interestingly, all five aesthetic stages in the evolution of Nelson Rodrigues´ work correspond to changes in his professional life as a journalist.
The first stage is the reporter and critic, lived in the newsrooms of his father´s papers, A manhã and Crítica.
Nelson began writing at the age of fifteen, when A manhã headed to a new headquarter in late 1927.
I always considered myself to be a progressive person.
And I always considered embarrassing my intellectual passion for three northeastern reactionary journalists: Câmara Cascudo, Gilberto Freire and Nelson Rodrigues.I struggled a lot with Cascudo, um to the point when I accepted and recognized in him the storyteller as a dimension that embraces anthropology and journalism. Technically, he is a multiple ethnographer (of food, gestures, costumes), but above all a thinker with narrative conscience, that is, he knows he is a storyteller and this simplicity is what makes him great and really important as a thinker because he makes a reading of what is erudite from popular culture.With Gilberto Freire, who I got to know only very late due to my own prejudice, I discovered the sociological critique of behaviors in a genealogical methodology that is nothing behind Michel Foucault and contemporary historians.Freire is fascinating, especially because it builds a social criticism perspective different then Marxism and almost all social thinking of his time.Both Freire and Cascudo are examples of journalists who built social sciences in Brazil before the upcoming of the social communications. Also he was not a 'social scientist', although his work is devastating as a critique of behaviors.And, due to the fact of being Northeastern (and never had left their homelands) and standing for right-wing positions on the national political scenario, they were always neglected and hidden by the academy. Nor could he be hidden by the left-wing prejudice, once his texts not only revolutionized and popularized national theatre but also helped build mass media in Brazil, both on cinema and television. He is the author of the first Brazilian soap opera, A morta sem espelho [dead woman without a mirror] (1963) (2) and his work continues to be adapted with large audience (3) up to this day.