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The secrets of cordel's success are its low price (pennies per pamphlet when I started out), its humorous tone, and its depiction of events from everyday life. The main topics that have always been portrayed in cordel include politics, drought, disputes, miracles, betrayal, outlaw life, acts of heroism, and memorials or obituaries for famous people. Today, there is a strong focus on teaching, whether it is folk tales for children, public health issues, or biographies of famous Brazilians and foreigners. Thus, cordel evolves, culturally adapting itself to modern times. Due to their low cost, these pamphlets are usually sold by the authors themselves at street markets and book fairs around the country. I have met and known many creators of cordel, or cordelistas, during my journey, including Abdias Campos, Bule-Bule, Abraão Batista, and Severino Silva. Franklin Maxado and Expedito Silva brought copies of their works directly to me at the Library of Congress Rio Office for many years. I became friends with Raimundo Santa Helena and his family, as they live close to Rio de Janeiro in Rocha Miranda. Raimundo has a special connection to the tradition: his father was killed by Lampião, a real-life outlaw whose exploits are recounted in many cordel pamphlets. Lampião is portrayed in legend as both a vicious killer and a Robin Hood. Raimundo typically begins his cordel poems by recounting the death of his father at the outlaw's hands. Raimundo founded Cordelbrás, a cordel publisher, in 1983 and studied in the United States, making it possible for him to produce bilingual pamphlets. He was also behind the creation of the Feira de São Cristóvão in 1945. This fair is held every weekend in Rio de Janeiro to celebrate the culture of northeastern Brazil, including forro dancing and literatura de cordel. In March 2011, Raimundo Santa Helena gave a "special edition" cordel to President Obama in honor of his visit to Rio de Janeiro. In searching for cordel materials to add to American Folklife Center's collection, I have gone to street markets, newsstands, and homes of cordelistas and suppliers. When I visited a book fair in 2000 in the city of Caruaru no Agrete in Pernambuco, a supplier of cordel recommended that I go to the house of a cordelista to get some copies of hard-to-find titles. Arriving at his house, I learned he was not home, but I was directed to another house. After being sent to three different addresses, I finally found him and made my purchases. It was only later that I learned the reason for the multiple addresses – the cordelista has multiple "wives!" When I joined the Library of Congress Rio Office in 1976, I came to fulfill a contract only two and-a-half months' duration. I never thought I would stay for thirty-five years. Today, more than ever, I feel rewarded by my work at the Library of Congress Office and I am grateful to have the opportunity to express my happiness and tell a little about my work. The effort I have put into the building of American Folklife Center's world-class collection over the span of my career was much more than a job. It was an act of pleasure, as I have a deep love for this type of literature and those who produce it. It is a pleasure to bring to the American Folklife Center a bit of Brazilian culture from a wide variety of places in this huge country called Brazil. Read Marli Soares' biographical sketch. Back to Top
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