July 19, 2018


Mauricio Campos presents us with the highest level of artistic and fictional creation, in Urban Mosaics that aims to a light at the end of the tunnel by focusing the several current troubles faced by the civilization and its discontents, forecast by men and women that forged psychoanalysis, in the late nineteenth century.

Thus, the author seems to have dedicated to transport us in space and time, through mentioning and visiting to several cities, states, countries and regions: Canton, Stockholm, Hong Kong, Milan, Mococa, New York, Beijing, Porto Alegre, Ribeirão Preto, São Benedito das Areias, São Paulo, Shanghai; Bahia; Germany, Argentine, Brazil, China, United States, The Philippines, Finland, Ireland, Macao, Sweden; East Indies; Himalayas, Persia and many other places.

Therefore, Mauricio Campos makes good use of some artifices that are not often found in works in which they are expected, such as, for instance: metalanguage, in which he addresses the writing processes through the very writing, what allows the broadcasting of Art in its limits or even in its transcendence (the tract among writers of crime fiction, Arturo [a main characters of some short-stories] in São Paulo, Arturo and the ghost writer, Arturo in Macao; the commerce of the writer with his creation sources); the joint exploration, and not limited, of the literary genres that allow for the reader’s access to the epic, dramatic and lyric literature; the approach of critical themes, and in the pathways for universalization, of our time, such as feminism and the sexual diversity, reaching its extreme with the narration in first person of Alice, a character aged fourteen year old, which somehow safeguards the universalization and harmonization of the sexual genders.

In addition to all of these important means of social pacification and even having already run through the cornfields of Terror, Campos seems to “invent” a new ethics, namely, the ‘ethics of peace’ or the ‘anti-terror ethics’, through the literary reflection that involves musicalization of literature; addressing the fear and its overcoming, with the “ox” of Folia de Reis [Revelries of Kings] that frightens children to put an end to fear and prevent from it; the relationship of parents with their children: the mother who slanders the father for the sons more aiming to try their honor to the father than to disintegrate the family. The presence of technology, if not much in the contents, that try to deal with living, in the skin, perhaps in the form, that allows the writing of a book beyond complete in the technological point of view.

At last, the obscurity of some titles and tissues of the short-stories and poems, expressions and ends, that we read in Urban Mosaics, which despite intriguing at first sight, may actually serve to draw attention to how much one needs to learn and how much one can learn through fiction.

If even the shortest and lively narratives, such as “Abrantes”, for example, with about half a page, could give rise to great movies production, let alone the crime fiction story “Caroline Kress in Sarajevo”, full of expressive and dramatic images. Therefore, and for much more the work brings and may incite, the reader will be pleased to visit a great universe through the brilliant and valuable grammar of Mauricio R. B. Campos also in Urban Mosaics!

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