Book, Pay on the subway[LS]

By Beatriz Resende Pagu with Adriana, in Paris. The researcher will spend a year in Paris, to collect data, unravel enigmas from the little-studied years that Patrícia Galvão spent in France, between 1934 and 1935. The researcher, however, is a renowned novelist, having published several books. In other words, fiction runs through his veins. The narrative could begin in many ways, such as a project, a historical context, but it begins like this: “My name is Adriana Armony. It sounds like a stage name, but it's not. It has nothing to do with harmony, as some imagine. Armony without aga. And with epsilon. Means 'my castle' in Hebrew.” That's all the difference. From searches in the National Library, in police archives, in party and organization archives, a militant emerges who has a body, a suffering, injured body. As the writer has a body, but this one dances, makes love. Together they travel through the subways, through the streets of Paris, face demonstrations and protests. The city has changed, but the machismo of the 1930s leaders still lingers in the charming young people of today's cafes. Pagu no metro brings new research and photos, important discoveries in hospitals and archives. The documents bring truths, moments from the reality of Pagu and other women, workers, activists, but it is a woman's voice that tells their stories. To talk about them, the author needs to talk about herself, or it wouldn't be true. Confidences, research and fiction mix, led by a relentless first person who is not a mere literary resource. It is an expression of a new way, cultivated on feminist grounds, with critical perspectives that come from a perspective that is known to be different and unprecedented. Pagu no metro is neither a biography nor an autobiography, it is a testimony of the lives of two women who did not lack courage. Says Adriana: “Despite this, I will not omit anything. I didn't come this far to sugarcoat any pills.