What is Géa?

MINIMUM SUMARY OF THE OPUS GÉA (in Portuguese)

  • Clicking the mouse in the illustration below, you will see it in the page named Arquétipo (Archetype) of this site, where the covers of the books appear with better resolution. In that page, each cover is a link, which will bring you to pages which present the books, which covers will be with still better dimension and resolution.
  • Despite the covers of Géa Ilustrada (Géa, Illustrated version) are seen smaller in the image below, all the covers of both versions, Illustrated and Non-illustrated, of Géa have the same dimension, with the format of 16cm x 23cm. - CCDB

Géa is everything! Everything is made of Géa. But Géa is not only that.

Géa is the book which is different from any other until nowadays, and cannot be classified in any kind of literature or style but its own - or its several ones. If any publisher looks for an unconventional book, Géa is the answer. And in despite of that undefined classification, Géa is presented in this site as “the greatest written work of all times”. If a publisher has speciallized editors, it will be necessary to distribute copies of Géa to all of them, because this opus cannot be treated as simple fiction, romance, literature, mystical work, philosophy or any other pre-estabilished and limitting classification.


I*, the author, know that the good publisher and any of his professional collaborators think that they are capable of understanding all styles; but let's see if that challenge is an exaggeration...

Géa is a SINGLE BOOK with twelve volumes of story; and another one with a glossary, a dictionary, characters lists, etc. Thirteen volumes, named "livros" (Livro Primeiro, Livro Segundo... ... Livro Treze), but I repeat that they are a single book.

Each one of the twelve volumes of history is a "Livro" (book) and has circa two hundreds and fifty pages.

The thirteenth volume, with a thousand pages, is the "Livro Treze - Glossário Geóctone - O Relacionador", which, because of the smaller characters and the number of bytes (in the PDF version) has the worth of the other twelve - in fact, it surpasses in that numbers the twelve volumes added together.

The Livro Treze has the "Glossário Geóctone" (Geóctone Glossary); with the words of several idioms of many worlds, the (non-vicious) neologisms, the words of the Portuguese language which are not dictionarized in the conventional dictionaries; and includes the "Rarefeito Dicionário de Palavras Raras" (Rarefact Dictionary of Rare Words), where the number of verbets surpasses twenty five thousands.

The lexicon (the collection of words applied by an author) in the twelve text books of the opus Géa reaches thirty thousand words; that is: the lexicon in Géa surpasses the lexicon of William Shakespeare, which has, in his whole opus, fifteen thousand words. The lexicon in Géa also exceeds the lexicon of Camões in "Os Lusíadas" by six times. The difference between the total of different words in the text books (circa 30,000) and the total of verbets in the Livro Treze (circa 25,000) is due to the fact that not all the words of the text books are in the Livro Treze verbets - the easier ones are not entered in dictionary form, because they are obvious.

What is the purpose of Livro Treze?

The Livro Treze - Glossário Geóctone, also called "O Relacionador", avoids the use of three volumes during the reading of each one of the text books; that is: it saves the job of handling one of the text books, and the glossary and a third part Portuguese dictionary. The Livro Treze contains the glossary and the dictionary. Therefore, two volumes are enough: the one with the story and the Livro Treze.

The person who reads the twelve volumes with the Géa stories would have at his/her side, perhaps in the hands of a companion (it's nice to read it together with a partner!), the Livro Treze, in which there are all the acceptations of the words, in case he or she doesn't know them, and where there are also the lists of personages, starships, songs, films; all that is mentioned in the twelve volumes of the story.

(IN THE ELECTRONIC VERSION ALREADY PUBLISHED IN THIS SITE, HERE, THE AUTHOR WILL INCLUDE SOON AN ELECTRONIC VERSION OF THE "LIVRO TREZE", THE DICTIONARY, WHICH IS BEING PREPARED BY THE OWN AUTHOR AS AN APPLICATION WHERE YOU CAN TYPE ANY WORD TO FIND ITS ENTERING IN THE SAME DICTIONARY - CCDB May, 7, 2011)

It's also possible to run one of the volumes (for example the Livro Oitavo) in the Adobe Acrobat Reader and at the same time run in this program the Livro Treze.

What is the opus Géa?

Géa is written with the maximum of resources of the Portuguese language; it's the adventure in the learning of the author in this language and an invitation to the adventure and the learning of the Reader, if he/she is not an expert in the language. To the expert, it will be a sweet remembrance; perhaps, a surprise!

It took Géa ten years to be written. The author* doesn't aspired to surpass the great writers of all times, because he found it more important to fulfil his mission - Géa is a great mission. But in the first pages of the opus he affirms: when the mission requires, it will surpass, yes, the greatest authors.

The media for Géa

Géa was not conceived only to be a collection of books, nor to shout to the Brazilians: "Study!!! Do things right!!!". As Géa is everything, do not find it strange that it encloses all the branches of the art and the human knowledge. So, Géa is at home if launched in electronic books, on the Internet, in CDs, in film, on television, in multimedia, in videogames - in all and any media, including in dance, in music, in poetry, in comics and in the theatre.

When we see a great film, we see at the end of it the long list of individuals and enterprises which contributed to its realization and distribution. Although the author of Géa would like and knows how to create the drawings, the computer graphics animations and even the screenplays for the movie, the theatre, the television, etc., he would take hundreds of years. Géa cannot become obsolete; but, if the author had to create everything alone, he would only reach the living persons in the future centuries.

So, the author wishes to sign a separate contract with the publisher of each media, and in this contract it should be defined that it covers only its media, letting the author free to contract the publishers of any other media.

The story told in Géa

Summarizing Géa would be more difficult than it was writing it. It would be the same as summarizing the Man, the Universe, Life, God.

Trying to label Géa would result in the same: it's not fiction, it's not mysticism, it's not romance, it's not science, it's not philosophy, it's not politics, it's not poetry, it's not prose... and it's all those things and much more at the same time. It's like the Nothing, which is Everything.

More than a thousand characters, counting each group as just one person; innumerable starships, numberless songs, films and citations of persons of the real life; all that and much more, from the twelve text volumes, is enrolled in the Livro Treze, with the glossary and the dictionary.

It would be perhaps better to the publisher interested in publishing Géa to read, in the Livro Treze (or in the PDF archive which can be downloaded from this link), the list of characters, mainly the stories of the protagonists (as Clausar, Gia, , Ky, Geárion, Tóxia, Géa, Géo, Ra-El, Ardo, Sérias, etc.) which are in the verbets of that list. Doing that, the publisher will have a fractalic idea of the whole, without limiting it to the annoying serial description or the sequence of the events which constitute the story. It would perhaps to be convenient to approach Géa in that manner, inclusively because the narrative is not linear: it does turns in the time, like the evolution spiral; and only reading completely the twelve text books, and then re-reading them, somebody could have a multidimensional idea of the whole.

I kindly suggest, so, to You, publisher who whishes to discover if it is a good idea to publish Géa in the media you are used to; if you are interested in discovering if Géa merits to have the dances and the songs it describes (in some cases in profound detail and complete coreography) transformed in compositions of those Arts; I kindly suggest to You the reading of the essential part of the lists of characters, songs, starships,films and other data which are in the Livro Treze, including the impressive Statistics of the opus Géa, without necessarily reading its Glossário Geóctone nor the Rarefeito Dicionário de Palavras Raras, to have an idea about Géa and, then, start the job - perhaps the great and unsuspected pleasure, the wonderful delirium, the Initiation of reading and re-reading Géa!

To give you a little taste...

To give you a little (Brazilian Portuguese...) taste, here is a sample of the text of Géa; not the worse, not the best; nor the most erudit, nor the most vulgar; neither a summary, neither an expansion; "outronão" (another no) the style, "outronunca" (another never) the redistillation; and much less the objective, the goal, the mission of the opus: only, nothing more, than a little taste; as a matter of fact, twelve! if not of the story, than of the estrus:


*In the text above, my use of the first person "I" and the third person "he" (or "the author") to relates to myself is intentional.

I, the author, sometimes treat myself as I was looking from the outside, when the theme suggests that this treatment is preferable. - CCDB


Clausar tem nua diante de si a perfeição: Ky. Ky, com seus olhos profundos qual profundo mar de Géa, iluminados de sol, a emitir o verde calmo do Amor e a iridescência do desejo, entreabre os lábios surpresos e sussurra... “- Mas Você é meu pai!...”


As turbinas rugiam; as rapinas ululantes aceleravam, lanhando gilvazes na face do azul coas lestas lâminas alares; tirando silvos das bocas dos ares, rumo à garganta do zênite. Lá, os pilotos cortavam os motores; os aparelhos quentes volviam, silentes, o impulso em potencial e; no ponto morto alto, onde paravam e rebrilhavam metal polido no fosco anil; arrostavam a gravidade, exibindo agressivas formas fusóides ...para picarem, a pique de caírem no pó, e (quando outros ases duvidassem, arregalassem os írios, engolissem em seco e elevassem as mãos ao céu), retomarem a propulsão e nivelarem o lépido vôo rasado, vomitando árion, reboando fragores. Passavam tão rente, a ponto de Clausar cheirar de pronto o tonto combustível queimado e iriar a turbulência do ar, na trépida esteira transparente.


A fuselagem de Altaré é afilada e donairosíssima, cheia de conveses; alas; corredores; cabinas com largas vigias; pequenos e vastos compartimentos; severo tombadilho; porões limpos igual laboratórios genéticos; cozinhas silenciosas e impecáveis como as melhores bibliotecas; bibliotecas apetitosas e inodoras como as melhores cozinhas; casa de máquinas apta a alimentar vivedouros sonhos em qualquer engenheiro, antes de este cogitar o passadiço avançadíssimo; auditórios e muitos outros ambientes adequados a sua tripulação de escol, nenhum petecado qual os palácios estilo rococó e os transatlânticos atuais, onde os fuscos olhos ofuscados dos turistas idosos jamais obtêm o almejado repouso: do branco, do aço e do cristal, o esmero fosca as estelantes rutilâncias, e só brilha o tino da elite. Conquanto recorde o futurismo, a forma da nave lembra os grandes veleiros de treinamento remanescentemente utilizados pelas marinhas de Géa e da Terra. Fulcro da Nau, sobre o convés superior avulta a esfera de enerfrátax contentora da ponte de comando, em cujo centro se alça o ampletivo sólio de Intáctia.


As zúnias-gigantes seguem papagueando junto aos postigos; tautocronamente, na ponte de comando piscam géons coloridos, soam sinais, estrugem ordens abruptas em seqüência rápida, deslizam pêntios sobre ventosas úmidas, penduram-se aracnopólipos em colunelos metálicos e reciprocam ajuda octópodes, a lançarem-se de tentáculo em tentáculo a compartimentos de direção, de rastreio, de tiro, de escuta, de comunicação e dos demais tipos de funções exeqüíveis em tão complexa, densa e imensa nave. Parece balbúrdia dominada pelo deus do caos; contudo, para olhos, ocelos ou írios conhecedores dos cefalópodes, o moto é sem-parmente planejado, organizado, dirigido e controlado pelo sólido comando, e a treinada guarnição acetabulífera obedece-o igual poucos músicos tridélticos alcançariam sob a batuta do mestríssimo dos maestros... por ora.


Eis Clausar, atirado pelas ondas ao passado da Terra aos tempos da Ilíada. Ao ver-lhe cantar na treva o autor à lira, o enk age:

Desfere ao Ida as estrelas feridas

Pela érea choupa dourada de anéis

Do rei dos reis, maioral dos Atridas.

Os lumes vibra té os numes, fiéis:

Do aedo cego a agudeza o seduz.

A curva ao céu concaviza convexa,

Desata e rapta de Jove alma luz,

De Homero ao cenho mil olhos anexa!

E Clausar acorda: sonhava dar olhos ao argos dos videntes...


Saída da torva pérgola cujas colunas são interrogações; e as flores, os ais do horror; por um microestato a forma do objeto desenha-se no recôndito céu, envolta na malha de faíscas; mas não há mais ocelos, estemas, olhos e órgãos sensórios para captarem-lhe o contorno rendado; e como o encouraçado besouro tridéltico arromba a delicada teia, esmeradamente feita pela pequena aranha-de-jardim para capturar lépidas moscas, o incógnito atravessa e prossegue, conhecedor, só ele, da própria natureza, qual os pálidos defuntos conhecem o insondável Além!


Leve feito átomo de mosca; rápida qual pensamento de pantera; brilhante de cegar um fóton; Ree aproxima-se e coleia direto a Clausar. A géona dos dois invade os outros: onde está um, e máxime onde se acham ambos, uma palavra reverbera no inconsciente e transborda ao consciente dos circunstantes: sexo.


Cogitações efervescem e retornam à consciência de Clausar, transformado em Alvíssimo: “...Acolá de simplesmente ser Géo: estar acima de Géo. Derrubar Géo de seu trono e não sentar nele: desprezar!!! Estar absolutamente a sós! Sem Géos, seres, universos! Ser só!... Ser Géo é pouco! Ser tudo, muito menos! Ser Eu! Sim! Só Eu! Nenhuma gédia a gediar, nenhuma luta a vencer! Ser a Morte! Muito melhor ainda: não ser! Não fazer conta! Ser louco! O mais louco dos loucos! O louquest! O único!... Entrar em retroalimentação positiva mental; oscilar, como os osciladores! Gerar loucura do nada, da própria loucura!... Isto é fugir? Sim! Fugir! Fugir às gargalhadas, da razão e da emoção! Rir na cara de Oég, passar o dedo no fio da foice, oferecer o pescoço e continuar gédio depois do golpe, decapitado! Perseguir Oég e tomar-lhe a arma! Picar um ao outro até virarmos rótrons, até sumirmos ambos e não sermos mais! Vingar-se da gédia! Derrotar o medo e a coragem. Enlouquecer varridamente! Enceradeiramente! Destruir tudo e, ao plantar a semente de outro Universo, esmagar a plântula!... Ou sucumbir à tentação e ser; ser, simplesmente, um novo Géo. Submisso à Existência, à própria Lei, à sanidade!... Talvez eu prefira mesmo a loucura!...”.


Na ponte de comando de Altaré, o brilho alaranjado do Sol (visível sem necessidade de aproximação artificial) intensifica-se à proa e doura o ambiente. Louriage fita a estrela sob cuja luz nasceu, e uma lágrima diferente escorre-lhe na face: é a primeira lágrima doce secretada por um olho, desde quando olhos existem.


A radiação ofusca. Semideslumbrada pela semicerteza, Louriage cerra as pálpebras e não remexe o soma: sorve-o, lenta e deliciadamente, como se bebesse a Terra inteira.


Do chão ferido; da cratera cavada no impacto do carro azul, surge a cerdosa crista crestada de um já não mavórtico elmo torto, deplumado e sem viseira. Ergue-se o capitel metálico. Sobe o colo táureo, altivo e nobre. Frente e costas da couraça fumegante são sacadas e de dentro da cova atiradas longe, com o laudel rasgado. Exuma-se o volumoso talhe, empolado de músculos metalinos, puxado por saxífragas mãos e braços hercúleos! Nas bicipitais cordilheiras de maciços nós a luz esfuzia! Pele rebrilhando glaciares sobre os brutos contrafortes do tórax, o corpo enorme se põe de pé; sob o lato cenho alto, os ares e o espírito sereno de um deus imortal.


Os oblíquos olhos nocticolores assumem a horizontalidade azul do silêncio, e só então o ósculo termina, deixando a marca indelével noturna e diurna do céu terrestre no Ky do enkinho, gravada por dois dos mais augustos luminares terráqueos: a Mulher-Estrela, fundadora da mais alta Ordem Mística terrena e o Homem-Sol cujo nascimento dá início à contagem dos milênios na Terra!



There are countless and delicious dialogues; read them in Géa!


(1) onde Géo é Deus; Oég, ora a Morte, ora outros; árion, fogo; rótrons, átomos; gédia, vida; gediar, viver; rapinas, aviões a jacto; enerfrátax, um vidro especial; sólio (palavra da língua portuguesa), poltrona (no caso, a de comando); Intáctia, a Magna Vestal azul, a qual andava nua; géons, luzes; aracnopólipos e zúnias-gigantes, seres do planeta Penta; írios, olhos; géona, aura; soma, uma bebida azul. Microestato, Alvíssimo, enk, enkinho, Ky e Clausar, Você descobre, lendo Géa...


WARNING: in despite of the content extremelly beautiful, human, mystic, philosophical, scientifc, and the like; exactly as the life Géa contains scenes with SEX, VIOLENCE and USING OF DRUGS.


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