To all editors, publishers - contract requirements
I, CCDB, the author of Géa, am looking for editors, publishers, in all the countries of Earth, to publish my work in all countries, translated from Portuguese to all other idioms, in the form of printed books or in any other media but (not) in electronic media (electronic books to be read in e-books). The electronic books will be accepted if published with the printed books, but not if published alone.
Below: some translations I made for a friend in the USA. These translations are in my bad English, but will be useful, I hope, for English speaking editors to know something about the opus.
Before the mentioned translations, please read something about a possible contract for publishing my books:
I wish to say that there are many important things to the publisher in the read-me files and the pages which links I will send in the CD or DVD which contains my books to be analyzed (in PDF). That material contains the answers to some questions the publisher normally does in his or her messages. If a publisher signs a contract with me for the publication of my books, then I will send the same books in PageMaker 7.0 (with several different fonts) and/or in InDesign 4.0 (with only the Times New Roman font). I will send also the illustrations in separate archives, if the publisher prefer, and mainly the covers, to easy the printing and cutting procedures for the publisher. All my books are already ready in PageMaker 7.0 and InDesign 4.0 for immediate remittance for the publisher, after the publishing contract is signed.
I know that your time, as a publisher, have to be very short, but I hope that you will find some to read all that material.
About CONTRACT, I can say that there is a page in my site where I wrote my suggestions (not exigencies) to the terms of the contract of publication of my books. But that page is in Portuguese.
So, I will summarize here what I would like to see in our possible contract(s). Excuse-me, please, for my way to say things; it's because of my bad knowledge of English language and the manners of other countries. Brazilians knows that I am a very gentle person, when talking or writing Portuguese. I will do my best to treat kindly any publisher who writes a message for me.
0 - Vagueness is beautiful in poetry, but not in business. Each phrase of the messages which I may write to the publisher shall be answered, each link which I will send shall be entered, all the pages of this site which I will recommend shall be studied (and not simply visited), all the material I will send shall be read carefully. Each message I will write shall be answered with at least the copy of the one to which this message is responding (as when clicking the button "Answer" in the e-mail program) and not with a message with a new title, as if it was a new message with a new theme. The answers shall be precise and complete, to each and every question.
1 - As I believe that my books will be published in several medias (printed books, electronic books, cinema, television, videogames, cartoons, comic books, dancing companies, songs of musical groups, and so on), I would like that the contract was done only for the media in which the publisher would publish my books. So, the contract shall contain a clausule which says that the publication of the book(s) is free for any other media which is not the subject of that contract.
2 - The books that have several volumes, as "Géa" and "Geínha", shall be contracted for the whole series of those volumes. For example, "Géa" has thirteen books, and the contract shall be signed for all the thirteen books.
3 - It shall exists in the contract a given and maximum period of time for the publication of the entire book (in the case of "Géa", for example, the thirteen volumes). It would be preferrable to launch all the books of "Géa" at the same moment. That is not an exigency of mine, but would help when somebody saw all the books in a bookshop or in a site (like Amazon) and can purchase the whole opus. That would also help to give more confidence to the possible buyer, which would not suspect that the opus would be interrupted in the book three, or in the book nine, as it is very frequent to happen (at least here in my country). "Geínha", with its twelve volumes, is ONE SINGLE BOOK - the same case as "Géa".
4 - The contract for the publication of each media shall be a separate one; or, if the publisher has more than one media in which he or she is interested to launch my books, both (or more) medias may be included in the same contract (for example, printed books and electronic books).
5 - I shall be free for writing new books with any character (personage) included in the published books which will be contracted. I will give preference to the publisher of the (above presumed) contracted books when I write one with the same characters (or one of them). If the book is of a completely new matter and have not the presence of the characteres of the (presumed) published one, I will give the same preference but not as an obligation. Of course I will not auto-plagiarize. When I write "presumed" it's because none of my books is published in printed paper until this moment - they are all published by myself in my site, www.ccdb.gea.nom.br, CCDB Livros section, to be read only on-line, only in Portuguese and with all covers and illustrations. To help the publisher read the books in CCDB Livros, I will send free an "autentication code" (with that code the publisher can read the books from any country where ther is an Internet connection) - the time of reading can be purchased only in Brazil, because the vehicle of purchasing (PagSeguro) works only in Brazilian territory.
6 - I have not the intention of writting new books about audio, but in the case if you publish the existing one ("CCDB - Gravação Profissional"), the contract shall not have a clausule which obliges me (or my co-author, my son Rafael Borges Dias Baptista - RDB) to do not write new books or articles about the same matter and publish that new material in other publishing house. That's because the "CCDB - Gravação Profissional" book has not only the matter "audio recording" (its main theme) inside, but a vast information on the entire field of audio. If I was obliged to do not write similar (of course not identical) matter, I would be impeded to write anything more about audio - and also the co-author, my son Rafael.
7 - I wish to know, please, how is done the payment for the authors, and if you, the publisher, give any payment in the act of the contract. In the affirmative case, this payment shall be not considered as an "advancement" which could be refunded, but as a definitive payment, independent of the books sell or not. As I live in Brazil, I don't know how you would send money for me, in the case of the advancment and in the case of the payment of any percentage from the selling of the books. Please inform all about that matter to contact. More information about contact (in Portuguese), see this page.
8 - To avoid repetition and time waste, any contract model which shall be sent for my analysis shall reflect the study of the material I have presented here or shall be especially written.
9 - I already made myself the covers of all my books (you can see them in several pages of this site or in its CCDB Livros section) and also the illustrations for the opus "Géa" (idem, can be seen in CCDB Livros section). If you like my job as an illustrator and if you like the covers I made, I shall be paid the same you pay for a professional illustrator or designer, separately of the payment as the writer of the books.
10 - I am a writer, my time is all dedicated to write, I put aside the profitable carreer in audio field to become a writer. I am not a translator. I do only one thing at a time to do it perfectly. All my books, until today, offered here to be published, are written in Portuguese. Although I wrote another book in English, unpublished even for on-line reading, this is a different job, because while writting it I had to think in English and did a good work, which needs revision to become perfect English. THAT book IS NOT being offered yet to publishers and shall not be part of my conversation with any publisher until and if the book is authorized to publishing by the persons whose lives are told in it - OR if the publisher can assume the responsability of obtaining the authorizations or of publishing even without authorizations. That book is named "We, Mutantes" and can be better known if this page (in Portuguese) is read. Even in the case if I tried to translate my Portuguese books to English (the ones OFFERED here to be published), the result would be very bad. A professional translator who is also an artist is needed to the good translation of my books. I cannot pay for the work of such a person. The publisher who will invest money in the publishing of my books shall have conditions to pay for the translator. I don't know translators to suggest to the publisher. My books are written in the very best Portuguese idiom, and specially the one named "Géa" is the masterpiece, absolutely above everything ever wrote in Portuguese. Even the best translator will not be able to do the impossible: to translate the games with words that are in my books and other intranslatable things; so, the best one is required to do the best possible translation, with the minimum loss.
11 - I will not furnish printed matter with samples of my books. I can only furnish the books in a CD and PDF archives - or the free authentication code mentioned above for the publisher read them on-line. All the books contained in those PDF archives will be sent in their Portuguese original form. All the books in CCDB Livros are written in Portuguese only.
12 - I shall be free to maintain in this or any other site or electronic media the mostruary of texts extracted from my books, or even the complete texts of my books (as is the case of the publication for on-line reading in CCDB Livros section of this site), and also the illustrations I made for these books (all the illustrations are already completed for all the books). The same is truth for the book I made in co-authorship with my son Rafael Borges Dias Baptista, "CCDB - Gravação Profissional", also present in CCDB Livros to be analyzed by the publisher.
SAMPLES OF Géa TEXTS (TRANSLATED TO ENGLISH) - excuse-me for the imperfect translation. The quality of my Portuguese is perfect, but not of my English.
Glossary of geóctone (from planet Géa) words for the text below: Trezêmbilhos: meters. Superficioso: neologysm for "with a large surface". Etérila: musical instrument - in the text, a kind of guitar. Soládio: gold. Estato: instant. Irial: visual. Torpógenos: narcotics. Eterilista: player of etérila. Lúmia: night. Rá: the sun of planet Géa. Árion: fire. Íria: star (in the text, the sun named Rá). géa, without capital character: simple energy. Lúmen: East. Géo: God. Enks: Men, of planet Géa. Líquas: waters. Géon: light. Írios (plural of írio): eyes. Nephelomantic (my English neologism for "the art of making prophecies based in the observation of clouds"). Gieno: terrain. Beldifer: the second planet which orbits Rá (like Venus arround the Sun). Rítua: music. Eriável: audible with érios, the ears of the geóctones.
Pages 1333 to 1335. Livro Sexto, part of chapter "Sérias". The translation appears in brown:
Of the three large doors turned to the border of the plateau and the valley, Sérias opens the mid one and enters the space of twelve by tweleve trezêmbilhos of the main compartment of his splendid mansion. The house was designed by him and Clausar with a superficioso pavement, guarded by vast and snug cover of ochra curved roofing tiles, over the walls of varnished bricks. Under the immense ceiling and its gross wood structures, the absence of lining amplifies, ventilate and stilyze the place. Sliding... on the waxed small flagstones, Sérias goes slowly, turns right and enters the small room of four by four trezêmbilhos, opened without door in the deep of the salon. Reverently, the composer draws out from the quilted case the Etérila de Soládio.
In the estato of the KSE trip Sérias noted any change in the irial perception, not even the conformation of the image in a tessera texture, typical of mosaics and torpógenos. Compensative, the world became the puriest accoustic vibration, exterior and interior: the eterilista experiments the own nature of Sound.
The fingers slips and hurt the strings (of steel, in that epoch). The mournfullest, grave and melancholic of the melodies raises in the air and arises to the starry lúmia. Little by little, the gold and rose glare emerges in the horizon, on the other side of the valley; and Rá starts to rise. The luminary exibits the top of the árion disk, vibrant and blazing, in an arch amplified by the atmospheric refraction, exactly facing the Atlantes dwellings. The orange rays of the íria disperse in the unclouded heights and doesn't graze the candid nebulous carpet, scattered below as a lake since the brink of the three houses tableland until the distant mounds, cradle of the bright star.
The misty blanket doesn't roam above the panorama, high in the sky: that blanket extends exactly at the level of the ground re-covered by crushed rock and hide the greensward of long dark green linear leaves on the skirts of the plateau, ramps with fourty five degrees.
In the univocal horizontal plane, the plumbeous color of the crushed rock on the tableland try to extend itself to the cloudy sheet. The rock remembers to the gas its devaluated gradation in the absence of the géa, because gray is the ivory in the penumbra and in black it is undone, in the darkness.
The dense fog lenghtens the flatness and reaches the hillocks coated with caliginous forest, soft curvets, virgins bosoms emergent from Lúmen, beyond the overcast valley. Rare residences of the Serra da Rítua privileged habitants speck, with their whitewashed faces, the two lateral counterforts acclivities of the nook, sylvan and fertile. No mount towers dominates the lofty flat where the Atlantes constructed their homes, but the sufficient to form the littoral basin of brume, where Géo toasts the Enks with vaporous wines of mist.
The surface of the gloom is uniform and vivid, like the one of the most serene líquas. Insensible to the jealousy of the envious crushed rock, the opaque fluid vibrates, argent in the shadow, and reflects the ambient géon. The tranquil gulf possesses indolent waves; and these slowly divagate, grading glacial tones in gray nuances. Untoutched by the rays of Rá, the fog intransitively doesn't stare into space, nor its whiteness obfuscate the írios; languid, pacific, insinuate nephelomantic prophecies and attracts Sérias' paces.
Black monastic habits; lowered hood; long dark hair, curly in the sweet breeze of the aurora; Sérias walks with the Etérila de Soládio and goes out to the veranda, developing the uninterrupted melody. The agile fingers scours the instrument's neck, strums easily difficult passages; and the sound sprouts, sowing poliphonic notes.
Sleepless, Clausar goes to the door and observes his brother, over there.
Sérias proceeds, climbs down the steps to the flat gieno and advances with the Etérila de Soládio until the plateau's border, where begins the chalice of snowy smoke. Very high, the limpid sky; grayish-blue in the horizon's line, sapphire in the middle and dark violet in the zenith; it is a cosmic open window. The intense bright of Beldifer remains flushed and vibrates in the firmament, defying the power of the orange íria.
The picture droops, as a planet observed from the outer space; because everything, in the perspective, is below, the stratus included.
Clausar astonishes, mute, inert, ecstatic... Yes! Clipped in the celestial indigo, golden resonance in the hands, the black figure of the musician becames gigantic in the landscape, flattened at his feet. Sérias doesn't submerges in the brume, doesn't accompany the plateau's final declivous: step by step, in the rítua's cadence, reaches the ethereal margin and, walking on the clouds, goes over the placid white ocean. In the same estato, the tops of the waves frizz of igneous soládio, touched by the géon of Rá! Heated, the aroused smokes of the crests throw themselves into the anil in golden and white filigrees and vanish, dissolved in the air, when reaching the Etérila's height.
The rítua pours; as if all the greatest musicians of all the best orquestras of these and the past days; all the most perfect amplifying systems and all the most powerful tube etérilas of the most sumptuous cathedrals were submerged in the foggy extension and played together in that valley, the ampliest orchestra well of the most portentous theater of Géa. The gamma of frequencies surpasses the eriável spectrum, from the deepest bass to the higher tones; and the intensity doesn't causes stridor nor pain: the sound stays clear and majestic, with unlimited reserve of power.
Sérias walks in the own dawn of Rá! The Etérila de Soládio's audio mantains him floating; the sadness doesn't let him fall, because it reaches Géo; and in the Universe don't befits another misfortune; never, in the middle of the Beauty. Sérias' grief is infinite, and tears roll from his face.
Another text from "Géa":
The turbines roar; the ululant rapinas accelerate, slashing coups in the face of the blue with the alar blades; drawing hissings from the mouths of the airs, rhumb to the zenith's throat. There, the pilots turn off the engines; the hot machines revolve, silent, the impulse in potential and; in the high dead point, where they stopped and glow polished metal in the dim anile; defied the gravity, exibiting aggressive spindle-shaped forms ...to dive, about to fall in the dust, and (when other aces doubt, open wide their eyes, bite their tongues and remain silent, elevating their hands to heaven), retaking the propulsion and leveling the swift hedgehoping flight, spilling out árion, rumbling booms. They passed so close, on the brink of Clausar smells immediately the dizzy burned combustible and sees the air turbulence, in the tremulous transparent slipstream.
Another text from "Géa":
Glossary for the two small paragraphs below: zúnias-gigantes (plural of "giant fly") - demiintelligent big insects, from which the aracnopólipos extracted the wings and made their slave because of the precision of their shots and put in some artillery posts in the arcnopólipos spaceships). Papagueando: talking like parrots; so, without thinking - or thinking only a little... Géons: lights. Írios: eyes of geóctones and some other aliens. Octopoda is the ancient plural for the word "octópodes" (Portuguese word). Acetabulífera is not in the English dictionaries, and is a scientific synonym to cephalopod. Tridélticos: people from Tri Delta Telarie (the third planet of Delta star of the Constelação da Telária; so, the Earth, arround our Sun); the word "tridéltico" is also an adjective: "from Tridelta"; so, from Earth. Microestato: microinstant (neologism).
The zúnias-gigantes go along papagueando beside the scuttles; concomitantly, in the command deck blinks colored géons, signals sound, abrupt orders roar in fast sequency, pêntios skid on humid suckers, aracnopólipos suspend from metalic little columns and octopoda reciprocate help, throwing themselves from tentacle to tentacle into compartments of guidance, tracking, firing, listening, communication and the other kinds of feasible functions in a so complex, dense and immense ship. It seems a tumult dominated by the god of chaos; nevertheless, to the eyes, ocellus or írios who knows the cephalopods, the motion is peerlessly planned, organized, directed and controlled by the solid command, and the trained acetabulifera crew obey it like few tridélticos attains under the baton of the greatest maestro of all... for the time being.
Comming out from the grim pergola which columns are interrogation marks; and the flowers, the sighs of horror; for a microestato the object's pattern is outlined in the recondit sky, encompassed in the mesh of sparks; but there are no more ocellus, garlands and sensorial organs to capture its laced contour; and like the cuirassed tridéltico beetle cracks open the delicate web, carefully made by the little garden-spider to capture cheerful flies, the incognito traverses and prosecute, knowing, only him, about his own nature, as the pale defuncts know the unfathomable Beyond!
Starting, with the Géa text in brown, in page 1316. To do not break the maginficent paragraph, I will not interrupt it with the phrase "End of page 1316 - start of page 1317". That interruption is between the words "cylindric," and "lower".
You will read, if you give me the honour and have time, below (IN BROWN), the last paragraph of page 1316 which continues and finishes in page 1317, Livro Sexto, Géa. The paragraph is written in the best Portuguese language, so, my English translation will be not as good as the original. In fact, I absolutely know (and, so, I advise) that what is sonorous and great expression in Portuguese will be, with my very poor translation, read as confuse and certainly boring. So, and only in the case of this magnificent paragraph, I am including the Portguese original version under my poor English translation, to be read by the blessed people who can read perfectly both languages and can compare the translation with the original.
Before the great paragraph, there is a little one, which, in the own Géa text, explains why its following paragraph is just one and large. This little explanation paragraph is a kind of invitation and stimulation to the Reader, because I know that few people like long paragraphs.
GLOSSARY FOR THE GÉA PARAGRAPHS below. In the description paragraph, the word "nório" qualifies the blond people from northern regions of planet Géa; "piredra" is the same as "pyramid". The word "parallelepipedal" is an English transformed Portuguese one which is not in the English dictionaries; it signifies "with the form of a parallelepiped". The word "teretiforme" is another absent of my English dictionaries and is a synonim of "cilyndrical" that I employed to avoid repetitions. Also the word "cupolated" is not in those dictionaries and its acception is "endowed with a cupola". "Pontinadiral" is my Portuguese neologysm for "with a vertex pointed to the nadir (the opposite direction of the zenith; so, to the ground)". "Trifixado" is: " 'crucified' on a triangle". "Rapigarra" is the geóctone eagle. "Picalívia" is the geóctone dove. "Soládio" is gold. "Hýpna oegírios crotalugiíficus" is the scientific name of a geóctone very poisonous and colored snake, similar to the rattlesnake. The word "Lúmen" signifies "East" and, mainly, the place from where the Sun (and the Mystical Light) comes - that is why Gia's name is Gia Lúmen. "Írios" signifies "eyes". "AGEER" (pronounce: age-er, not like in "teeth") is a kind of laser. "Nônada" is the time unit of Géa planet, and an hour has (aproximately) four nônadas. The "cromat" (day) has ninety nônadas - so, it's not exactly divisible by 24 nor by four. The geóctone time rules are defined in the first chapters of Géa and doesn't matter here. "Espectro" is "year", because the geóctones use colors to measure and symbolize time, as they ancient gods were the Deuses Cores (Gods Colors).
For coherence, one must describe the Catedral do Um in a single paragraph, solid, massive and unshakeable: it symbolizes the Indivisible.
The plant of the exalted temple conforms in a horizontal equilateral triangle, with a large cross circumscribed. The portal is localized in the point of the trilateral shape, the foot of the cross, turned to the Episcopal Plaza. In each intersection between the cross and the triangle hoists sky-high quadrangular tower of flaming nório style, arranted by a long piredra upon the campanile and garnished with lanceolate elements. The angles of the trilateral polygon possesses their towers, cylindric, lower and covered by hemispherical cupolas. The vestibule is situated in one of the corners of the triangle and in the convergence of this with the root of the cross; thus, combines two towers: the parallelepipedal with the door, after another, teretiform and cupolated as those of both remaining vertex. This covers the atrium surrounded with colonnade, whence one arrives from the plaza by encyclical staircases. In the cross center, the master vault swells, with a cyclopean dome topped by the pontinadiral triangle, sign of the martyrdom of the Um trifixado. Major in height and diameter, compared to the other three domes, it doesn't reach the level of the four acuminate towers, uplifted and aggressive guardians, resting places for the dive of the rapigarra over the incautious picalívia. The quadrifid triangular structure raises from the floor in pillars with ogival archs. The nave is very high confronted to the width, although enlarges in the interior, very rich in colored stained glass windows and magnificent decoration, where it sims to be all the soládio of Géa. The apogeal fruit of great painters and sculptors is preserved there. The four vains between the cross and the triangle form open courtyards; in them, the priests experiment the peace of edênicos gardens arround fountains, delicately sculptured and murmuring. The main chapel projects in an ample handle outside the triangle, in the encounter of the headboard of the cross with the middle of the side opposite to the portico. The whole edifice leans in a circular pavement, and that churchyard elevates in stairways by all the perimeter. The throws represent the speckled and multicolored pattern of a gigantic hýpna oegírios crotalugiíficus; with its tail gathered by its own mouth in a splendid sculpture, confronting the main door. The circle of the hýpna is inserted in a vast square in the Lúmen of the Episcopal Plaza; and the landmark zero of Salo is the auburn-tailed extremity, crowded with rattles of sonorous and perennial metal. By the nook of the closed maxillas, the rattle looms before the hypnotic írios, worked in luminescent and enormous green-blue stones, of incalculable value. Twelve guards, gay and armed with AGEER javelins, patrol and protect the geminate gems, ninety nônadas per cromat, three hundreds and sixty five cromats by espectro. Dressed with the same colors of the hýpna, facetiously the people nicknamed them 'the suckling"...
PORTUGUESE ORIGINAL FOR THE PARAGRAPH ABOVE (AND ITS INTRODUCTORY LITTLE PARAGRAPH)
Per coerência, deve-se descrever a Catedral do Um em parágrafo único, sólido, maciço e inabalável: simboliza o Indivisível.
A planta baixa do excelso templo conforma-se em triângulo horizontal eqüilátero, com larga cruz circunscrita. O portal localiza-se na ponta do trilátero, o pé da cruz, voltado à Praça Episcopal. Em cada interseção entre a cruz e o triângulo arvora altíssima torre quadrangular de estilo nório flamejante, rematada por longa piredra sobre o campanário e guarnecida de elementos lanceolares. Os ângulos do polígono trilateral possuem suas torres, cilíndricas, mais baixas e cobertas por cúpulas hemisféricas. O vestíbulo situa-se num dos cantos do triângulo e na convergência deste com a raiz da cruz; dessarte, combina duas torres: a paralelepipedal com a porta, empós outra, teretiforme e cupulada como as de ambos os vértices restantes. Esta cobre o átrio rodeado de colunata, aonde se chega da praça por escadarias encíclicas. No centro da cruz, avulta a abóbada mestra, com ciclópico zimbório encimado pelo triângulo pontinadiral, signo do martírio do Um trifixado. Maior em altura e diâmetro, comparada aos outros três domos, não alcança o nível das quatro torres pontiagudas, guardiãs erectas e agressivas, pousos para o mergulho da rapigarra sobre a picalívia incauta. A estrutura triangular quadrífida sobe do chão em pilares com arcos ogivais. A nave é muito alta confrontada à largura, conquanto se espace no interior, riquíssimo em fratrais coloridos e magnificente decoração, onde parece estar todo o soládio de Géa. Ali se preserva o fruto apogístico de grandes pintores e escultores. Os quatro vãos entre a cruz e o triângulo formam pátios abertos; neles, os sacerdotes experimentam a paz de edênicos jardins ao redor de chafarizes, delicadamente esculturados e murmurejantes. A capela-mor projeta-se em ampla alça para fora do triângulo, no encontro da cabeceira da cruz com o meio do lado oposto ao pórtico. O edifício inteiro apóia-se num pavimento circular, e esse adro se eleva em escadarias por todo o perímetro. Os lances representam o padrão malhado e matizado de gigantesca hýpna oegírios crotalugiíficus; com a cauda colhida pela própria boca em esplêndida escultura, defronte da porta principal. O círculo da hýpna insere-se em vasto quadrado no Lúmen da Praça Episcopal; e o marco zero de Salo é a extremidade rabirruiva, cheia de guizos de sonoro metal perene. Pelo canto das maxilas cerradas, o chocalho sai ante os írios sonióticos, trabalhados em luminescentes e enormes pedras preciosas verde-azuis, de valor incalculável. Doze guardas, garridos e armados com lanças AGEER, rondam e protegem as gemas gêmeas, noventa nonadas por cromat, trezentos e sessenta e cinco cromats por espectro. Trajados das mesmas cores da hýpna, facetamente o povo apelidou-os “filhotes”...
Below is my (bad...) translation of part of the chapter Sérias, from the opus Géa, showing how the Atlantes entered the Templo do Um, also named Catedral de Salo, here named in English "Cathedral of Salo", where Salo is the planet Géa's name for the city of São Paulo - SP - Brazil.
I don't use in the translation to English as many words of the teruzês idiom as the Atlantes do in Géa pages, and which are known by the Reader since he/she will be learning them from the first page of the entire opus and in the glossary. But I will have to use some of those words here. So, the translation will be perhaps a little interrupted with explanations not included in the own Géa work. The original (but translated) text is shown in brown; the explanations, in black.
You will note that, because of the mind comunication of KSD (LSD of planet Géa), the Atlantes say phrases, one of them starting, another of them continuing, and so on. In Géa text (so, in the translation) I tried to let clear who is talking, by the inclusion of his/her name in the answer of the interlocutor. I am doing the same in this translation.
Starting now ! ! !
Page 1318 - with the Atlantes already in front of the Temple of Um, yet inside the vehicle with wich Clausar brought them from Serra da Rítua (Serra da Cantareira), the same Cathedral of Salo. Clausar says:
- Prepare yourselves! The Cathedral of Salo, the most beautiful temple of the Um in Teruz is right ahead. Open your írios (eyes) and observe!
- My Géo, Té (Té is the family name of Clausar and also of myself)! The Cathedral floats, detached from the floor!
- It doesn't float, Ree. Only you...
- I see it floating also, Té. And Ra-El...
- Yes, Ardo. It floats...
- There is no change in the image for me. And... Trônquilho!!! (for the obscene brazilian word "Caralho!!!" wich signifies "Penis") The Cathedral is made of sound! And the sound floats, yes!...
- Who am I, Kier (family name of Sérias), to contradict the percepiton of all of you? If the Cathedral is made of stone or of sound, it doesn't matter: except Cinda (Cinda is a kena = girl, neighbour of Atlantes in Serra. I told in the beginning of the chapter - not translated here - that Cinda couldn't see anything more than an ugly flower during her KSE trip), it seems, everybody there perceives it floating! Therefore, in certain way, that enormous mass floats, yes!
- Êh, Té! I didn't say?!? Té achieves to understand us!...
- Because of that I repeat: take care! I had already park the Coró (a kind of open cover Jeep, property of Ardo, in which Clausar brought the Atlantes to the Cathedral). You may disembark. Don't make disorder. Don't think: to think is risky with KSE in the head, mainly when coming back from the trip. Dress the black monastic habits, stay quiet and walk in a file, hand in hand. To put on a costume was a good idea of yours, Ree: nobody will suspect of you all. It is almost midnight, and the celebration of the ritual of the birth of the Filho do Um (Son of the One), with the Message of the Crista Macho (the Missa do Galo - Midnight Mass), will start. You must not to disturb the believers, Ardo...
- You may let, Té. And stop with nos!... I distinguish their pleas departing from the ogival windows and ascending to the sky... We all will respect them, despite...
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- of don't knowing, Ardo...
- the right direction, Ree...
- to reach, Ra-El...
- Géo, in the deep of their, Sérias...
- hearts. These little yellowy things in the point of the flower has the form of hearts... - completes, inconsciously, Cinda Modan. The indecipherable Cinda participated (an intransitive verb here), in certain way.
- Quamnum majá (never more) I will doubt of the thoughts transmission! The scientists doesn't know the mean where telepathy propagates, and the telepathy exists! Come... Cross the street, calmly. I am signalling to the robocars (cars driven by robots, which appeared in my first stories of Géa, in the magazine Nova Eletrônica, from which I has been general director and technical article writer, much before similar cars also appeared in the Schwarzenegger film about Mars, "Total Recall". By law, everybody had to use robocars, because it was not permitted to drive, but the Atlantes ignorated that law and drove their cars, taking out the robots). Don't leave the hands one another. - Clausar guides the file by the plaza, climbs one of the stairs of the hýpna oegírios (the mystical rocky snake arround all the temple) and reaches the first encyclical step of the atrium, in front of the portal of entrance. To the travellers, from this level beyond, the cathedral floats in space.
- That mendicant there backward...
- on the stair of the hýpna...
- How do you know? He may be sleeping.
- There is no géona (aura)...
- not also sound waves...
(end of page 1319 - start of page 1320)
- his head.
- All the others has géonas...
- and produces sickly noises.
- How will we do...
- to go up until there, in...
- the cyme, where the Cathedral is?
- It is enough you give me your hand, Cray (Cray is the family name of Ardo), and none of you let the hand of the other.
- Té will make us fly! Trust Té! He knows! - and one more time, that one without percieving, Clausar flew (there were several times when Clausar magically flew, in chapters before)! Only the Atlantes and Ra-El saw or eriavam (heared, with érios, the ears of the geóctones) the phenomenon, and Clausar flew!
Clausar conduces the Atlantes, Ra-El and Cinda Modan via the staircases. Ardo closes the physical írios (eyes of the geóctones) and hurl oneself into the void, when Clausar takes him from the plaza's level to the first step. To Ardo, there are tenths of trezêmbilhos (meters) of vacuum. With the flower in her mouth, Cinda guides Séris by the hand. The greatest eterilista (etérila player) of Géa is the last of the file and covers the érios (his ears): he travels in the sound, his ambient. With the érios sealed, he can surpass the accoustic nothing, the absolute pause, and reach the first step. His right foot reaches it, and the Universe tone rises.
Sérias interrupts the walking, and that makes the Atlantes turn. The eterilista lifts his right hand, as if he carried a baton. At the precise estato (moment), the faces were made cloudless under the hoods, the írios (eyes) assumes the color of the soládio (gold); and, exactly sinritmizados (synchronized), as if
(end of page 1320 - start of page 1321)
they had assayed tenths of times, the Atlantes emmits a magnificent chord, rigorously at the new tone discovered by Sérias in the first step.
- There are tweleve steps... "Tweleve planes in the direction of the supreme good". It is written there in the triangle, at the apex of the cupola.
- How can you know, Cray?
- I am there... here... in the topo of the cathedral, Té...
- And the characteres are secret... I can eriar (hear with érios) who, reciting, wrote them... And the voice... And the voice!!! - Sérias shivers completely; decay, in mourning... and tumbles sitted, when reaching the higest step of the staircase.
- Yes... You eriou (heared). There are beings... of other...
- planets. Of a Order...
- Irmandade... It disapeared... I cannot see anymore...
- the characteres. Disapeared...
- Stand up! Kier! My Géo! Kier! Wake up! Wake up! - Clausar pulls by the arm his brother who has the írios frataxiados (glazed), and shakes him, and blows him, until Sérias come to. Clausar tries to ask; and not Sérias nor the others remember themselves of what happened, much less of the story about those beings from other planets. The Atlantes gave their hands again one each other and proceed.
Plastering the file of monks, Clausar does the triangle sign (in planet Géa, it is the triangle, not the cross, where the Son of the One was "trifixado" - crucified in a triangle) to do not appear strange to the írios (eyes) of the multitude and surpasses the extremely heavy woden portal, laboriously sculptured, wide opened in the
(end of page 1321 - start of page 1322)
lúmias (nights) of Espectral (Christmas, but not of Jesus; yes, of the Son of the One). In these lúmias, large folding screens are withdrawn from behind the portal, and the access to the Cathedral of the One's nave is direct.
Silence and penumbra.............
A cleaned up paragraph, without explanations nor geóctones words. Page 1322, Livro Sexto of Géa:
Silence and penumbra dominates the ambient. Without help of the KSE, we can hear the noise of the paces of the 'monks' advancing on the polished floor of the cross, in the wide path between the files of banks. They walk and walk; drag their feet many and many times; over decorative figures and more figures, formed by the barks of the pavement. Leadenly, the colossals forms of the majestic columns consent in altering their petrous perspective. To the Atlantes, the walking endure milleniuns; from candelabrum to candelabrum; altar in altar; stained glass window in stained glass window; shadowy form in shadowy form of contrite believer; echo of plea to echo of orison; shadow of hope to shadow of answer. They reach the central tower (where almost they fall upward, attracted by the semispherical abysm) and pass by the quoins of the arms of the cross, replete of church-goers. The light of the high altar, with its golden effulgences and flames of white large candles, approaches and grows less slowly, as lentissimamente turns lentamente; and lentamente, lento. The Grandiosity whispers to do not run, because it would make no difference: perhaps the time would pause more. Bluish, the aromatic vapor of incense vanishes from the thuribles, the particles form colored luminous figures; and these ring in space, climb to the chandeliers, until reach the voyageurs of the KSE and disappear in their monastic habits darkness. In letting themselves to respire the atmosphere, the Atlantes trough it advance, and their lungs open more passage for them, excavating the density of the quiet air, as the mechanical shovels perforate diaphanous tunnels in the opaque subsoil.
Song "Uma Canção para Ars" - author Bruno Tavares. Lyrics CCDB, extracted from opus "Géa".
PORTUGUESE TEXT in black, with perfect rimes and metric; English text in blue, without rimes nor metric.
"No mar o vento cessa e a onda dorme; In the sea the wind ceases and the wave sleeps;
No céu as aves planam, deslizando; In the sky the birds plane, slipping;
E o som da suave pena falciforme And the sound of the sweet falciform feather
Vem livre sussurrar saudades, quando Comes free whisper saudades when,
O jovem no comando altivo abeira The youth in command lordly approach
A borda do batel e toca as águas, The gunwale of the boat and toutch the waters,
Riscando com seu dedo lisa esteira; Striking with his finger a smooth wake,
Rasgando à virgem ninfa alvas anáguas; Ripping the white slip of the virgin nymph;
Tateando o outro dedo ali no espelho; Toutching the other finger there in the mirror;
Furando o espesso hímen do planeta; Piercing the tick hymen of the planet;
O oceano, a areia embaixo, o chão vermelho; The ocean, the sand below, the red floor;
E achando do outro lado, de veneta, And finding in the other side, fanciful,
O Amigo comandante da nau gêmea, The Friend commander of the twin ship,
De gesto igual: enfia o dedo e o pulso Of equal gesture: thread the finger and the wrist
E dá-lhe a mão! E encaixam; macho e fêmea, And offers him the hand! And fit; male and female,
Com palma a palma e d'alma n'alma; o impulso! With palm the palm and with the soul in the soul; the impulse!
The music for the above lyrics may be read here: Uma Canção para Ars
Other songs composed specially for the opus "Géa" may be downloaded from this page.
CCDB November 29, 2005
CCDB June 3, 2011