Imagining Brazil

BRAZIL - The Making of a Novel - Part 3
 
As I let Brazil seep into my imagination, my first step was to compile a detailed chronology. Alongside this, I mapped out a genealogical timeline for my major families, initially the Cardosas and the da Silvas. I later changed the Cardosas to the "Cavalcantis."
 
As I worked on these timelines, I began to isolate the markers for my characters, the great events where I knew they would have to be present, the sidelines of history where there might be a role for them, as yet undefined and potentially as surprising to me.
 
The original Chronology extends from 8,000 B.C. with north-coast Andes sites of hunter-gatherers to 1981, the year I started my research. So, for example, from 1616 to 1681, the years covering the lifespan of my character, Amador Flôres da Silva, the bandeirante or pathfinder:
 
 
 

Once the Chronology was complete, I had enough material to flesh out my original plotting ideas in a detailed outline, proposing a saga spanning five centuries and involving multi-generations of two families, the Cavalcantis and the da Silvas whose stories depict the major historical elements in Brazilian society.
 
 
This ninety-page document comprised an Overview of the novel, Family Trees and the Outline itself.
 
My ideas would constantly evolve during a year of research and travel and throughout the actual writing. There would be many variations in the plot for I could not know where the characters I created would lead me but the broad plan held firm.
 


Why Choose Brazil as the Subject of an Epic Novel?

BRAZIL -- The Making of a Novel - Part 2
 
Why choose Brazil as my subject? And why on such an immense scale? I've always believed one should make no small dreams for the results will be commensurate. During our time together, James Michener and I spoke about places that would lend themselves to treatment in epic novels. He mentioned Alaska and the Caribbean, both of which would become locales for Michener books. I suggested Brazil.
 
The more I began to think of Brazil, the more reasons I found for wanting to write about the country. My very ignorance prompted question after question, and when I began to look for answers, I quickly sensed a tremendous story that hadn't been told to the North American public. As an outsider to both nations, I had a singular vantage point unbridled with innate prejudices and chauvinism.
 
Among other compelling reasons for choosing Brazil, not the least was my having just spent two years delving exhaustively into the history of my birthplace. Broadly-speaking, the relations between the races in South Africa and Brazil couldn't have been more different in the 1980s: how, when, why, I wanted to know, did the two nations take such radically different paths? This wasn't something to include in the book I envisaged about Brazil but it gave me a base-line to work from in considering the dynamics of Brazilian society. In Africa, I also traveled widely in Mozambique and Angola, gaining insights into the Portuguese, their history and way of life, a valuable introduction to the colonizers of Brazil.
 
On January 5, 1981, the first working day of the year, I woke up at the usual time when I would leave for the Digest's offices in Chappaqua. This day there was no Digest, only the vast unknown in Brazil and with my future.
 
During the next three months I haunted libraries and second-hand bookstores in New York. I wasn't selective but read anything I came across related to Portugal and Brazil, anything but fiction. In plotting so vast a story one has to take care not to lock into the imagination of others and inadvertently borrowing from their works, a pitfall Michener drew my attention to when we were working on The Covenant.
 
I read hundreds of books and articles on my library forays, not only on my initial three-month plunge
into Brazil but as I went along. A small sampling of my reading list includes some of the classic works on Brazil and Portugal, both contemporary and historic:
 
 
 
                   
The Mansions and the Shanties, Gilberto Freyre  
The Masters and the Slaves, Gilberto Freyre
Order and Progress, Gilberto Freyre  
New World in the Tropics, Gilberto Freyre
Bandeirantes and Pioneers, Vianna Moog
History of Portugal, Antonio H. de Oliveira Marques
Portuguese Seaborne Empire, Charles R. Boxer
Portugal and Brazil, Harold Livermore and W.J. Entwhistle
Colonial Background of Modern Brazil, Caio Prado, Jr.
The Brazilians, José Honorio Rodrigues
Latin America, Preston E. James
History of Brazil, Andrew Grant, 1809
History of Brazil, E. Bradford Burns
From Barter to Slavery, Portuguese and Indians, 1500-1800, A. Marchant
Captains of Brazil, Elaine Sanceau
True History of His Captivity, Hans Staden
Discovery of the Amazon, according to account of Fr. Gaspar de Carvajal
The Histories of Brazil, Pero de Magalhaes, trs. John B. Stetson
Hakluyt, the Principal Navigations, Volume XI
A Treatise of Brazil, Padre Fernão de Cardim in Purchas, his Pilgrims XVI
Dutch in Brazil, 1624-1654, Charles R. Boxer
Golden Age of Brazil, 1695-1750 , Charles R. Boxer
Salvador de Sa and the Struggle for Brazil and Angola, Charles R. Boxer
Brazil, Portrait of Half a Continent, T. Lynn Smith
Apostle of Brazil: Padre João Anchieta, Helen G. Dominian
Jews in Colonial Brazil, Arnold Wiznitzer
The Negro in Brazil, Arthur Ramos trs. Richard Pattee
Neither Slave nor Free, David W. Cohen and Jack P. Greene
African Religions of Brazil, Roger Bastide
Brazilian Culture, Fernando de Azevedo, trs. William R. Crawford
Evolution of Brazil, Manoel de Oliveira Lima
Rebellion in the Backlands, Euclides da Cunha
 
One of my early sources was the three volume History of Brazil written by the English romantic poet, Robert Southey, between 1810 and 1819, considered the first comprehensive history of colonial Brazil. I pored over Southey's thousand-plus pages in awe of his achievement, the closest he ever came to Brazil was among the volumes in the library of his uncle, Reverend Herbert Hill, chaplain to the English Factory at Lisbon. I would have the opportunity to visit Brazil and carried Southey with in my thoughts, an inspiration to another outsider making a literary journey of epic proportions. Southey showed that it could be done.
 
 

 

Daydreaming about Anacondas, Headhunters and El Dorado

When I began work on my novel I knew as little about Brazil as the next foreigner. I'd once stopped over at Rio de Janeiro for three days on a flight to Africa, an instant course in cliches of Carnival, samba, beach and jungle. I'd another impression that harked back to my South African childhood, when the country was still tied to England.
 
Every month there arrived from London an adventure magazine for boys, its pages filled with the glories of Empire and conquests of its heroes. Among them, explorer Percy Fawcett who was most often depicted in a tiny canoe paddling past the gaping jaws of an anaconda. Colonel Fawcett went in search of a fabulous Lost City in Brazil and vanished forever in Mato Grosso. The intrepid fortune hunter lived on in the imagination of boys Percy Fawcett1ike myself who scoffed at the idea that an Englishman had been killed by headhunters and pictured our champion sitting on a golden throne in E1 Dorado.
 
Living in a day when we still saw the world divided into two parts — those who belonged to the British Commonwealth and those who didn't — I naturally considered Fawcett to be the discoverer of the Brazilian interior. Before his time, I believed, no one dared venture there except the denizens of the impenetrable forest.
 
I remember drawing a huge map of Brazil, days of painstaking work with pen and India ink, with every known river and a myriad tributaries. I marked my hero's route to "Point X" where he disappeared. The map won me a coveted star from my geography teacher, Miss Kane, and a vow to "find" Fawcett. Little did I know that many years later I would visit some of the very places explored by Fawcett that remained as deserted as when he first set eyes on them half a century earlier.
 
As happens with boyhood fantasies, somewhere along the way I left Fawcett behind and got on with my schooling. Then came the real world and a brief and wretched experience as a law clerk. My father knew I wanted to be a journalist but warned that before I wasted my life as a writer, I should get a safe "billet," a favorite word of his. He suggested a career in accountancy or better still, a job with the Johannesburg city council, where I would be guaranteed a pension. (A chilling prospect for a seventeen-year-old!) I tried law but after a couple of years of hounding debtors and licking stamps, I abandoned this course.
 
Then came another round of fantasies with a disastrous attempt to go into business for myself. I founded the Lincoln Swift Organization, an odd mixture of cane furniture factory, pottery distributor, and missing persons bureau. It survived three months. At last, in an act of desperation, I literally threw myself at the feet of the manager of the Johannesburg Star and asked for a job. I got it.

Between daydreams about Fawcett, I'd been writing stories from the age of ten. I was seventeen when I penned my first novel, a three-hundred page saga of teenage angst in a small town in South Africa. Unpublished, I included it with my application to the Star and to my everlasting gratitude, the editors decided to take a chance on me. Three weeks after joining the paper, my name was in print for the first time beneath an article on the editorial page: Happiness is an Unprejudiced Mind.
 
My career as reporter, features writer and editor spanned seventeenPost Newspapers, Johannesburg, Front Page   years on three continents. From the Star I went to Post, a newspaper serving the black and mixed-race communities of South Africa. Then to England and the South-East London Mercury, a London weekly; in London I joined Reader's Digest returning to South Africa, where I became editor-in-chief. In 1977, I came to the magazine's headquarters at Pleasantville in the United States. My transfer couldn't have been more propitious.
 
In 1978 because of my background and the Digest's long-standing relationship with James A. Michener, I was assigned to work with the writer on his South African novel, The Covenant. My two years with Michener convinced me that were I ever to be an author I would have to make a total commitment to writing, not pecking away at manuscripts in the dark of night but out in the open. At the end of 1980, I resigned from the Digest to begin work on Brazil.
 
BRAZIL - The Making of A Novel - Part 1

Inside Brazil - Take A Magical Journey Beyond The Clichés and Stereotypes



"A masterpiece! Brazil has the look and feel of an enchanted virgin forest, a totally new and original world for the reader-explorer to discover. -- L'Express, Paris

Brazil is a spellbinding saga of two powerful families that depicts five turbulent centuries in the history of a remarkable land. From colony to kingdom, from empire to nation, Brazil is filled with memorable people living through one of the great adventures in human history.

When writer Errol Lincoln Uys sat down to tell the story of Brazil, he had a key objective in mind: Avoid the stereotypical images of Brazil and its people.

"I rejoice in Carnival, samba, soccer," says Boston-based Uys (pronounced 'Ace'). "Like so many gringos, I knew little else about Brazil. In writing my novel, I discovered one of the great adventures in human history -- the story of an extraordinary people who built the dynamic nation we see today."

Two powerful families drive the story alongside an awesome array of characters, fictional and real. The Cavalcantis are among the original settlers and establish the classic Brazilian plantation -- vast, powerful, built with slave labor. The da Silvas represent the second element in both contemporary and historical Brazil: pathfinders and prospectors. For generations, these adventurers have set their eyes on El Dorado, which they ultimately find in a coffee fortune at Sāo Paulo.

Brazil is an intensely human story, brutal and violent, tender and passionate. Perilous explorations through the Brazilian wilderness . . . the perpetual clash of pioneer and native, visionary and fortune hunter, master and slave, zealot and exploiter . . . the thunder of war on land and sea as European powers and South American nations pursue their territorial conquests... the triumphs and tragedies of a people who built a nation covering half the South American continent, all are here in one spell-binding saga.

Just how successful Errol Lincoln Uys is in capturing the Brazilian epic is best judged by what Brazilian reviewers and readers say about Uys’s 800-page masterpiece devoted to their country.

Brazil is a classic which will be enjoyed by many in the years to come.” — Agenor Soares dos Santos

“Brazil is a country of enormous contrasts and you had great insight in reflecting such differences in your book through the lives of two fictional families, one from the north and one from the south. When I read your book those feelings I had about the contrasting reality we face daily in Brazil were translated into words. I felt that a puzzle was finally put into place. I hope that writing this book has given you as much pleasure as I had in reading it. “ — Maria Pereira de Queiroz Brandão Teixeira

“Your book gave me a completely new way of viewing Brazilian and Portuguese history. Suddenly everything seemed clear: The raw truthfulness that was the reality of those times and which never comes across so clearly or vividly in history books. Truly, Brazil is a masterpiece!” – Vasco Cartó

“A beautiful work! It took more than a month to read your book, but I enjoyed every moment. It's one of the most solid researches I've seen covering five centuries of Brazil's multi-faceted history. The story line is gripping, easy to understand. My sincere congratulations. “ — Professor Max Justo Guedes

Brazil is a monumental novel. It shows the juxtaposition of sensual/brutal Brazil...It is amazingly on target not only in the historical sense but insightful for the complex modern Brazil, principally the all-important extended family. A theme vividly illustrated in the first chapters and carried throughout the novel.” — Edson Nery da Fonseca

“I am Brazilian but have lived in the United States since the age of two. After reading your novel, I feel I can regain the culture that I lost — I feel more Brazilian! I don't believe I would ever have felt this strongly about my people if I hadn't read your book.” — Moises A. dos Santos

Says Wilson Martins, one of Brazil’s most eminent literary critics: “Errol Lincoln Uys is the first to write our national epic in all its decisive episodes – the first outsider to see Brazil with total honesty and sympathy. Descriptions like those of the war with Paraguay are unsurpassed in our literature and evoke the grand passages of War and Peace.”

"A masterpiece! Brazil has the look and feel of an enchanted virgin forest, a totally new and original world for the reader-explorer to discover. -- L'Express, Paris

"Pulsing with vigor, this is a vast novel to tell the story of a vast country. Uys depicts Brazil's evolution from colony to empire to republic. Lacing the tale together are two families: the Cavalcantis, planters and slave owners; and representing another fundamental social stream, the da Silvas, prospectors, adventurers, seekers of El Dorado." Publishers Weekly

"No one before knew how to bring to life Brazil and her history. Uys's characters are brilliant and colorful, combining elements of the best swashbuckler with those worthy of deepest reflection. Most stunning is that it took a South African, now a naturalized American, to evoke so perfectly the grand but interrupted dream that is Brazil." -- Le Figaro, Paris

What better way for the reader-explorer of an epic as vast as Brazil to discover a totally new and original world! A great summer read!

FREE ONLINE EXTRAS

AN ILLUSTRATED GUIDE TO BRAZIL, THE NOVEL – WITH 300 IMAGES AND MAPS


AUTHOR’S JOURNAL FROM A FOUR-MONTH, 15,000-MILE TREK FROM THE AMAZON JUNGLE TO THE SOUTH OF BRAZIL



THE MAKING OF A NOVEL, WRITER’S GUIDE TO THE AUTHOR’S FIVE-YEAR QUEST FOR BRAZIL

What James Michener Said About "Brazil" by Errol Lincoln Uys

James A. Michener was in Alaska, working on his novel, when Brazil landed in the bookstores. To my delight I received this letter from him: 
“Dear Errol,
On this little island, in this little town, the little bookstore carries in its window a copy of  Brazil prominently displayed as one of the fine novels of the season. Glad to see on my latest walk that the copy had been sold.
I’m delighted with the reception so far and hope that the book enjoys, as it should, a long, long run.
Best of good fortune in all you attempt. You know how to write.”  -- Jim
(Sheldon Jackson College, Sitka, AK, August 28, 1986)
Mr. Michener supported Brazil with generous grants totaling $20,000 over the five years I took to write my epic.  Along the way, Michener read many chapters as I wrote them.  When invited by my publisher to comment on my manuscript, he had this to say:
“I read with considerable care the substantial segments you sent and can, with honesty and propriety say the following:
‘Since Brazil is larger in size than the United States it merits a full length novel which summarizes and dramatizes its remarkable history. Errol Lincoln Uys, a distinguished writer born in South Africa but resident in America for many years, has written such a book.
‘The flow of his narrative is compelling. His characters are hewn from the history of Brazil. And the timeliness of his philosophical comment is striking.
'He has produced a book that will captivate and instruct and I hope it will find many readers.’"
(Sheldon Jackson College, Sitka, AK, 7 September, 1985)
Before writing Brazil, I worked with Michener on his South African novel, The Covenant, a controversial collaboration fully archived on my website The Secret Covenant - Working with James A Michener  I was involved in every aspect of the novel, from its plotting to the final manuscript. Of my story-telling, Michener had this to say:

Uys showed such a mastery and predilection for plotting that again and again he came up with dazzling ideas that again and again attracted my attention. I am no good at plotting, hold it to be almost an excrescence, and pay far too little attention to it, so that Uys's bold suggestions were often appreciated.
“He really was a remarkable man in his ability to visualize instantly and I rarely had to waste a moment explaining anything. Also, he had the capacity and willingness to catch an idea and run with it in his own direction, often proposing something so far from my intention that I was bedazzled. I judge he could plot six novels a year with intricate beauties; he should have been in G-2 in some complicated war situation.
"Never once did I say, 'So now we have this Englishman at the Mission Station in 1819. How does he get to the Orange River?'  without his having nine or eleven possibilities, all good, all logical, all beautifully coordinated. Often I would say, 'too complicated for our boy,' or 'I doubt that our boy would go that far,' but just as often I would say, 'That might be just what he would do..'
"Once we broke away from his conception of a super-dramatic novel, at which he would have been excellent, he grasped immeidately and totally my concept of a novel which would unfold all the qualities of the Afrikaner heritage, and althrough he sometimes tooka dim view of that heritage,he was brilliant in bringing to my attenbtion aspects which I could not have though of by myself, even though I had done and was doing considerable work in the field."

When I set out on my long literary quest for the heart and soul of Brazil, Michener sent me off with these encouraging words:
"Every excerpt, every page you have written for my book shows that you are a writer with a superb use of the English language, a remarkable vocabulary and a very special turn of phrase…You unquestionably have the talent to write almost anything you direct your attention to. You are a great researcher, as your copious notes prior to our work sessions together indicated.
“And you know how to put words together most skillfully as your work on the manuscript proved. With such talents you stand a remarkably good chance in whatever you try. You have also, from what I gleaned in our conversations on the long walks, an acute sense of timeliness in subject matter. That's a rare combination; the most promising I've met with in years of talking with would-be writers."

I know that when James Michener rejoiced in seeing Brazil in the window of that little bookstore in Sitka, Alaska, his expectations  were fulfilled.

Brazil – The Light at the End of the Long Tail

 

It has been 25 years since my 1,000-page epic novel Brazil rolled off the presses. A best-seller in Europe and in South America, Brazil was orphaned in the United States when its editor left Simon and Schuster only two months before its publication in April, 1986.
Six weeks after publication I was told, "Brazil didn’t take off." I had one press interview and one radio interview before my book vanished from local shelves.
In France, critics hailed the novel as a "masterpiece," a first printing of 14,000 copies sold out in three days, and the book became a summer blockbuster. It went on to sell over 400,000 copies in France, the United Kingdom, Germany, Holland, Israel and Brazil.
I was buoyed as much by my international sales figures as by the words of eminent Brazilian literary critic, Wilson Martins, who wrote in the prestigious Jornal do Brasil:
“Uys has accomplished what no Brazilian author from José de Alencar to João Ubaldo Ribeiro, as well as others including Jorge Amado and Bernardo Guimarães was able to do. He is the first to write our national epic in all its truly decisive moments.

“Uys is the first to have the talent required for the task, to see us with total honesty and sympathy, the first to understand Brazil as an imaginary creation, coherent in its apparent inconsistencies, organic in its historic development. Descriptions like those of the war with Paraguay are unsurpassed in our literature and evoke the great passages of War and Peace.”

French reviewers were similarly enthusiastic about my work: A masterpiece! Brazil has the look and feel of an enchanted virgin forest, a totally new and original world for the reader-explorer to discover,” crowed L'Express, Paris. “No one before knew how to bring to life Brazil and her history. Uys's characters are brilliant and colorful, combining elements of the best swashbuckler with those worthy of deepest reflection. Most stunning is that it took a South African, now a naturalized American, to evoke so perfectly the grand but interrupted dream that is Brazil,” lauded Le Figaro.

  

I began my writing career as a newspaperman on the Johannesburg Star and at the helm of the Cape edition of Post, then the country’s biggest weekly publication serving its African and mixed-race population. Following a stint in London, I became Editor-in-Chief of Reader’s Digest in South Africa. In 1977, I emigrated to the United States to work at the magazine’s international headquarters.
I met the American author James A. Michener through my work at the Digest and became assistant and researcher for Michener’s South African saga, The Covenant. Commenting on our two-year collaboration, Stephen J. May, Michener’s most recent biographer, concluded: “Michener committed a scarlet literary crime and used his celebrated influence in publishing to get away with it." – The affair is chronicled in an extensive literary archive on my website.

"The road will always be longer and harder for some of us," Michener told me. Controversial as our work on the South African book was, the experience convinced me that I could go out and dedicate myself to writing Brazil, as grand a theme as any that Michener undertook.
I spent five years’ time on the writing of Brazil. I devoted a year to my primary research, including a 15,000-mile trek through Brazil, almost entirely by bus in order to get a feel for the vast country and its people at ground level. My journey took me into the Sertão, the arid backlands of the Northeast, and to the Casas Grandes of coastal Pernambuco. I voyaged the Amazon River from Belém to Manuas and explored southernmost Rondônia. I roamed the highlands of Minas Gerais and followed the route of the bandeirantes, the Brazilian pathfinders, from São Paulo to the south.

I returned to the United States at the end of October, 1981 to begin what would become a 750,000-word manuscript written entirely by hand. It took a further four years to complete my task seeking a vision of the Brazilian El Dorado, not beyond the next hill or the river ahead but deep within the soul.
Like my fictional hero, the bandeirante Amador Florés da Silva, I knew periods of utter loneliness and fear, times when I felt the sertão closing in on me but always, I broke through the barrier. I never lost the will to understand the Brazilian genius.
I needed to call on the same steely resolve after seeing my work founder in the United States market. Despite Brazil’s overseas triumph, my follow-up book proposals (including an epic on Mexico) were submitted to no avail. I was more successful with my non-fiction efforts, publishing Riding the Rails: Teenagers on the Move during the Great Depression, a companion volume to the Peabody Award-winning documentary made by Michael Uys and Lexy Lovell, my son and daughter-in-law.

If my spirits ever sank, I had only to re-read Wilson Martins’s review of Brazil. -- Professor Martins truly understood the scope and nuances of my work. As time passed, many other readers who stumbled across the book sent me their own appreciations of Brazil.
“I don’t believe I would ever have felt this strongly about my people if I hadn’t read your book – I feel more Brazilian!” wrote Moises dos Santos, a Brazilian living in the United States. Birdie Hope effused: “I read your entire book aloud to my husband on a series of trips we made — he drove as I read. We started in Mato Grosso, Brazil and finished somewhere in Kansas! The edition we read was an even 1,000 pages. Loved it! It's fabulous! Congratulations for writing it.”
In 2000, I signed a reprint agreement with Silver Spring Press, a small publisher in Connecticut. I added an afterword bringing the story up to Brazil’s 500th anniversary celebration. Seven years later, my French publisher also issued a new edition of Brazil (La Forteresse Verte.)
Brazil was on the "long tail" at Amazon riding on that river sea with its vast schools of customers. Occasionally, sales of the new edition and secondhand copies sent Brazil rippling upward from the tip of the tail to somewhere in the fat middle. It was enough to satisfy a passionate author that someone, somewhere was dipping into his book. This encouraged me to keep paddling, no matter the current.
Then came Kindle, and for Brazil, a totally new world opened up. Having fought so long and hard for my masterpiece, I was ready for this new challenge. I took three decisive steps to launch the e-book, producing:
·        Kindle Illustrated Guide to Brazil

Linked to the e-text is a unique and free online guide with more than 200 images and maps, providing an indispensable companion on a fictional journey through five hundred years of Brazilian history. Captions drawn from the narrative enhance the reader's sense of immersion in time and place. The novel guide is also interwoven with the author’s original Brazilian journal and working notes.

·        Errol Lincoln Uys – A Writer’s Website


A wide-ranging personal website sharing the author’s archives, journals and working notes. The Making of Brazil and Michener’s Secret Covenant offer meticulously documented and intriguing insights into what went into the writing of these two books, from conceptual outline to final printed manuscript.

·        Twitter Edition of Brazil


I am also tweeting my 340,000-word book in 140 (or fewer) - character tweets for thousands of followers. Brazil is the first huge epic to be micro-blogged on Twitter, each tiny “episode” contributing to daily installments of 20 to 50 tweets. The novel’s Twitter handle is @BrazilANovel


The spectacular rise of the nation of Brazil over the past two decades couldn’t be timelier for me, as events like the 2014 World Cup and the 2016 Summer Olympics loom on the horizon. Twenty-five years ago, people made light of ‘'Brazil, land of the future and which always will be." This is no longer so today, as Brazil takes its place among emergent nations.
The timing for a big book on Brazil is perfect. Brazil is ranked No 1 on Kindle’s Brazilian-related books, the e-book’s success driving strong sales of the print edition.
If I’ve one thing to be thankful for – and there are many – it’s that I never stopped believing passionately in Brazil.

Top 10 Reasons Why Readers Like "Brazil"


One of a writer's special joys is hearing from readers who've been inspired by his or her work.

Over the years, I've collected these personal notes from my readers. Some are from Brazilian immigrants in the United States, for whom Brazil brings their children an extraordinary understanding of the land of their heritage. Some are from people with a profound knowledge of our neighbor to the south. Some are from readers like Birdie Hope:

"I read your entire book aloud to my husband on a series of trips we made. --He drove, I read. -- We started in Mato Grosso, Brazil and finished somewhere in Kansas! The edition we read was an even 1,000 pages. Loved it! It's fabulous. Thanks for writing it."




My mind boggles as I think of Birdie and her husband trekking all the way from the Pantanal to Route 66.

I've posted a selection of letters from my readers on my website. Here's a list of the Top 10 reasons why they liked Brazil:

1. "Truly a Masterpiece - a fantastic journey through the centuries"

2. "A Brazilian Rite of Passage"

3. "A Truly Amazing Read"

4. "Brazil is a Classic"

5. "I feel more 'Brazilian’ after reading Brazil'"

6. "A Monumental Novel - As Great and Grand, as Michener's 'Source'"

7. "Brazil draws me as surely as the mystery of South America itself"

8. "I Am Mesmerized"

9. "Loved it! It's Fabulous!"

10. "A Beautiful Work! It’s gripping, easy to understand."

It is both humbling and heartwarming to know just how much Brazil has meant to those who have taken this literary journey to the heart and soul of a great nation.

How Our National Parks Saved a Lost Generation of America's Youth

At the height of the Great Depression, two-hundred and fifty thousand teenage hobos were roaming America, an army of “wild boys” on the loose. Some left home because they were a burden on their families; some fled homes shattered by unemployment and poverty. Some left because it seemed a great adventure.

“As long as you kept moving you were all right, but you were going nowhere,” recalls Jim Mitchell, who ran away from his Kenosha, Wisconsin home in winter 1933, when he was 17. “I remember the morning my Dad came home. 'I lost my job. I'm out of work,' he told mother. It was the first time I saw my father cry. Things went downhill. You lived off your relatives. You went to eat at grandma's and here and there until you hit rock bottom and went on relief. Everything closed in on me. I sat down and told myself, I'd lighten my parents' burden if I took off.



“The quickest and easiest way was to jump a train and go somewhere. We thought it was the magic carpet – the click of the rails – romance,” said Mitchell. Jim and a buddy Peter Lijinski – “Poke” – hopped freight trains across the Midwest. “You went on the road and exchanged one misery for another. You were always filthy and constantly hungry. You'd take whatever odd jobs you could. We did everything from mowing lawns to cleaning grease traps in restaurants. It was humiliating but sometimes you panhandled.

“Nothing was happening and there was no direction in your life. Sometimes you'd meet kids your age in town and start talking with them, I remember once I was cutting a lawn. I started talking to this perfectly nice girl and her mother called her away. Boy, that really hurt. I was as good as her or anyone else.

“I didn't want to live on the road. You had to do something with your life. You couldn't roam around like a damn dog eating out of garbage cans. That's about what you were, a damn dog roaming the road.”

Jim Mitchell and Poke typified the crisis of America's vagabond youth seen as so urgent and volatile by Franklin D. Roosevelt that on March 21, 1933, barely two weeks into his presidency, Roosevelt sent a message to Congress. It stated in part: “I propose to create a Civilian Conservation Corps to be used in simple work, not interfering with normal employment and confining itself to forestry, the prevention of soil erosion, flood control and similar projects. I estimate that 250,000 men can be given temporary employment by early summer.”


Before the close of his first month in office, FDR signed an act creating the Civilian Conservation Corps (CCC), in which unemployed and unmarried men between the ages of l8 and 25 were eligible to enroll. They were to be paid $30 a month, of which $25 was to be sent directly to their needy and dependent families.

The first camp was set up on April 17, 1933 -- just 12 days after the CCC was officially inaugurated. Two hundred CCC enrollees were trucked to “Camp Roosevelt” in the George Washington National Forest near Luray, Virginia to begin work under the supervision of the United States Forestry Service.

By early July, 250,000 young men were settled in 1,468 forest and park camps. They were supervised by 25,000 war veterans and 25,000 experienced woodsmen. In ten years, the CCC took two and a half million men from the ranks of the unemployed and put them to work planting 200,000,000 trees, building dams, fighting forest fires, clearing beaches and campgrounds.



At Lake City, Iowa, Mitchell and Poke ran into an army officer. They told him they were on the road and had just got work with a carnival. “That's no life for kids,” he said. “Why don't you join the CCC?”

Mitchell was inducted into Company 2616 stationed at Camp Norwood on the banks of the Wisconsin River, nine miles north of Merrill, Wisconsin.

“We were trucked from a railroad depot to our new home which consisted of a group of long, low buildings covered with tarpaper in a clearing in the pines. Little did we realize that this stark encampment was the haven thousands of boys like ourselves needed.

“There was a wonderful social mixture in the CCC. We lived 40 men to a barrack. Two bunks down there would be a farm kid who couldn’t read or write. If he got a letter from home, somebody read it to him. You could go up a couple more bunks and find a medical student who dropped out of the University of Wisconsin. Another boy’s father had an automobile dealership that went bust. Some kids were literally hoods from the cities.

“I found out what discipline was about. Captain Entringer who ran the camp held inspection
every morning. Your bunk had to be neat. You had to be able to bounce a quarter off your blanket. Your foot-locker had to be in a precise place. There had to be no dust on your shoes. If you failed inspection, when you got off work that day you would have extra duty. You’d work in the kitchen or chop wood until 10 o’clock.

“On a cold fall day in 1934, they sent our crew to work in a tamarack swamp. Our job was to drag 20-foot long tamarack logs out of the muck and mire of 500-year-old loon dung. The day started with our getting wet to our belt buckles and it never got any better. It was a messy, dirty business. We slogged back to camp that night bone-weary and whipped.

“As we passed the dispensary, Lt. Kuehl, the camp doctor, barked, 'You!' I looked at him and he nodded. 'Yes, you. Come here.'

“The last thing I wanted was a reaming from a shave-tail. I strutted over to him. ‘Yes, Sir,’ I said sullenly.

“He looked me over for a moment and then said in a concerned tone. 'Where are you working, son?' I told him.

“Our crew chief got a tongue-lashing for letting us work on the tamarack detail without hip boots. It was a solid lesson in comradeship and responsibility to your men. I remember thinking to myself, 'Thank God somebody cares about me.'”



Riding the rails in his early 20s, Texas-born Harry Keller occasionally found low-paying harvest jobs. Most of the time he had no work as he bummed his way around nine Western states. In 1933, Keller signed up for the Civilian Conservation Corps and was sent to a CCC camp in the Tonto Basin near Globe, Arizona.

Nearsighted but without glasses, Keller’s first assignment was as powder man on a dynamiting crew, though he had never worked with explosives before. His job was to fill drilled holes with dynamite and ready it for blasting. He got the hang of it quickly enough or he might have ended his CCC days then and there. Headaches caused by exposure to dynamite later resulted in his being transferred to a less hazardous area.

Re-enlisting in the CCC year after year, Keller strung telephone poles across the Tonto Basin, repaired roads, built fish dams, planted trees and fought forest fires. He eventually became head chef at the camp feeding 175 to 200 young men and youths.

“I’d never cooked in my life. I wrote home to my mother asking her to tell me how to prepare this and that,” recalled Keller. He rose to be Mess Sergeant, a position he held for more than three of his eight years in the CCC.

“I was scared and worried before I joined the corps. The CCC taught me responsibility and gave me confidence. Never again did I worry about how I would survive.”

Arthur Hunevan’s parents were in danger of losing their home when he went into the CCC in Northern California. His wages helped them make the payments on their house. Besides alleviating the financial burden on Wallace Horton’s widowed mother, his year in the CCC taught him to understand and work with other people. “I learned that the world did not owe me a living. If I wanted to get ahead, I would have to earn it, said Horton. The former CCC-er went on to become a U.S.A.F. electronics engineer, whose career earned him the Air Force’s highest civilian award.

Runaway Jan van Heé’s self-esteem was “down to ground zero,” when he enlisted in the CCC. “I felt I was no good, unwanted, rotten, dumb, stupid. No one cared for me and no one ever would,” said Van Heé. After six months in the corps, he was made foreman of a fire-fighting unit with six youths. When the fire season ended, he was promoted to a position in the ranger’s office. “I was getting pats on the back. ‘He’s doing a good job,’ my officers said. I began to feel that I was worth something.”

Franklin Roosevelt’s “Tree Army” marched to many different drumbeats. In a personal memoir, Ernest Amundsen recalled being sent to a “spike” camp at West Yellowstone. “We worked on forest service roads. A dump truck hauled loads of gravel. Left-handed boys had to shovel on the right hand side and right handers on the left side. The boss did this with whatever tools we were using. I learned to use a shovel, ax, saw, pick and other tools left-handed. I also learned not to drink whiskey like you drink beer, and how to play poker and how not to play poker.”

Darwood Drake and other North Dakotan farm boys found themselves posted to a CCC camp at Locke, a small community in the heart of the Ozarks 30 miles from Ft. Smith, Arkansas. “We had to get used to the Southern drawl, the slower way of living, the grits and corn pone. We saw poverty-stricken families in ramshackle places with livestock running in and out of the shacks.” In this unlikely locale, inspired by one of the North Dakotans who could tap dance. Drake joined nine comrades in working up a “routine” for the camp show. “None of us was less than 160 pounds and several weighed over 200 pounds. It was a sight to see 10 uncoordinated men jumping up and down trying to tap to ‘The Sidewalks of New York.”

Not every recruit found a haven in the CCC. Weldon Keele signed up in Utah after graduating from high school in May 1935. He was assigned to a camp in Wood Cross, Utah, where he reported in time for supper. “I didn’t know that you had to put your dishes in one place and your knife, fork and spoon in another place for washing. A big, burly guy from Kentucky who was doing the dishes called me a dumb son-of-a-bitch and wanted to beat me up. I didn’t like the guys from the East. They were too rough-talking for me. I went back to my bunk, gathered up my belongings and headed for home.”

Nineteen-year-old George de Mars had become totally discouraged working on a farm for $25 a month in the summer and $3 a month in winter. In February 1933 he left Minnesota in below zero weather and rode the rails for four months. He was looking for work, but could find only menial jobs and was worse off. “Franklin Roosevelt was my all-time hero when he introduced the CCCs. The corps took a multitude of young men off the road and kept them on the straight and narrow. The pay was not great, but we had good food and clothing and comrades,” said de Mars who served 30 months in the Minnesota CCC. “We were under military discipline. When World War II came, we made good soldiers.”

With 300,000 enrollees a year, the CCC provided a way of leaving the road for thousands of young men in their teens and early twenties. In 1936, Howard Oxley, Director of CCC Camp Education reported that the previous year the corps had found jobs in private industry for 135,000 boys, about one-fourth of the total number in the camps.


To Jim Mitchell, the CCC was to “the poor man’s West Point.”

“We learned everything a West Pointer learned about duty, honor and obligations and got thirty bucks a month in the bargain. The CCC shaped my life which had had no direction. Back home I’d had no role models to measure my life again. In the corps there were well-educated fellows whose goals had been interrupted. I wanted to be like them and knew I had to get an education to do so.

“When I went back to finish high school, I had classmates of 13 who were pulling in A’s while I was struggling to get a C. I didn’t let it bother me because I wanted to get a hold on my life. I wanted to go to college though at the time I didn’t have a prayer. I didn’t let that bother me either. I knew I would get there somehow and I did.”– Jim Mitchell went on to study at Ripon
College, Wisconsin. After service in World War II, the GI Bill enabled him to earn a Master’s Degree from the University of Wisconsin. His professional life was spent in producing promotional films for the auto industry.

“The youth of those fateful years were taken from the steamy streets of cities in economic turmoil and from our ravaged farmlands. In the CCC camps we learned values that gave meaning to our lives. On the road you lived for yourself and to hell with everyone else. In the CCC you not only learned to live with other guys, you learned to work as a team. You learned to do a job and do it well. It gave you confidence when you started to become accepted by your peers and to fit in with them.

“You had three square meals a day with good food and a good place to sleep. On the road you spent all your time wondering about whether you were going to eat. If you worked it wasn’t useful work but just for food. To this day I can go and see parks that we built in the CCC. I can see trees that we planted. It’s a living legacy. You didn’t have a living legacy on the road.”

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The story of Jim Mitchell and the desperate young men who joined the ranks of Franklin Roosevelt's “Tree Army” is recounted in Riding the Rails: Teenagers on the Move during the Great Depression by Errol Lincoln Uys (published by Routledge, New York.)
[Photo credits: Library of Congress, Prints and Photographs Division; National Archives]

Commentopia -- The Best Readers' Comments from Top News Sources on the Web

Thousands of comments read and curated daily for the most original, insightful and informative readers' opinions from top news sites and blogs.


Few things illustrate the media revolution underway more dramatically than the notations at the foot of Huffington Post articles: “comments (2,479.)” Right-wing mega-blogs rack up equally formidable comment tallies from their audiences. Newspapers, relatively latecomers in offering website forums, host hundreds of posts daily on wide-ranging topics.

Contrast this explosion of readers' opinions with “Letters to the Editor” pages; once print media's exclusive avenue for expressing views on its content. A daily paper will select ten or so letters for publication. One yardstick of the past suggested that for every newspaper reader taking the trouble to pen a missive, ten others wanted to do so but hesitated. – Sitting at their keyboards, Huffington Post's followers typed a staggering 97,660 comments on Iran's election.

On the positive side, these forums are an invitation to engage in what the New York Times describes as “interesting and thoughtful comments that represent a range of views.” Intelligent discussion by informed contributors can explain context, promote frank and candid debate, and sharpen public comprehension.

For print media battling to bridge the digital divide, a lively comment forum is vital to building a dynamic online community.

In June, 2009, newspaper sites attracted more than 70 million visitors, more than one-third of all Internet users, according to Nielsen Online. The average news site visitor devoted a total of 38 minutes 24 seconds during the month; Facebook users, by contrast, lingered 4 hours, 39 minutes on average. Even as newspapers debate pay-walls or micro pay-per-view options for premium content, the forums on the Wall Street Journal's subscriber-based website remain open to all comers.

The downside of comment forums is the creation of platforms hijacked by hatemongers; threads filled with outright lies and slanderous falsehoods; skewed political rants from both Left and Right; bitter diatribes and racist attacks. Such forums deteriorate to the low, vulgar level of marginalized chat-rooms of the 80s and 90s, with fair and reasonable discourse drowned out by crass insults.

Comment moderation varies from site to site, with major news organizations like the New York Times and Wall Street Journal employing staff moderators, while other sites rely on readers to flag abusive content.

Commentopia's editors scan thousands of comments daily seeking topical items of enduring interest and lasting value. The forums are the voice of the people, a free expression of opinion on stories and themes that matter to them, a contribution to collective understanding of all sides of an issue. Three key criteria guide Commentopia's curation: objectivity, credibility, and fair and balanced comment that speaks for itself.

A Novel of America on the Back Burner

I've put my online writing project on hiatus while I develop commentopia, a new 'super-blog' inspired by my work as a Reader's Digest editor.

commentopia brings you the best comments curated from the top news sources of the web.

Thousands of readers' comments are sifted for intelligent, thoughtful and on point discourse of lasting interest. I hope you'll become a regular visitor to the site that is updated throughout the day.

Since beginning work on A Novel of America, my vision of the project has gone beyond the idea of simply writing a manuscript online. Words are the core, of course, but I believe web-based storytelling must employ all available facets: video, sound, images, interactive media. Here are three excellent examples of “novel” innovations on the web:

The Kindle edition of my book, Brazil, has an Illustrated Guide linked to each chapter and to my travel journals that reflects the kind of cross-platform on which A Novel of America should evolve when time permits a return to the work.

In the future, too, I will seek to make this a collaborative effort with other creative talents well-versed in the artistry of the web.