Jorge Amado - Works

Works

  • The Country of Carnival (O País do Carnaval, 1931)
  • Cacau (1933)
  • Sweat (Suor, 1934)
  • Jubiabá (1935)
  • Sea of Death (Mar Morto, 1936)
  • Captains of the Sands (Capitães da Areia, 1937)
  • The Knight of Hope (Vida de Luis Carlos Prestes or O Cavaleiro da Esperança, 1942)
  • The Violent Land (Terras do Sem Fim, 1943)
  • The Golden Harvest (São Jorge dos Ilhéus, 1944)
  • Red Field (Seara Vermelha, 1946)
  • The Bowels of Liberty trilogy (Os Subterrâneos da Liberdade, 1954)
  • Gabriela, Clove and Cinnamon (Gabriela, Cravo e Canela, 1958)
  • The Two Deaths of Quincas Wateryell (A Morte e a Morte de Quincas Berro Dágua, 1959)
  • Home Is the Sailor (Os Velhos Marinheiros ou o Capitão de Longo Curso, 1961)
  • Ogum's Compadre (O compadre de Ogum, 1964)
  • Shepherds of the Night (Os Pastores da Noite, 1964)
  • Dona Flor and Her Two Husbands (Dona Flor e Seus Dois Maridos, 1966)
  • Tent of Miracles (Tenda dos Milagres, 1969)
  • Tereza Batista: Home from the Wars (Teresa Batista Cansada da Guerra, 1972)
  • Tieta (Tieta do Agreste, 1977)
  • Pen, Sword, Camisole (Farda Fardão Camisola de Dormir, 1979)
  • Showdown (Tocaia Grande, 1984)
  • The War of the Saints (O Sumiço da Santa, 1988)
  • Coasting (Navegação de Cabotagem, 1992)
  • The Discovery of America by the Turks (A Descoberta da América pelos Turcos, 1994)

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Famous quotes containing the word works:

    “We all agree now—by “we” I mean intelligent people under sixty—that a work of art is like a rose. A rose is not beautiful because it is like something else. Neither is a work of art. Roses and works of art are beautiful in themselves. Unluckily, the matter does not end there: a rose is the visible result of an infinitude of complicated goings on in the bosom of the earth and in the air above, and similarly a work of art is the product of strange activities in the human mind.”
    —Clive Bell (1881–1962)

    “Science is feasible when the variables are few and can be enumerated; when their combinations are distinct and clear. We are tending toward the condition of science and aspiring to do it. The artist works out his own formulas; the interest of science lies in the art of making science.”
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    “Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
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