On Sunday, April 07, a vast expanse of 8.51 million km² bid farewell to an icon, Ziraldo. He was a Brazilian illustrator and storyteller, who, for generations, captivated audiences with remarkable characters and stories. Eleven days before Brazilian Children’s Book Day, his departure marked a poignant moment. The relationship between creator and creation is not always straightforward. While the physical form may fade, the spirit remains alive through his enduring artistic legacy. The magic of art endures as an antidote for society's ills, with its genius ability to resonate over the years and connect generations. Let's do a concession and have a flashback this Friday!
He commenced his career at the newspaper 'Folha da Manhã' (now Folha de S.Paulo) in 1954, contributing a humour column. His national recognition soared upon his tenure at the magazine 'O Cruzeiro' in 1957, and later, in 1963, at 'Jornal do Brasil.' His characters swiftly captured the hearts of readers.
"Jeremias, o Bom," reflects numerous characteristics and values of Ziraldo, serving as an extension of the author within his works. Ziraldo, renowned for his witty and insightful humour, finds his essence echoed in the character's portrayal. The titular character, kind and generous, mirrors Ziraldo's humanistic values, often imparting messages of solidarity and compassion in his adventures. Much like Ziraldo, "Jeremias, o Bom" frequently navigates situations addressing social and political issues, showcasing the author's dedication to themes pertinent to society.
"Supermãe" embodies the idealized image of a mother who juggles multiple responsibilities with grace and strength, often portrayed with humour and wit. Ziraldo's keen observation of human behavior and his ability to infuse social commentary into his storytelling, touching upon societal roles and norms, challenging stereotypes in a traditional decade with tumultuous changes.
The 1960s marked a pivotal moment in Ziraldo’s career and in Brazilian culture. It was during this decade that he launched "Turma do Pererê," the first Brazilian comic book created by a single author and the first colour comic strip entirely produced in Brazil and the first to address themes of ecology and social inclusion. Despite achieving high circulation, "Turma do Pererê" was abruptly cancelled in 1964, shortly after the onset of Brazil's 21-year-long military dictatorship. This period was marked by authoritarianism, human rights abuses, political persecution, exile, and censorship, leading to imposed restrictions on various forms of media, including comic books and other publications. In the 1970s, Editora Abril attempted to relaunch the magazine, but without the initial success. However, "Turma do Pererê" had subsequent runs in a bound edition by Editora Primor in 1986 and in almanac format by Editora Abril in the 1990s. Set in the fictional Brazilian forest called 'Mata do Fundão,' the stories of Pererê remain ingrained in the memories of many adults today. Ziraldo drew inspiration from the stories of “Sítio do Picapau Amarelo” for the creation of his characters, another beloved classic of Brazilian childhood.
Ziraldo served as the founder and later director of the newspaper “O Pasquim,” a tabloid known for its opposition to the military regime through acid humour and irreverence. His association with the publication likely contributed to his arrest, which occurred one day after the promulgation of AI-5, a decree that consolidated the regime's power and ushered in a period of intense censorship, political repression, and suspension of civil liberties, including habeas corpus. Although Ziraldo's characters may not have directly engaged in political commentary, their stories and characteristics often resonated with readers who lived through the dictatorship, offering a sense of hope, resilience, and solidarity during a challenging period in Brazilian history.
In the 1980s, Ziraldo achieved his greatest editorial success with the publication of “Menino Maluquinho.” Subsequently, it was adapted for television, cinema, and streaming platforms. At the heart of this beloved protagonist lies the embodiment of eccentricity, drawing inspiration from Ziraldo's own childhood experiences and the playful antics of children he observed around him. While the titular character is not based on any specific individual, he epitomizes the spirit of childhood freedom, creativity, and imagination that Ziraldo cherished and sought to capture in his storytelling. The book reflects Ziraldo's nostalgic perspective on childhood and underscores his belief in the importance of embracing individuality and spontaneity.
Just like the unique child Ziraldo once was. At the tender age of 6, he first encountered comic books through tales of superheroes in rural Caratinga. Coincidentally, around the same time, he made his debut in “Folha de Minas,” a widely circulated newspaper in his hometown that featured coverage of regional, national, and international news, as well as general interest topics. Six years later, drawing inspiration from his favourite superhero stories, he created his first comic book titled “Capitão Tex.”
Another noteworthy aspect of Ziraldo's legacy is his chameleon-like ability to adapt and thrive in various creative endeavours. His versatility and adaptability allowed him to immerse himself in different projects and adjust his style to suit the context or medium. Ziraldo's unwavering dedication to his craft is evident in his longstanding collaborations with various publications, and his illustrations have garnered international recognition, being featured in esteemed magazines such as "Private Eye" from England, "Plexus" from France, and "Mad" from the United States, as well as translation to varied languages.
In 2022, as part of the celebration of his 90th birthday, a Netflix animated series based on “Menino Maluquinho” was released. Its first live-action adaptation in 1995 was set and filmed in Minas Gerais, with the facades of the houses preserved like on the movie, as a historical heritage. Setting itself apart from previous screen adaptations, this series underwent significant modifications to cater to contemporary young audiences. Changes were made to the jokes, plot, and even the characters. Notably, Julieta, Maluquinho’s crush, underwent a significant transformation: in the 2000s, she assumed the role of protagonist in comic books for the first time, and in the 2020s adaptation, she is portrayed as Black.
In addition to his extensive repertoire of comic books and characters, Ziraldo is also celebrated for his contributions to children’s literature. One standout work is “Flicts,” a captivating tale centred around a colour unlike any other. Serving as both backdrop and metaphor, this story touches upon a wide range of topics, resonating as a poignant narrative about embracing uniqueness, celebrating diversity, and discovering one's own identity. Its timeless essence enchants readers of all ages, sparking meaningful conversations about the beauty of individuality and the importance of acceptance.
Ziraldo played a significant role in shaping my childhood memories. In the treasure trove of memories that was my childhood apartment, there resided a cherished collection of his comic books and children’s literature. Alongside his controversial predecessor, Monteiro Lobato, and his equally beloved successor, Mauricio de Sousa, Ziraldo's work held a special place in my heart. My childhood classroom was named after him, and his stories were a staple of bedtime rituals shared with my parents, grandparents, and later, with my young sister. For a peculiar child like me, often lost in an imaginative world of my own, Ziraldo's stories and characters provided a comforting warmth to embrace my individuality and eccentricity.
Comentários