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Charles Reis Felix’s 1934

Rui Zink


Abstract. Reis Felix claims he has no imagination in order to justify the closeness between his fiction and his experienced life. When editing the Portuguese translation of his short novel, Da Gama, Cary Grant, and the Election of 1934, it became clear to me that Reis Felix is being endearingly but also unnecessarily modest. For two main reasons: 1) all fiction is autobiographical; 2) by giving form to his memory, Reis Felix accomplished a magnificent work of imagination. Mainly, where was he—the alter ego of the author—in the climatic cinema scene where a young woman faces the hardship of love whilst watching an (as far as I could verify, I’m still searching) inexistent Cary Grant movie?

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