One of the "libros cartoneros" currently being produced by the non-profit community-based editorial collaborative Dulcinéia Catadora, launched in São Paulo in 2007 by artist Lúcia Rosa. Dulcinéia Catadora, inspired by similar efforts such as Eloísa Cartonera, the first such project founded in Buenos Aires in 2003 by artists Javier Barilaro and Fernanda Laguna, and writer Washington Cucurto, and Sarita Cartonera, based in Lima, Peru, organized the following year in 2004, publishes inexpensively-photocopied avant guard and experimental texts by well-known, as well as new, writers, alive as well as deceased. Texts are bound in covers made from pieces of recycled cardboard boxes salvaged from the garbage by cardboard scavengers or "catadores", and hand-painted by them in unique designs. This collaborative effort of writers, artists, and "catadores" has made books affordable and accessible to more readers, popularized marginal literature, created new uses for discarded materials, and provided higher income, more creative jobs, and greater self-esteem for scavengers and street people.
"Capa pintada à mão, feita com papelão comprado de cooperativas de materiais recicláveis. O Dulcinéia Catadora conta com o apoio do MNCR, MNPR e do Aprendiz. Integra a rede latino-americana de projetos-irmãos Eloísa Cartonera (Argentina), Sarita Cartonera (Peru),YiYi-Jambo (Paraguai) e Yerba Mala Cartonera (Bolivia)"--Verso of front endpaper.
Includes introductory essay on Haroldo de Campos by Gonzalo Aguilar.
Haroldo de Campos: a poesia como sabedoria / prólogo de Gonzalo Aguilar -- Servidão de passagem -- Pulverulenda -- Ode (explicita) em defesa da poesia do dia de São Lukács -- O anjo esquerdo da história -- Refrão a maneira de Brecht -- Neobarroso: in memoriam N. Perlongher -- Circum-lóquio (pur troppo non allegro) sobre o neoliberalismo terceiro-mundista -- Notas aos poemas