He has illustrated books for over twenty years, and also writes some of them. According to Zahar website he "likes the type of literature that uses words and pictures simultaneously." 

   "Lá e Aqui", his and Carolina Moreyra’s book published in 2015.26.02, has won 3 prizes, "Prêmio Crescer - 2016", "Prêmio FNLIJ - 2016" and "Prêmio Jabuti - 2016". Described as a "Little Masterpiece which overflows emotion" by Zahar Website,  the book is full of soft beautiful illustrations and really short sentences portraiting the separation/divorce between a couple with a little kid. 

   A year before that, he had the pleasure of illustrating Mauricio de Souza's, one of the biggest names in braziliang writing history, "Mônica é daltônica?"; a classic, the first story published on the "Mônica" magazine in 1970. 

   Odilon has participated in various rewarded writings, some of them which won the "Jabuti" prize includes: "A Saga de Siegfried"(1994); "Lá e Aqui" (2016); "O Matador"(2009)'; "Teleco, o Coelhinho"(2017); "Conselho"(2014). 

Some of his own books are “A Princesinha Medrosa”, “Rosa" and “Pedro e Lua” 

   “A Princesinha Medrosa” is his very first book. It depics a little princess who is frightened of a lot of things. The princess uses all of her authority to deal with the great things - the fears of darkness, loneliness, and poverty. The little princess does not realize that her fear is, in fact, her own fear. And, while she fears the invisible and the unlikely, she lets her own happiness escape. It will be the help from a boy, who teaches to listen to the whisper of the stars, that she learns to deal with sadness.  https://www.youtube.com/watch?v=DxeZq6PRee4 

 

https://www.facebook.com/OdilonMoraesilustrador/ 

https://zahar.com.br/autor/odilon-moraes  

https://www.companhiadasletras.com.br/autor.php?codigo=00762 

   Scarpelli has illustrated innumerous magazines articles, a huge amount of them. 

   She was indicated to the "Prêmio Jabuti" 2018, for her participation in "Extraordinárias" and "Os 101 Dálmatas" 

   Scarpelli also has a Blog called Dona Margot, in which she includes a huge amount of her works, from cute drawings to some of her publishings on magazines. http://donamargot.blogspot.com/ 

   Veridiana Scarpelli was born in São Paulo in 1978. The taste for drawings, which accompanied her since childhood, made her think of opting for the Plastic Arts. In the end she ended up joining the BA of Architecture and Urbanism of the University of São Paulo in 1997, and never stopped drawing. She started her career as a designer of furniture and objects, but in 2007 she decided to persue her hobby. She presented her portfolio for every publishers she could reach. 

   Her efforts really worked out, one just needs to see her client list. One of them is the newspaper Folha de S. Paulo, to which her drawings illustrate weekly the section “Tendências/Debates do Jornal”. She is the author of “O Sonho de Vitório” (Cosac Naify, 2012), also published in Mexico (“El sueño de Victorio”, Fondo de Cultura Económica, 2013) 

   Some of her illustration for kids books are on the following titles: "Ora, pílulas"(Tatiana Belinky), “A Montanha Encantada dos Gansos Selvagens"(Rubem Alves); “A Operação de Lili”(Rubem Alves), “A Libélula e a Tartaruga”(Rubem Alves), “O Decreto da Alegria”(Rubem Alves), “Cantigas, Adivinhas e Outros Versos:  Volume 2”(Melhoramentos); “A fada Oriana" e “A menina do mar”(Sophia Mello) 

   “O Sonho de Vitório” is a book writen and illustrated by Veridiana, for which she had a pretty funny development, narrated by her on this video https://www.youtube.com/watch?v=tSyK43P3w2k 

   Here is an enterview with her for “O Ser e o Agir Transformador” which she had illustrated 

   She is a children’s book writer and illustrator, and has won the “Prêmio Jabuti” for Children’s Literature seven time. In 1993 for “Truks”; 1995 for “A Bruxa Zelda e os Oitenta Docinhos”; 1998 for “Anjinho”; two in 2006 for “Cacoete” in Illustration and Children’s Book; 2007 for “Felpo Filva”; and 2017 for “Drufs”. 

   I am a huge fan of Eva Furnari. I grew up reading her books in Livraria Cultura bookstore and at school. The only book from her that I ever owned was “Os Problemas da Família Gorgonzola” because it was on the school’s material list. The reason why I never had another one, as much as I loved her books, is because children’s books are very expensive, so I would read the books on the bookstore and not buy them. Her works that I love the most are: “Os problemas da Família Gorgonzola", “Umbigo Indiscreto", a Bruxinha (Zuzu)(“O Amigo da Bruxinha”), and “Nós”. 

   Eva mentions that hers two favorites illustrators are: Einar Turkowski (https://einarturkowski.de/galerie/) and Lisbeth Zwerger. 

  She also has collaborated in the children’s section Folhinha of the newspaper “Folha de S. Paulo" , in which she creates one of her better-know character, “Bruxinha”. 

   In 2004 she was selected to illustrate a new edition of six children books by Érico Veríssimo. 

   Marilu gets a little makeover: https://cultura.estadao.com.br/noticias/geral,escritora-e-ilustradora-eva-furnari-retoca-uma-de-suas-mais-belas-historias-imp-,887792 

 

http://www.evafurnari.com.br/pt/ 

One of my most beloved childhood books, The Gruffalo was written by Julia Donaldson and illustrated by Axel Schefeller. It has sold over 13 million copies,has won several prizes for children’s literature, and also has been developed into plays on both the West End and Broadway, and even an Oscar nominated film! The Gruffalo (Film): https://en.wikipedia.org/wiki/The_Gruffalo_(film) (27 minutes)

It was initially published in 1999 in the United Kingdom by Macmillan Children’s Book as a 32-page hardback edition, was followed six months later by a paperback edition, and subsequently by a small-format board book edition. It was penned for readers aged three to seven, and is about 700 words long. It is written in rhyming couplets, featuring repetitive verse with minor variance.

It tells the story of a mouse, the protagonist of the book, taking a walk in a European Forest.

THE PLOT: The story of a mouse's walk through the woods unfolds in two phases; in both, the mouse uses clever tricks to evade danger. On his way the mouse encounters several dangerous animals (a fox, an owl, and a snake). Each of these animals, clearly intending to eat the mouse, invites him back to their home for a meal. The cunning mouse declines each offer. To dissuade further advances, he tells each animal that he has plans to dine with his friend, a gruffalo, a monster-like hybrid that is half grizzly bear and half buffalo, whose favourite food happens to be the relevant animal, and describes the features of the gruffalo's monstrous anatomy. Frightened that the gruffalo might eat it, each animal flees. Knowing the gruffalo to be fictional, the mouse gloats thus:

Silly old fox/owl/snake, doesn't he know?

there's no such thing as a gruffalo!

After getting rid of the last animal, the mouse is shocked to encounter a real gruffalo – with all the frightening features the mouse thought that he was inventing. The gruffalo threatens to eat the mouse, but again the mouse is cunning: he tells the gruffalo that he, the mouse, is the scariest animal in the forest. Laughing, the gruffalo agrees to follow the mouse as he demonstrates how feared he is. The two walk through the forest, encountering in turn the animals that had earlier menaced the mouse. Each is terrified by the sight of the pair and runs off – and each time the gruffalo becomes more impressed with the mouse's apparent toughness. Exploiting this, the mouse threatens to eat the gruffalo, which flees.

The story is based on a Chinese Folk Tale of a fox that borrows the terror of a tiger. Donaldson was unable to think of rhymes for "tiger" so instead she invented a word that rhymes with "know".

   But what are words without a context/a image to which you can relate it?  

  “Lá e Aqui” is a highly emotive work, at least for those who are sensitive. It depics the divorce between a couple, a woman and a man, with a little kid. It is soft harsh on the phase of most suffering.  

  The POV (Point of View) is from the little boy. How he sees the house while their parents were together. A beautiful house. With a beautiful garden that had frogs and a tree full of birds. A big dog and a little dog. A pond full of fish and many colourful flowers. A dad and a mom. 

  The house is the family itself, there are still the characters, the dad and the mom, and the kid telling the story, but the house is the portrait of them as a family, it is their home. The house suffers as the family suffer, and is really vivid once the family is at ease and happy.  

  The house drowns once the parents start the divorce process, it drowns as they fight until the day they break up, and the dad leaves.  

  The dogs had ran away along with the birds. The frogs took the dad’s lost steps far away, and the fish stayed in the mom’s teary eyes (marejados). And finally, there was not a single house but two houses. The family had broken apart. 

  Now, there were two houses, two families. We do not get to know what the kid feels during the process, or once they are separated. 

  The story follows it’s path, and now the fish leave the mom’s eyes and go live in the aquarium, the frogs go back to the garden once the dad’s feet found their path. And that is the moment we know that the “grown ups” had settled down with their choice, and are at peace.  

  The boy now has the two houses. Two families. One day he is with the dad, on the other day he is with his mom, but either way he is at home.  

 

 

  I had the pleasure of reading the words on the book and seeing the images on it. I am sensitive, and felt really happy in the begging, sad on the middle and resigned in the end. 

  It begins happily, with a gorgeous pallet of colours, and happy drawings, that causes a warm feeling in the chest. 

  It is sad once the house starts to drown. How the rain pours over it again and again, and after five pages the house is completely submerged and empty. The flowers died and every living being had ran away. Then that warmth gets progressively cold, that is what hurts the most. 

After the decisions had been made, and the couple is splitted, there is happiness again, for the boy at least. But once you had the experience of life you understand that is not the same happiness as the one in the beggining, this once is colder, and less bright. As far as one knows it is a pleasent happiness for the kid, but we all know it is not the same, and the kid will only truly understand that whole affair once he is old enough. 

 

https://www.youtube.com/watch?v=l1Mk9pYQn8E 

https://zahar.com.br/livro/la-e-aqui 

There are retail card decks specifically crafted for playing Old Maid, but the game can just as easily be played with a regular deck of 52 cards(26 PAIRS). When using a regular deck, a card is either added or removed, resulting in one unmatchable card. The most popular choices are to remove the ace or queen of clubs or to add a single joker. It is also possible to remove one card face-down from the top of the deck before hands are dealt; if this is done, players will not know which card is unmatchable. The unmatchable card becomes the "old maid," and whoever holds it at the end of the game is the loser.

Deck of 19th-century cards

The dealer deals all of the cards to the players. Some players may have more cards than others; this is acceptable. Players look at their cards and discard any pairs they have (e.g., two kings, two sevens, etc.) face up. Players do not discard three of a kind. In common variants, the suit colors of a discarded pair must match: spades (♠) must match with clubs (♣) and diamonds (♦) must match with hearts (♥).

Beginning with the dealer, each player takes turns offering his or her hand face-down to the person on his or her left. That person selects a card without looking and adds it to his or her hand. This player then sees if the selected card makes a pair with any of their original cards. If so, the pair is discarded face up as well. The player who just took a card then offers his or her hand to the person on his or her left, and so on. A player is allowed to shuffle his hand before offering it to the player on his left. In some variants, all players discard only after the dealer has had his or her turn to take a card. Alternatively, play can proceed in reverse order, with players taking a new card before giving one up. In this variation, players can be stuck in "old maid purgatory," with one card and no way to get rid of it.

The objective of the game is to continue to take cards, discarding pairs, until no more pairs can be made. The player with the card that has no match is "stuck with the old maid" and loses. When playing with more than two players, the game is somewhat unusual in that it has one distinct loser rather than one distinct winner.

C19: from Greek erōtika, neuter plural of erōtikos erotic
in BRITISH: explicitly sexual literature or art 
  in AMERICAN: books, pictures, etc. having to do with or intended to arouse sexual feelings or desires

A kink is a curve or twist in something which is otherwise or normally straight.

...a tiny black kitten with tufted ears and a kink in her tail. [+ in]

Synonyms: twist, bend, wrinkle, knot  

verb

If something kinks or is kinked, it has, or it develops a curve or twist in it.

countable noun

A heretic is someone whose beliefs or actions are considered wrong by most people, because they disagree with beliefs that are generally accepted.

Synonyms: nonconformist, dissident, separatist, sectarian 
2. 

countable noun

A heretic is a person who belongs to a particular religion, but whose beliefs or actions seriously disagree with the principles of that religion.

Thousands of heretics were burned at the stake.

in BRITISH:
noun

mainly Roman Catholic Church

a person who maintains beliefscontrary to the establishedteachings of the Church

a person who holds unorthodoxopinions in any field

  There are three important points here: first, that the choice of object is itself a creative act. Secondly, that by cancelling the ‘useful’ function of an object it becomes art. Thirdly, that the presentation and addition of a title to the object have given it ‘a new thought’, a new meaning. Duchamp’s readymades also asserted the principle that what is art is defined by the artist.

   FOUND OBJECT
  A found object is a natural or man-made object, or fragment of an object, that is found (or sometimes bought) by an artist and kept because of some intrinsic interest the artist sees in it.
  Found objects may be put on a shelf and treated as works of art in themselves, as well as providing inspiration for the artist. 
Natural sculptures.