ABSTRACT
This chapter describes the satirical element present in this novella is equally derived from and reflective of Jose de Almada's engagement with various forms of contemporary visual culture — most particularly with the languages of advertising and caricature. Almada's public display of support for Souza-Cardoso's work and his active participation in the Corporation Nouvelle would seem to contradict Augusto Franca's comments that the Delaunays' 'lessons' had gone unnoticed or unappreciated by him. In many respects, the oral registers, the slang, and the characters' offhanded comments and insults present a narrative equivalent of the vapid poses and ironic situations depicted in Almada's visual material of the time. The diverse mix of the participants in Lisbon's avant-garde circles during the brief period of 1914–18 whom Almada identified as his inspiration and collaborators includes many names that are still well known: besides the painters Eduardo Viana, Santa-Rita Pintor.
