A. She sang a samba that sounded like a doctoral thesis and was demoted. Nothing to do with the beauty of Mestre Ciça’s exaltation. They sang about Lula’s life, in (Eurídice Ferreira de Mello), his mother.
In your voice:
“With my chest in pieces
I left behind love and my dreams
I took my boys by the arms
An incessant sun of the country shone
For the retreating destiny
I took you, Luiz Inácio
Ironically, thirteen nights, thirteen days
Saint Luzia guided me, Saint Joseph enlightened me
From the left of God the Father, from the union struggle
To global leadership.”
it was a lioness. He lived through a difficult marriage, raised eight children (four died in infancy) and died in 1980, when Luiz Inácio was a new union leader.
In biographies and in the memory of his coming to São Paulo, the six children are there, Lula being seven years old. A sculpture placed in the Recife park, which bears his name, remembers this group of refugees.
In the bronze, as in the samba and in all the descriptions of the trip, four other people are missing: Dorico, Lindu’s brother, his wife, Laura, and two children. Adding a couple of adults to the difficult journey, its epic side changes in quality.
Dorico helped Lindu in his early days in Santos. He set up a bar and, in 1955, took Lindu in when she got rid of her promiscuous and alcoholic husband. As an adult, Lula would remember:
“In the bedroom, my mother, two sisters and I, who was the youngest and could sleep with the women, slept. In the kitchen, on those open beds, seven or eight people slept. And the bathroom didn’t have a toilet, it was a Turkish basin, the kind you can squat on, which they use in prisons.”
In another memory, Lula gave more details:
“We lived with 13 people in that room and kitchen. Because, in addition to all of us who lived with my mother — the eight of us were already living with my mother —, there was another cousin called Luiz Graxa and another cousin called Zé Graxa. (…) As there was little food, my mother would buy second-rate meat to make the sauce, add a lot of water and add that fatty meat, which would be very fatty. So, that sauce, you would add flour and add that grease, I added flour to increase the amount of food, to be able to provide support for the little bellies.”
During these years of Lula’s childhood, Uncle Dorico was a safe haven for his family. Lula’s biographies gave little or no importance to Uncle Dorico. He and his children disappear little by little. They didn’t fit into the plot of Acadêmicos de Niterói. Only the magnificent book recorded his timely presence in detail. There are two nominal references to Dorico.
In Lula’s biography and celebrations, Dorico fulfills the historical role of the retreatant: even though he is relevant, he becomes an absentee.
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