SUZANAS THROUGH THE MIRROR
This children's book tells the story of Suzana on a visit to a strange universe that reveals itself passing through the mirror. The two Suzanas, the reflection and the original, explore the inside of the mirror, the former with naturalness as it is her habitat, and the latter with strangeness. In that world, money is not what people want to acquire, but what they want to get rid of, and reflecting on this new role of money makes Suzana relativize its value in the real world.
Available in 2 options: 1) eBook in Portuguese; 2) eBook in English.
The idea of the mirror harboring a parallel universe seems to populate the collective unconscious of humanity. An inverted universe perhaps, or magical or perhaps sinister. Cristie thought of creating an alternative universe in which people would simply be happier, and to achieve such an intent, changed the function of the central figure of the economy: money.
The techniques used in the illustrations were watercolor painting with ink outlines, and finalization in graphic publishing software.
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Aquela era uma menina como todas as outras: especial. Nada lhe escapava. Tudo era brinquedo, desde os lápis do seu estojo escolar, seus inseparáveis colegas de classe; até os pratos e talheres sobre a mesa de jantar, seus acompanhantes durante as refeições. Seus dedos eram soldados, sua língua um monstro, suas sobrancelhas duas taturanas, e ela própria um gigante que aterrorizava os prendedores de roupa da sua mãe.
Inventava histórias envolvendo os objetos ao seu redor na trama, e conversava com eles como se fossem animados. O cofrinho engolidor de moedas, o cesto devorador de lixo, a gaveta comedora de meias... Até em momentos de descanso, deitada no sofá, ficava imaginando que o castiçal tinha inveja da luminária porque a moça era mais jovem e tecnológica, que a planta era preguiçosa demais para se mexer, e que o tapete planejava fugir de casa, cansado de ser tão pisado.
Porém, entre todos os objetos havia um preferido, o que mais a fascinava e com quem interagia mais: o espelho. No espelho morava aquela outra menina, companheira de todas as horas, que correspondia a todos os sorrisos e lágrimas, topava todas as brincadeiras, repetindo cada movimento que ela fizesse, não importava o quê, sem preguiça, sem vacilo, sem reclamação.
Como seu brinquedo preferido, Suzana exigia mais dele. Não queria que fosse tão submisso!
– Por que espelhos só falam com a madrasta da Branca de Neve? Pois que fique sozinho – e deu de ombros irritada.
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That was a girl like all the others: special. Nothing escaped her. Everything was a toy, from the colored pencils of her pencil case, her inseparable classmates; to the plates and cutlery on the dining table, her meal companions. Her fingers were soldiers, her tongue a monster, her eyebrows two caterpillars, and herself a giant that terrified her mother’s clothespins.
She would make up stories, involving the objects around her in the plot, and talk to them as if they were animated. The coin-swallowing piggy bank, the garbage-devouring wastebasket, the sock-eating drawer... Even in moments of rest, lying on the coach, she would be imagining that the candlestick was envious of the lamp because the latter was more technological, that the plant was too lazy to move, and that the rug planned to run away, tired of being so trampled.
But among all the objects there was one that fascinated her the most, and with “who” she would interact the most: the mirror. In the mirror lived the other girl, who was a companion of all hours, who corresponded to all smiles and tears, who played all games, repeating every move she made, no matter what, without laziness, hesitation, or complaint.
As her favorite toy, Suzana demanded more from the mirror. She did not want it to be so submissive!
“Why do mirrors speak with Snow White’s stepmother only? Well, be alone then” – she shrugged irritably.
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