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"A painter is like a book that never ends." Fernando Diniz

An art gallery that could show work in progress from psychiatric patients, from darkness to light (and sometimes  even back into darkness again). Museu De Imagens Do Inconsciente. Sorry fellows, only Portuguese most or all the way, only hope you can lay your eyes on the pictures, especially the pictures painted by Fernando Diniz, their featured artist of the moment at the virtual exhibition O Universo de Fernando Diniz.

Marlui Miranda: Kewere: IHU 2.

December of 1997: Marlui's new CD is  called 2 Ihu Kewere: Rezar. It's a Mass  that celebrates the 400th anniversary  of the death of José de Anchieta. This  is also a Blue Jackel release. Marlui  is now immersed in her next project:  ten more CDs! The next is a ballet, to  be performed by Ballet Stagium from São  Paulo, with sets by Japanese-Brazilian  artist Tomie Ohtake (isn't Brazil the  most amazing melting pot?). We'll keep  you posted!

Arara - Marlui, we don't know where you  come from...

Marlui - The Amazon, but I live in São  Paulo, I really never lived in the  Amazon, I just go there very often...I  just got back from a trip to an Indian  village in the state of Rondônia...I  have a lot of friends in Rondônia, so I  go there very often...My family started  in the sixteenth century, with a Jesuit  and an Indian woman, in the state of  Pará...

Arara - And this Indian music  thing...did that come from your  childhood, from hearing Indian songs?

Marlui - No, it happened after I grew  up, I worked with music, I listened to  some songs...and this thing, when it  happened, I was in my 20's, and it all  presented itself to me, ready...

Arara - Do you spend much time in these  villages, to do your research?

Marlui - No, at the most two months,  longer than that, we start to bother  people...

Arara - And how often do you go?

Marlui - It depends, this last trip for  instance, I should have gone earlier  this year...but they asked me to  postpone it...because of  problems......the boat breaks...the  river is too dry...things like that  happen and you cannot really plan go when all things come  together and it works out to's  very difficult to get to these  places...there are practically no one of these villages, it  took us a day and a half to get there,  from this town where we were...and we  were very lucky this time...sometimes  it rains and we get stuck in the mud  and we have to walk...sixty  kilometers...

Arara - So, it's not an easy thing,  this work of yours...

Marlui - No...(laugh)...the Indians  here (in the US) have no idea...there  are Indians in Brazil that live in the  Stone Age...and the other thing people  don't realize is that the access to  these areas is restricted...we need  permission to enter the Indian  areas...from the FUNAI or even from the  chief of the tribe we want to  visit...Indians in the US are three,  four centuries ahead of Indians in  Brazil...the distance is's a  matter of centuries...

Arara - How do you communicate with the  Indians?

Marlui - These places where I go,  there's no problem, because they speak  Portuguese...and we learn the basics of  their language, there...and we use a  word here and there...but in reality,  we don't need to speak it, because most  people speak Portuguese...they have a  life, connections, outside the village,  so everyone ends up learning  Portuguese...these groups I visit are  not isolated, they can't be, they're  surrounded by colonists...and, in the  case of the Tuparis, they used to be  enslaved by white rubber tappers...

Arara - But that has changed...

Marlui - Oh, yes, now they own the  land...They worked with IAMA - an  environmental and anthropological  institute - that helped them with the  legal aspects of land demarcation...of  their reservation...but this is only in  Rondônia...everywhere it's's a very complex  situation even in Rondônia...but the  Indians did it with their help...they  went to Brasília...people have no's the wild West, a frontier  land, this area of Brazil...

Arara - And what do they live of?

Marlui - Brazil nuts...IAMA...they have  a project in conjunction with Unesco  and the World Bank...there's a new  project of economic alternatives for  the Indian communities of Rondô  harvest Brazil nuts, to make farinha de  mandioca (manioc meal), to collect  copaíba oil, things that are viable,  that they know how to  do...urucum...their handicrafts, which  are marvellous..

Arara - I imagine that way they will be  able to stay in their land...

Marlui - Yes, so they don't have to one goes hungry...there's  a lot of land and the land is very  rich...the whole area is's huge...all the  reservations in Rondônia are official  and legal, there are no problems  there...there's plenty of  food...there's very little malaria  where I go...and TB...there are other  areas where there's a lot of TB...but  there no...and the population is  growing...

Arara - I read somewhere that the  Indian population is growing all over  Brazil...

Marlui - Yes, that's true. They're  maintaining their traditions, passing  them on to the younger generations,  there are projects to educate the  younger generations...the majority of  the Indian tribes take care of  themselves...they're trying to build a  viable relationship with the world of  the whites...the only negative thing is  the way the whites relate to the  Indians...the Indians are trying to  understand how the outside world's very difficult, because  they have such a different way of  thinking...

Arara - And what's the role of the  FUNAI (the official Brazilian  organization)?

Marlui - They give them basic  assistance...a pharmacy, for  example...FUNAI sometimes works,  sometimes doesn't...but you can't leave  the Indians without any open a door for other  organizations, like churches, to come  in and brainwash the Indians...they do  some good, but come in and convert them  to their god...for instance, someone I  know, a pajé (shaman), is a converted  Baptist...he lost his expression...he  doesn't value his own mythology, his  own Word, because the Bible...well,  it's written, you see, and all they  have is an oral's very's the pits!

Arara - When you're in São Paulo, do  you teach or lecture?

Marlui - No, I don't have much  opportunity to do that. Sometimes,  people ask me to, but I can't, because  everything is so difficult in Brazil,  my work takes a lot of time...and also,  people only remember when it's Indian  Week...then I have lots of  invitations...but the rest of the  year...the Indians don't, if  you want to do a show in  December...forget it...nobody wants to  do it...(laugh) my work, it's very  difficult, extremely difficult...

Arara - And that's all you do?

Marlui - Yes, that's all I I  survive with grants (Marlui won a  Guggenheim Fellowship)...but, there are  times when things are difficult...I'm  creating a market that never existed  before...

Arara - This American tour, Marlui, are  you going to do it again?

Marlui - Yes...I'm just getting  organized to start touring...I could  come and visit the universities, but I  haven't had a chance to do that  yet...I'm getting ready to do something  very professional...We're trying to  organize a tour with a large group of  singers and musicians for May of  97...This show is very beautiful, and  something different to come out of  Brazil...nobody has seen that outside  of Brazil...

Arara - I read something Gilberto Gil  said about the Indian influence on  Brazilian music...

Marlui - There's  none...nothing...Brazilian Indian music  is a cultural secret...nobody knows  it...It's so specific, so dependent on  certain creative factors, themes. vocal  expression...</b>

Arara - Not even an instrument, a  percussion?

Marlui - No, all that influence is  African...What the Indians influenced  was the language, the food, the  customs...the way Brazilians are, the  sweetness...(laugh)...

Arara - And why is that, Marlui? Why  did it happen that way?

Marlui - Because of the distance  between the Indians and the rest of the  population...the Africans were very  close, inside the homes of the white  people...The Indians were ignored  because they represent something very  primitive, they were savages...the  relationship with the Africans was very could not enslave,  bring the Indians inside the homes, to  be servants...the few who were enslaved  died away, nobody  heard their music...there was no  knowledge, no information...and the  Africans, it was a different type of  music, there was the religion also...we  ended up absorbing all that...we were  captivated by all that, which is very  beautiful...

Arara - We started with the  Jesuits...might as well end with  them...What happened with the Jesuits  and the Indians, in the beginning of  the colonization of Brazil? The stories  one reads about the music in the Mass...

Marlui - The Jesuits protected the  Indians...they tried to convert them,  that was their objective, but they also  protected them...and they could play  their flutes in the Mass...that's true.

Arara - Marlui, what's ahead for you?

Marlui - I'm continuing this  work...It's my life...We just published  a companion book to this  Brazil...And my new's a Mass...a Jesuit  has asked me to do an Indian Mass...but  it's something new, not based on the  work done in the 16th century...I still  don't know how it's going to be,  exactly, but it'll have Indian music...

Arara - Thanks, Marlui...hope this  makes people around the world aware of  your work...maybe someday you won't be  needing all those grants...

Marlui Miranda, Maria Brazil, Arara's  Pages.

Matias Romero, born in the city of Santos, on the coast of the state of São Paulo, works with music, video, literature and almost all forms of art where he can lay his hands on. Since he was a child he has shown a knack for literature, reading street signs precociously, according to his mother. This is where his passion for literature came into being, from its most primeval nucleus: the letters of the alphabet themselves. From this passion to music it was not exactly just a leap away, but it was through the record sleeve concepts from the seventies (especially those produced by Hipgnosis for the likes of Pink Floyd and Led Zeppelin) and also Brazilian popular music, with the fantastic sleeve designs of Elifas Andreatto for Paulinho da Viola and Martinho da Vila that he started to investigate the possibilities of visual art and marketing design for an authoring environment of his own, first starting with the models to attain a more and more customized feel into his creations, completely of his own. Has been a self-taught artist ever since. On the 22nd June 2002, attracted by the work of an online friend who went by just as ~neuroglider, whom he never met in the flesh, or found out about his name, landed for the very first time at Deviantart. The rest has been recorded here, throughout journals and works. Currently works with translations, versions, video, video subtitling, music, visual art, photography and what you may have.


Matias Romero, nascido em Santos, litoral do estado de São Paulo, trabalha com música, vídeo, literatura e quase todas as formas de arte nas quais possa por a mão. Desde pequeno revelava sua inclinação para a literatura, lendo placas de rua de maneira precoce, segundo sua mãe. Daí sua paixão por literatura desde o seu núcleo mais básico: as proprias letras do alfabeto. Daí para a música não foi exatamente um pulo, mas foi através das capas de discos de rock (especialmente aquelas produzidas pela Hipgnosis para bandas como Pink Floyd e Led Zeppelin) e de música brasileira também, principalmente as fantásticas capas produzidas por Elifas Andreatto para Paulinho da Viola e Martinho da Vila nos anos 70, que começou a investigar as possibilidades de uma arte visual autoral sua, que se iniciava com os modelos, mas que partia para uma personalização inevitável de seu conteúdo. Tem sido autodidata desde então. Em 22 de junho de 2002, atraído pelo trabalho de um amigo online que jamais viu pessoalmente ou mesmo soube o nome, apenas o apelido ~neuroglider, aterrissou pela primeira vez em solo deviantartense. O resto está gravado aqui, entre diários e trabalhos enviados. Trabalha atualmente com traduções, versões, legendas em vídeo, fotografia, arte visual, música, vídeo e o que mais vier.
  • Listening to: Steven Halpern and Paul Horn - Connections…
  • Listening to: Halpern's Zodiac Crystal Suite
Pioneer of modern Brazilian architecture, painter, drawing artist, writer, playwright, Flávio de Resende Carvalho studied in England and was always distinguished by the boldness and originality of his creations. He was innovative, used to trailing paths never covered before since his beginnings.

His originality was revealed, for instance, in the Dance of the Dead God when he built luminous sceneries for a choreographic symphony of his friend Camargo Guarnieri. Or also in his ridiculed attempt to suggest and impose Brazilians more adequate dress for the warm climate of the tropics, parading a small skirt on the streets of São Paulo. A great painter and drawing artist connected to expressionism, he had the human figure as one of his favorite themes, with famous portraits he made of celebrities in Brazilian cultural life as the writers Mário de Andrade and José Lins do Rego.

But it was in the drawings of the Tragic Series, made by his mother's deathbed in 1947, that Flávio de Carvalho attained the zenith of his art. Almeida Sales wrote about this work: "Not knowing how to express himself more deeply than by means of stuttering sketches acummulating on the white paper sheets, he dared to turn his dying mother's room into an atelier to record the bizarre event.

He left the tragic room like a god that had stopped the inexorable process of death. Under his arm, sheets drawn with charcoal kept forever the most extraordinary snapshot of all times: the last breath of an elderly woman entering the realms of death, fixed on the paper by the man that had been given birth by her".

Source: Sampa Art: Flávio de Carvalho. Translated by matiasromero
  • Listening to: Halpern's Zodiac Crystal Suite
Some works from rakastajatar I ran into while ransacking her gallery.………
  • Watching: Discovery Channel
  • Eating: a hand-rolled cigarette
Rituais Do Silêncio, vídeo dirigido por mim e Eduardo Agena em única exibição na Cinemateca de Santos no dia 18 de abril de 2009, às 20:00hs. Ao final da projeção, papo risonho, franco e aberto sobre o vídeo e principalmente sobre os rumos da produção e difusão cultural em tempos de internet, e outras bobagens tão indispensáveis quanto. Se o amigo desviante estiver em Santos ou próximo - de maneira que possa fazer um desvio até lá - apareça. Entrada franca.…
  • Listening to: Marlui Miranda - Estrela do Indai&aacute;
  • Eating: a hand-rolled cigarette

"Originally from Santos, SP, Brazil, I started a career as a psychologist at Centro de Hipnose de Santos in 1992. In 1994, worked on my first important case, called the Light Shadow Society, a case that had me dangerously busy and on the edge, working under the supervision of Dr. Romeu Arruda, psychiatrist."

With this simple biography, the psychopatic saga of Stella Freitas-Grisam starts in 1994, toward the disturbed universe of her clients - as she likes to call them. A very little orthdox psychologist, she aims to experience or ends up experiencing what makes her clients so violent. Is it really necessary to roll over miles of broken glass to scan into the mind of a psychopath? She often goes far as hell to find it out until she finds out she's gone much too far. From a heterodox school of psychology - her own - she does things that would make any fellow psychologist blush with shame (or rage) until eggs can be fried on their faces. If the psychologist herself walks the extra-fine line between reason and total insanity, what can be said of her shady clients and the stories they hide carefully from her in their sessions? You have been warned, but just in case you have got curious to know what the fuck this rigmarole is all about, it's possible to follow the narration of her cases from these links:

Rádio Universal: A Love Like Blood

Rádio Universal: The Making Of A Thousand Gods

The Making Of A Thousand Gods was also published on Deviantart, under the name The Wrestling Season in four parts: 1 | 2 | 3 | 4.

As you click the links, deviantART will warn you: Out there be monsters. Believe it. In this case, it is completely true.



"Originalmente de Santos, SP, iniciei carreira como psicóloga no Centro de Hipnose de Santos em 1992. Em 1994, trabalhei em meu primeiro caso importante, que eu costumo chamar Sociedade Da Sombra Da Luz, um caso que me manteve por meses perigosamente ocupada, trabalhando sob a supervisão do Dr. Romeu Arruda, psiquiatra."

Desse modo, com essa singela biografia inicia-se em 1994 a psicopática saga de Stella Freitas-Grisam, em direção ao universo perturbado de seus clientes, como ela gosta de chamar. Uma psicóloga pouco ortodoxa, ela visa experimentar ou pelo menos acaba experimentando aquilo que torna seus clientes tão violentos. É realmente necessário deitar e rolar sobre quilômetros de vidro quebrado para perscrutar a mente de um psicopata? Ela freqüentemente vai longe para descobrir, até descobrir que foi longe demais. De uma vertente heterodoxa da psicologia, que visa tornar o observador o proprio sujeito observado com o passar do tempo e com a concentração em seu alvo, ela faz coisas que fariam qualquer colega psicólogo ficar vermelho de vergonha (ou de raiva) até que se possa fritar ovos sobre sua cara. Se a psicóloga mesma trafega com freqüencia estarrecedora no intervalo entre a razão e a insanidade total, o que se dirá de seus clientes sombrios e das histórias que escondem dela durante as sessões? Para quem foi avisado por este que vos escreve, mas mesmo assim teima em querer sondar o mundo secreto desta singular psicóloga, é possível seguir os diários que relatam seus casos, alguns de impossível solução, a partir deste link:

Rádio Universal: Um Amor Como Sangue
  • Listening to: Simone - Cordilheiras
I have recently finished a feature film about my wanderings in Cambuquira, called Rituais Do Silêncio (a.k.a. Rituals Of Silence). Above all, the film deals with insights I had and have when alone in town and the vision I have of its calm everyday life and how it affects my life and perception of things. As a bonus, a lot of images and descriptions of the municipality from a first-person perspctive, sometimes with sense of humor, sometimes psychedelic, sometimes introspective as is the general mood I sought to bring to the film. The film on You Tube is subtitled in English. Also included below a small description of the film.

Rituais Do Silêncio (a.k.a. Rituals Of Silence)

Video in eight parts directed by me and Eduardo Agena portraying the town of Cambuquira, in the state of Minas Gerais, Brazil. Not only is the town portrayed here, but also the restlessness of a quiet mind as Eduardo Agena's and his pursuit of a refuge against the evils of modern life. Total running time is about 57 minutes and 38 seconds. Closed captions in Portuguese and subtitles in English. Rated PG-13 for some content on the use of legal and illegal psychoactive substances.……
  • Listening to: Durutti Column - Love No More…
  • Listening to: Esquadrao do Preto Velho - Jardim Dos Animais
Happy New Year in this new year, for those who watch me and for everyone who reads this journal. And also happy new year to those not included in any of the instances mentioned before.


:iconcho-oka: :iconfarihinkatimin: :icontrekkie313: :iconaqueous-sun-textures: :iconwadu: :iconhallonnie: :iconfantasystock: :iconkelbellestock: :icondeet-bug: :iconbutchen: :iconeduardobra: :iconlostinbeta: :iconsalvamoremali: :iconclaudioguimaraes: :icongothikfury: :iconfireflydreamer: :icondrkrtst: :iconpdtnc: :iconkillette: :iconvalhalla-vania: :iconnoirbavardage: :icondigitalmedia: :iconrakastajatar: :icon613flavah: :iconicoman: :iconunflux: :iconnemmy: :iconneuroglider: :iconbleno: :iconmetalx: :iconzylak: :iconsonarroz: :icontozkera: :icondarkarchmage: :iconxdamien3gx: :iconbloodfly:
  • Listening to: Esquadrao do Preto Velho - Geografia Da Fome
Back in town. Funny thing is, after spending four months in São Thomé das Letras, it didn't feel so lonely departing, so sad as it had been in the previous times I went there. I needed to re-reel the whole movie, watch it from a different viewpoint. Life in the country is beautiful, as much as it is hard. Working in the fields - though not in plantations per se - has made my hands rough (not mentioning the stupid idea I had of bursting one of the blisters I got from spadework... by the way, some of the tools I used are here). On the other hand, spending so long out of my hometown has spawned something of a different feeling inside of me - the feeling that I'm definitely no stranger to this country life. Other than that, the breathtaking beauty of the cerrado has finally made me extremely fond of it for life. Far from being a dilemma to be solved or a cry for help, I want this post to be a celebration of such different environments: the city where I was born and still live in and the promise of a new dawn in a place where peace and nature are (nearly) all you have around you.
  • Listening to: Friccion - As Veces Llamo
And here I am still in this city of São Thomé das Letras. What can be said about it that hasn't been yet? Much. The wide open savannahs, the diversity of its climate and vegetation, the incredible relief and the city made of stone. Like nuragues in Sardinia, constructions built to last. With no cement, only the pressure of stone on top of stone to solidify it all into a resistant and concrete mass. The beautiful waterfalls, so many that are difficult to even try to count. The magic of Brazilian outback at its finest.

And then there comes trouble too. The wildernes, the dangers of the outback under the form of spiders, scorpions, snakes. Yesterday, we went back to the farm only to find D. Maria - the owner of this farm I have been staying over on - killing a rattlesnake with an agricultural tool. Beauties and woes of the desert and cerrado, I suppose. Nothing that anti-ophidian medication can't solve, but still worth a great deal of worry.

And the skies at night. Well under the Milky Way tonight. And it is never shy of showing its nocturnal beauty. I'll be here for a little more before going back to my hometown. Wide awake and living each moment in its entirety...

Wait for images of São Thomé das Letras, that are sure to come washing it here.
  • Listening to: Soda Stereo - X Playo
  • Drinking: Mountain water
Cambuquira is two things in Brazil: pumpkin sprout and a city in the state of Minas Gerais, of Brazilian fame for its mineral water fountains. I'm right now spending days here, catching its images in digital photos and mainly video. I intend to make a short-footage video which I intend to send to a video contest and festival right here in the city, next year, God willing. Starry skies, silence, peace and the exquisite flavor of its waters. That's why I have come.
  • Listening to: Uman - Chaleur Humaine
  • Drinking: Magnesian water…
The old new system of folders is welcome back. Unlike any novelty here in Deviantart, the system is a re-launch of an organization system formerly known here as DevPacks. The DevPacks were a way to organize the many titles of an artist - that shared the same characteristics or theme - in early Deviantart I've always held dear, because I think this is the way someone would present their works in series in a digital gallery. I have organized works of me of all times here at Deviantart that portrayed small animals, one of my passions when sitting at the computer within Photoshop, as those near me can testify. Here is this gallery series: Little Creatures.
  • Listening to: Madeira Mamor&eacute; Railway: Gaiatra
New wallpaper now as an entry for A Dark Christmas... a contest run by sammykaye1 and friends, like IWS-stock and others.

More about the the contest and how to join.

All mediums are welcome in the contest, and the prizes are simply yummy. Good luck to everyone involved!
  • Listening to: Steven Halpern: Zodiac Suite
  • Reading: journals's rudimentar html
  • Watching: the monitor screen
  • Playing: with a microjoint again
  • Eating: Toasts
  • Drinking: Coffee, lots of coffee
In my last journal, Fifth Deviantart Anniversary: Resourcing I was talking about how I decided to celebrate my fifth year being here resourcing, that is, producing something that can be of use so that others can do their thing, express themselves and the whole lot of it we all know so well. Doing so I have automagically started to meet the gift gfivers all around me: a recent shot of a tower with a yellow rooftop I photographed in the capital of Brazil during my short sojourn there two weeks ago has just been featured in this piece of news by MarahScott as well as everyone who have commented on my pieces recently and you know who you are. After all, you have always been there for those beginning and the fact of being so supportive towards these beginners - you know who they are as well - knowing so much and being so suportive when so many hide the secrets of doing is something to be appreciated, even though most today will say sharing the knowledge should be an obligation. Thank you all out there!!!
  • Listening to: Steven Halpern: Zodiac Suite
  • Reading: DA's html
  • Playing: with a microjoint again
I still remember uploading one of the first works I made here, back in 2002, an insane collage by the name Peyotl Kennedy, which was placed in Resources. The first comment I received for the piece came from a Scandinavian guy who liked the piece but "didn't get why it was placed in Resources". Obviously I had been a victim of the gallery categorization, long before all this clever paraphernalia built in the deviation submitting device told us all where to place them. Much water has rolled under the bridge ever since, and I have felt a need to place some deviations once again the Resources section. But this time where the paraphernalia I've always dreamed of tells me what the right place is, I dare to say nowadays I know where the works are going to. And it's been five long years here in this place of dreams and nightmares and such nice people and arts.
  • Listening to: Steven Halpern: Zodiac Suite
  • Reading: DA's html
  • Playing: with a microjoint
Matías Romero was an army of one for Mexico as he lobbied incessantly to get the USA to declare war on France over their violation of the Monroe Doctrine. Millions of Mexicans welcomed the puppet Emperor Maximilian when he arrived in Mexico City in 1864. War with France would have meant war with Mexico also and that would have meant an end to the United States and the retention of slavery in the New World.

Matías Romero was born in 1837 in Oaxaca, in southwestern Mexico, the birthplace of fellow Mexican Liberal leaders Benito Pablo Juarez, Porfirio Diaz, and Ignacio Mariscal. He was educated as a lawyer, but immediately upon finishing his studies he joined the Liberal government under President Benito Juarez during the War of the Reforma (1857-61). As a protege of Juarez, Romero served for a time as an unpaid employee in Relaciones Exteriores before being given a salaried post. Thus although he was young when he entered diplomatic service in the Mexican legation in the United States early in 1859, he was not totally inexperienced. When the outbreak of the American Civil War thrust considerable responsibility upon him, the twenty-four-year-old Romero already had spent four years in the Mexican foreign service, including two years in the United States as secretary of the legation and charge d'affaires. Romero served as charge until mid-1863, when he resigned because he lacked sufficient funds to conduct a proper lobbying campaign to persuade the United States to act against the French in Mexico. He returned to Mexico hoping to serve in the army against the French. Juarez and Minister of Foreign Relations Sebastian Lerdo de Tejada, however, persuaded him to return to the United States by promising prompt payment of his salary, adequate funds to maintain an active legation, and the rank of minister. By October 1863, Romero was back in Washington, where he remained until late 1867. The need to resolve outstanding American claims so as to preserve Mexico's credit rating with potential investors brought him back to the United States in mid-1868. After negotiating the United States-Mexican claims agreement of 1868, which arranged for the adjudication of all outstanding claims, Romero again returned to Mexico. At the age of thirty-one, he became Juarez's secretary of the treasury.

Displeased by Juarez's decision to seek reelection in 1872, Romero resigned to pursue an activity he had long advocated - coffee culture in southern Mexico. This phase of his life lasted only three years, in part because of the hostility of Guatemalan President Justo Rufino Barrios, who feared that Romero's presence near Guatemala's frontier portended future Mexican expansion into his country, and in part because in 1875 Romero was elected to the Mexican Senate. Two years later, Porfirio Diaz named Romero secretary of the treasury. Romero's health declined in 1879, compelling him to resign. Battling recurring stomach problems that had plagued him since his youth, Romero traveled to the United States to consult medical specialists. In 1880 and 1881, while recuperating, he was involved in several railroad schemes with former United States President Ulysses Grant, Albert K. Owen, Hiram Barney, and others. From 1882 until his death, Romero served as Mexican minister to the United States, except for a short period from mid-1892 until early 1893, when he returned to Mexico for his third period as secretary of the treasury. Porfirio Diaz's second marriage to Romero's daughter no doubt secured and stabilized Romero's role in Mexican politics and increased his influence within the Diaz administration. Romero died in Washington on December 30, 1898, after an attack of appendicitis.

Throughout his service in the 1860s in the United States, and especially after his return in 1863, Romero viewed it as his chief responsibility to lobby for moral and material support against the French. His memorandums are valuable in revealing the specific actions and policies he planned or adopted to achieve his purposes. Romero believed that he could shape Union political and public opinion by distributing information, by coordinating his work with people who seemed to share Mexico's objectives, by traditional lobbying devices such as subsidies to create a favorable press, by the use of congressional resolutions to bring key ideas and documents to the public attention, and by wining and dining the political elite. Shaping opinion, he hoped, would result in public attitudes and political actions advantageous to Mexico in its struggle against foreign intervention. His plan required inching toward his goals rather than advancing by dramatic giant steps. He hoped to change opinion and policy over the long run by constant, slow pressure.


Schoonover, Thomas D. Mexican Lobby. Matías Romero in Washington 1861-1867. The University Press of Kentucky, 1986.
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