Abstract
This essay aims to suggest a constellation and a lineage inside Brazilian Modernism focusing on a reading of Fronteira (1935) by Cornelio Penna, but not limited to it -also including Pelo Sertão (1898) by Afrânio Arinos, Vida Ociosa (1920) by Godofredo Rangel, Crônica da Casa Assassinada (1959) by Lucio Cardoso, Sinos da Agonia (1974) by Autran Dourado, among others- through images of the end of the world as a way of rethinking the countryside and small cities within a localist Modernism. The proposal is not to tell more stories to avoid the end of the world but to relive what has already happened.
Keywords:
end of the world; Modernism; Cornélio Penna; localism