Abstract
This essay explores the intertextual relations between the Puerto Rican writer’s oneact play Gení y el Zepelín and Chico Buarque de Hollanda’s Ópera do Malandro . This process uncovers not only Ramos’s borrowing of a Buarque ballad for his title, his protagonist, and his plot, but also the way he shares Brecht’s theatre poetics with his Brazilian counterpart. The study also reveals a complex textual web that includes Brecht’s Die Dreigroschenoper , Maupassant’s “Boule de Suif,” Queiroz’s “Tangerine Girl,” and García Márquez’s El otoño del patriarca . The interrelated works’ shared theme of the despoiling of women and the environment is analyzed through the lens of Gayle Rubin’s “The Traffic in Women.”
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