In this text, Mário de Andrade critically reflects on the French influence on Brazil, which was hegemonic in the second half of the 19th century, but mitigated, de Andrade argues, by the maturation of Brazilian culture. The author opposes the overwhelming spiritual influence of any country to the exclusion of others, pointing out two obstacles that a French-style culture entails. First, “it collides with the national spirit of Brazil” and, second, it undermines “the universalization of Brazil and, of course, its culture.” In de Andrade’s view, Brazil had already “nationalized” its artists, who have a distinctive quality and an incipient culture of their own. While some European movements may resonate locally, their repercussion in the Brazilian milieu is steeped in a certain “discomfort” that has the illustrious distinction of being “bad for the nation.” The author makes reference to the population density of the city that he calls “South American” as opposed to “Neo-Latin of European origin.” He professes belief that artists should be familiar with other cultures, speak several languages, and enjoy solid training at a time when simple talent is not enough. Finally, while he does not believe that French culture has lost power, he is certain Brazilians have expanded their horizons and now harbor “other passions.” 

In the framework of the debate on nationalism formulated by Brazilian sociologist and historian Gilberto Freyre (1900–1987), the reflections offered by Mário de Andrade (1893–1945) had major repercussions in the city of Recife, where Freyre was from. The specific focus of the debate was the connection between “the local” and “the universal.” In discussing the decline of French influence on Brazilian culture, de Andrade directly engages the cultural milieu of Recife whose early “modern” period was tied to French points of reference. Later, with the maturity of artists such as Vicente do Rego Monteiro (1899–1970), Lula Cardoso Ayres (1940–1987), and Cícero Dias (1907–2003), all of whom were from the state of Pernambuco, that influence would come to be seen as “somewhat relative.”

The magazine Moderna was published in Recife, capital of Pernambuco, from August 1932 to (approximately) July 1936 by journalists Altamiro Cunha (1906–1986) and Mauro Mota (1911-1984). The publication was committed to not “adopting political or religious credos.” It considered itself a “worldly literary magazine” that covered art, literature, theater, and film. Geared to a female readership, the magazine focused on European culture while also engaging in systematic analysis of the socioeconomic situation of northeastern Brazil, particularly in the states of Pernambuco and Paraíba. The magazine also developed a series of notions related to caricature.