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Resumo: Autor de uma gama de obras, sobretudo romances e demais narrativas, Erico Verissimo nao se abstem da criatividade na hora da escrita. O que tambem pode surpreender alguns de seus leitores e o habito que possuia de fazer registros nao verbais, tais como caricaturas de suas personagens e demais representacoes imageticas relacionadas as suas obras. A edicao de Fantoches (1972), que comemora o quadragesimo aniversario da publicacao de estreia desse livro, o primeiro do autor, e um propicio exemplo disso. Sendo assim, esta obra, formada por uma serie de pequenas narrativas, muitas delas pecas teatrais, fornece o corpus para os estudos aqui propostos, ja que se pretende analisar os registros manuscritos, tanto verbais quanto nao verbais, feitos pelo proprio autor e que confirmam a critica dele mesmo com relacao as suas proprias producoes. Para tanto, as analises fundamentam-se nos estudos de critica literaria de Bordini (1995), bem como sobre teorias a respeito dos recursos verbais e nao verbais, de Ackerman (2014) e Aurouet (2014), utilizando-se tambem o primeiro volume de Solo de Clarineta: Memorias (2005), tambem de Verissimo. Autocritico como e, Erico Verissimo permite fazer inferencias sobre o fato de que uma obra publicada nao significa que nao existe a possibilidade de acrescencias posteriores, o que na edicao analisada de Fantoches permite muitas percepcoes a respeito das diferentes vozes encontradas tambem nas marginalias do livro, acrescidas pelo autor por meio de desenhos e observacoes verbais. Palavras-chave: fantoches ; marginalias; vozes; Erico Verissimo. Abstract: Author of a range of works, especially novels and other narratives, Erico Verissimo does not abstain from creativity at the time of writing. What may also surprise some of his readers is his habit of making non-verbal records, such as caricatures of his characters and other imagistic representations related to his works. The edition of Fantoches (1972), which commemorates the 40th anniversary of the publication of this book, which was his first, is a fitting example of this. Thus, this work, formed by a series of small narratives, many of them plays, provides the corpus for the studies proposed here, since it is intended to analyze the verbal and non-verbal manuscript records made by the author himself and confirm his own criticism of his own productions. To that end, the analyses are based on Bordini’s (1995) studies of literary criticism, as well as on verbal and nonverbal theories by Ackerman (2014) and Aurouet (2014), and the first volume of the book Solo de Clarineta: Memorias (2005), also by Verissimo. Self-critical as he is, Erico Verissimo allows us to make inferences about the fact that the publication of a work does not mean that there is no possibility of later additions, which in the analyzed edition of Fantoches (1972) leaves room for many perceptions regarding the different voices also found in the marginalia of the book, added by the author through drawings and verbal observations. Keywords: Fantoches ; marginalias; voices; Erico Verissimo.

o eixo e a roda

As vozes nas marginálias de Fantoches: roupagens verbais e imagéticas de Erico Verissimo / The Voices in the Marginalias of Fantoches: Verbal and Imagectic Clothing by Erico Verissimo