Their dedicated and enduring marriage produced a daughter and a son, Rachel and Adonias.
Adonias Filho belonged to a post--World War II group that reached beyond the social novel of the 1930s for a new kind of expression. He admits owing something to the earlier modernism of Mário de Andrade and Oswald de Andrade, who in the 1920s and early 1930s had set literary language free from bookishness, assimilated certain techniques of James Joyce and other European avant-gardists, and adapted methods from cinematography. As Jorge Amado observed years later in a speech welcoming Adonias to membership in the Academia Brasileira de Letras and published in A nação grapiuna (The Grapiuna Nation), the postwar novel probed a new dimension in which "certos problemas interiores do homem passassem a ocupar na estrutura do livro um lugar proeminente, que nem sempre lhe era concedido pela novelística de 30" (certain inner problems of people would come to occupy, in the structure of the work, a prominence they were not always given by creators of the novel of 1930).
When he moved to Rio at the age of twenty-one, Adonias had brought with him a first novel entitled Cachaça (Rum). However, he destroyed it before showing it to anyone.
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