The story is known. Still in the 1950s, António Alçada Baptista, a lawyer turned writer, bought the Moraes publishing house. Shortly after, hand in hand with the publisher, the magazine appeared. time and mode It was directed by Alçada and had as its main collaborators those who became known as the “progressive Catholics” of the 1960s: Bénard da Costa, Nuno Bragança, Pedro Tamen, among others. The group came mainly from the JUC, the Catholic University Youth, and was moved when John XXIII announced that the Second Vatican Council would come. The idea of a council that would “modernize” the Church, that would put social concerns above liturgical practices, that would assume dialogue with non-believers as one of the priorities encouraged these young people, who were trained in reading the magazine. spiritde Mounier, and the latest books by Maritain or Bernanos, Catholic writers from Action Française and converts to democracy.
In this spirit, the magazine invited the faces of socialism to collaborate (Mário Soares and Jorge Sampaio are in the first issues), created a collection of books, also called “O Tempo eo Modo”, published by Simone Weil, Chesterton o Mounier, and has survived as a kind of intellectual third way, away from the ultras of the Present time (magazine that appeared in the late 1950s with Fernando Guedes and José Maria Alves) and by the communists of vertex (founded in Coimbra in 1942), until it was totally dominated by Marxism.
For History, the idea remains that the magazine would represent, with the events in the Rato chapel (in 1973), the letter from the Bishop of Porto or the trip of Paul VI alone to Fatima, one of the great signs of the weakening of the regime’s support base. The authors also remain: Bénard da Costa became the great Portuguese film critic and mentor of the Cinematheque; Vasco Pulido Valente, who mainly wrote “critical news”, but also published candid texts on the relationship between “believers and non-believers”, never left the newspapers; Nuno Bragança gained credit as a novelist; António-Pedro Vasconcelos, who also collaborated extensively with the magazine, gained fame as a filmmaker; and the magazine thus became a kind of incubator for the intellectual personalities that would dominate the second half of the 20th century.
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Source: Observadora
