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By a humble chronicler of modern silences

I — A Word and an Abyss

There was a time — not so long ago, dear reader — when to speak was to wield power. He who spoke most was deemed wisest. Those who filled salons with pompous rhetoric were considered sages, even if they said, in truth, nothing at all. Eloquence was the illegitimate sister of truth. But the world turns, and with it, the verb recoils.

Today, we speak so much that we no longer hear. Words overflow like a poorly closed faucet — dripping in corners, soaking silence, rusting judgment. And thus arises, like a sigh between two shouts, the so-called minimalism in communication. It is not a movement, nor a revolution. It is, rather, a gesture of retreat. A raised eyebrow. A full stop where a paragraph might be.

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II — Defining the Undefinable

But what, after all, is this “communicational minimalism”? I shall explain — and pardon me, those who crave dictionary definitions: minimalism in communication is the art of saying only what is necessary, with clarity, elegance, and intent.

It is not silence out of laziness, nor omission by cunning. The minimalism I defend is a filter, a refinement. As the sculptor removes excess marble to reveal David, the minimalist communicator strips away noise to reveal the pure idea. There is no room for vain frills, for adjectives like peacocks, for adverbs in flight.

One might say: “But that’s a poverty of language!” On the contrary — it’s the wealth of choice.

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III — Words as Furniture

Imagine, for a moment, that our sentences are rooms, and words, furniture. The verbose orator — cousin to the street politician — fills his room with chairs, armchairs, round tables, and verbal porcelain vases. Everything seems important, but nothing is comfortable. The minimalist, however, places a sofa, a shelf, and a good book on the table. And silence? Ah, that is the rug.

What is left unsaid, communicates. What is silent, echoes. As the wise Pascal once said, “All of humanity’s problems stem from man’s inability to sit quietly in a room alone.”

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IV — The Society of Excess

We live in the age of informational noise. There are videos, audios, podcasts, talking stickers, motivational WhatsApp speeches, explanatory dances, and capitalized messages. Everyone speaks at once, and few say anything. Quantity has triumphed over quality.

On social media, every word is bait, every sentence a trap. The aim is to go viral, not to clarify. To communicate now is to perform. And in this theater of vanities, silence has become an act of rebellion.

Minimalism, therefore, arises as resistance. Like one who whispers in a world that only hears those who scream.

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V — Style and Subtext

Some may think being direct is being cold. Another mistake. A haiku may contain more emotion than an entire soap opera. What matters is not the length of the discourse, but its emotional and intellectual density.

A well-placed “no” is worth a thousand excuses. A sincere “yes” avoids treaties. A well-asked question illuminates more than ten answers.

Minimalism does not exclude sensitivity — it enhances it. By removing excess, the essential is revealed. Like unveiling a painting by removing the cloth.

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VI — Of Love and Communication

Yes, even in love, minimalism has its place. What is “I love you” if not the shortest sentence filled with the most world? Three words, two pronouns, one verb. And yet, lovers know: if said too often, it becomes an echo; if misused, a routine; if absent, a doubt.

Better to say “I love you” once and mean it, than thirty times and not feel it. Better to be present than to promise. Better to touch than to explain.

And the gaze? That is the greatest minimalist communicator. Machado knew this well — his characters often said more with their eyes than with letters.

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VII — Minimalism at Work: One Email, One Sword

In the workplace, where time equals spreadsheets and silence may cost a promotion, clear communication is gold. The succinct email, the direct report, the meeting without detours — all are virtues. A leader who speaks little but well is worth a thousand stage motivators.

Minimalism here becomes productivity. It shortens speech time to expand action time.

As my old boss once said — a man of few words and many results: “If you can write it in three lines, don’t use four. And if you can say it in silence, smile.”

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VIII — Nonviolent Communication: The Elegance of Economy

Minimalism in language is also a sibling of peace. Nonviolent communication, coined by Marshall Rosenberg, drinks from the same well. When we use words as tools — not as weapons — we learn that saying less prevents wounds. And that listening, my dear reader, is the most refined of discourses.

When we say only what is essential, with respect and intention, we create space for the other to speak. The silence between two phrases can be a bridge — or an abyss. The communicator decides.

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IX — Writing and the Razor

The minimalist writer is, above all, a surgeon. He cuts with precision. Removes what bleeds excessively. Leaves the skin clean, the wound exposed, the reader alert.

Raymond Carver, master of short stories, claimed to rewrite until only the bone remained. Hemingway believed in the “iceberg” — reveal 10% and let 90% lie beneath.

And Machado? Ah, the Wizard of Cosme Velho knew how to dose like no other. He said much by saying little. He ironized with ellipses. Killed characters with a sigh. A true master of restraint.

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X — The Danger of Too Much Minimalism

But beware: there is a point at which minimalism becomes negligence. Saying little without substance is as vain as saying too much. The art lies in balance.

It is not about cutting everything — it is about cutting with criteria. Like a fine tailor who knows the customer’s measure and the occasion. True minimalism demands effort, sensitivity, and above all, intention.

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XI — Daily Practice

How, then, to practice this style of communication? Allow me to offer a few tips, as one who observes more than he teaches:

1. Reread what you wrote. Cut one word per paragraph. Then another.
2. Listen more. Listening is the rehearsal of silence.
3. Before speaking, ask yourself: “Is this necessary? Is it useful? Is it kind?”
4. Embrace the space between words. Pauses are bridges.
5. Use silence as an argument. It convinces without debate.

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XII — Epilogue: The Verb and the Wind

The world is full of voices. But meaning is scarce. Words, like coins, have inflated. And minimalism, like an old sage with a cane, walks slowly but firmly, teaching that to say little is sometimes to say everything.

And if I have come this far, having said so much about saying little, forgive the contradiction. But as our dear Machado knew: “Style is the man” — and sometimes, even the most restrained man is tempted by one more paragraph.

Silence now. The rest, dear reader, you shall understand on your own.

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📚 Suggested Readings

To further explore minimalism and refined communication, here are some literary and philosophical treasures:

On Minimalism and Clarity:

• “Essentialism: The Disciplined Pursuit of Less” – Greg McKeown
• “Digital Minimalism” – Cal Newport
• “The Elements of Style” – Strunk & White (a classic on concise writing)
• “Nonviolent Communication” – Marshall B. Rosenberg

Minimalism in Literature:

• “What We Talk About When We Talk About Love” – Raymond Carver
• “The Old Man and the Sea” – Ernest Hemingway
• “Haiku Anthology” – Various authors (a poetic form of minimalist expression)

The Master Himself: Machado de Assis

• “Dom Casmurro” – A novel where much is said between the lines.
• “Memórias Póstumas de Brás Cubas” – Irony and economy of language at their finest.
• “Contos Fluminenses” – Short stories that teach the power of implication.