Abstract
In this article, I analyze the novel, Eu sou uma lésbica (1980), by Brazilian author Cassandra Rios (1932-2002). I examine how Rios's text discusses the lesbianism and sexuality of Flávia, the protagonist of the novel, as well as the sexual and love relationship that the seven-year-old Flávia has with an adult woman. The work of authors such as Judith Butler, Marilyn R. Farwell, Teresa De Lauretis, Adrianne Rich, Gayle Rubin, and Jeffrey Weeks informs my theoretical framework. I propose that the novel presents Flávia's sexuality as natural and genuine in order to challenge traditional discourses surrounding lesbianism and children’s sexuality. While the representation of lesbian sexuality in children is transgressive and empowering, as it establishes same-sex desire among women as natural and dating back to infancy, I contend however that the novel’s treatment of adult lesbian sexuality perpetuates traditional corporal, racial, and class hierarchies.
Highlights
In this article, I analyze the novel, Eu sou uma lésbica (1980), by Brazilian author Cassandra Rios (1932-2002)
O sujeito lésbico metafórico adulto entrelaça eventos de seu passado para se explicar como mulher que gosta de mulheres desde os sete anos e, desse modo, justificar sua orientação e identidade em uma sociedade heteronormativa
Dentro do contexto brasileiro de repressão e moralismo de 1980, o romance é transgressivo e até iconoclasta com respeito à sexualidade infantil lésbica, mas quando discute a sexualidade da lésbica adulta não indica que as vantagens socioeconômicas que ela tem—aliás desde a infância—correspondem a hierarquias sociais
Summary
I analyze the novel, Eu sou uma lésbica (1980), by Brazilian author Cassandra Rios (1932-2002). Por exemplo, a narradora e protagonista de Eu sou uma lésbica, representa esse sujeito lésbico metafórico, devido a que quebra estereótipos sobre a lesbianidade e mostra sua sexualidade de forma utópica. Considerando que desde finais do século 19 o homossexual era visto como invertido (Ellis 7, 250-51), o romance ataca esta ideia porque Flávia não possui uma sexualidade invertida.
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