Abstract
RESUMO O objetivo deste estudo é examinar, no poema Da bomba que compõe Reamanhecer, segunda parte do livro Amanhecência (1974), de Stella Leonardos, as relações entre leitura/escritura no exercício metapoético de apropriação do poema A bomba, de Carlos Drummond de Andrade. Tal reescritura metapoética opera por meio do pensamento analógico, em que se esboça a figura do poeta crítico em sua relação com a tradição. Neste movimento duplo, fundamentado no deslocamento do sujeito lírico para fora de si, advém a nossa hipótese de pesquisa: a de um singular livro-antologia no qual a poeta se apropria dos poemas com os quais dialoga por meio de dois procedimentos: o de expansão, gerador do canto paralelo, e o de redução, em que a glosa das epígrafes é recurso chave.
Highlights
The aim of this study is to analyse, in the poem Da bomba [From the Bomb], in Reamanhecer [New Dawn], the second section of Stella Leonardos’ poetry book Amanhecência [Dawning] (1974), the relationship between the processes of reading and writing in the metapoetic exercise of appropriation of Carlos Drummond de Andrade’s poem A bomba [The Bomb]
From the analysis of Da bomba [From the Bomb], the poem taken in this study as a nuclear and illustrative part of the corpus of Reamanhecer [New Dawn], we observe that Stella Leonardos seems more preoccupied in weaving a linked textual influx, even though it comes from diffused poetic discourses, in designing a diachronic-synchronic path across the Brazilian literary history embodied in her poems
16 Original text: “I/ QUE É A POESIA?/ mar av(e) ilha/ – achados –/ de palavras/ por todas/ as páginas// II/ Que é o Poeta?/ um homem/ que lavra seu gênio/ com mais que suor no rosto. /Um homem/ que tem força/ mais do que qualquer outro homem.”. It is a cohesive construction, underlying a unique poetic project: that of gathering together a legacy of poems form the history of Brazilian literature, from canonic names to those considered as minor poets, in order to trace a new path over this lineage
Summary
We start from the assumption that, in the poem Da bomba [From the Bomb], there is a simultaneous motion of the gloss with the parallel song of the epigraph, extending this thematically. Pound (in his argument linking translation to creation of the basis of literature itself – in his case English literature –, to literary criticism, or to the teaching of literature, in a process of appreciation and revision of the past, through the critical-artistic work of make it new) In this way, “parallel song” does not detract in any way the poems appropriated by Stella Leonardos, since, according to Waugh (2001, p.66) “[...] parody of a literary norm modifies the relation between literary convention and cultural historical norms, causing a shift in the whole system of relations.”. We refer here to questions raised by the concrete poetry movement and demands for a new poetic language apt to reflect contemporary civilization, - demands to which Carlos Drummond de Andrade, alongside the comfortable omission of many, knew how to deal with and replicate in terms of high and very personal creative work.
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