Abstract
This study aims to establish a dialogue between the book Quarto de despejo: Diario de uma favelada, by Carolina Maria de Jesus, and the short stories “Olhos d'Agua” and “Maria”, inserted in Olhos d'Agua by Conceicao Evaristo. Thus, by means of a comparative analysis between Evaristo's narratives and Carolina's diary, we intend to find the similarities between the productions concerned, in order to identify the representation of a potentially collective reality, given that all narrators of the studied texts are black women, mothers, in poverty – both Carolina Maria de Jesus, who tells part of her own story, and the characters of Evaristo. For this purpose, we will mainly use the theoretical-critical assumptions of Regina Dalcastagne, Margarete Aparecida de Oliveira and Conceicao Evaristo herself, especially regarding the concept of escre(vivencia).
Highlights
Memória e vivência de mulheres negras em carolina maria de jesus e conceição evaristo part of her own story, and the characters of Evaristo
We will mainly use the theoretical-critical assumptions of Regina Dalcastagnè (2015), Margarete Aparecida de Oliveira (2015) and Conceição Evaristo (2009) herself, especially regarding the concept of escre(vivência)
A autora Carolina Maria de Jesus, nascida na cidade de Sacramento, em Minas Gerais, antes de procurar papel – e qualquer outra coisa que pudesse vender ou comer, teve outros trabalhos, como o de empregada doméstica
Summary
Memória e vivência de mulheres negras em carolina maria de jesus e conceição evaristo part of her own story, and the characters of Evaristo. Ainda na juventude, o livro chegou às mãos da também mineira Conceição Evaristo que, segundo a autora de Olhos d’água (2017), sofreu forte impacto pela obra de Carolina Maria de Jesus, como disse em uma matéria realizada em 2015 pela TVE, no programa Nação.
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