WV th the advent of the Flower Revolution in Portugal in 1974 and the subsequent reevaluation of twentieth-century women writers, Florbela Espanca (1894-1930) emerges as the first in a long line of feminist protest voices. When she died in Matosinhos near Oporto from an overdose of barbiturates on December 7, 1930, the eve of her thirty-sixth birthday, Bela was relatively unknown in Portuguese literary circles except for a small coterie of friends and admirers including her Italian translator and confidant Professor Guido Battelli and the poet Americo Durao, the latter who dubbed her Soror Saudade. The combination of an unconventional lifestyle, three husbands, and an uncommon drive to compete in an Iberian macho world of sexual prowess and sentiments scandalized her fellow townspeople of Vila Vigosa, and greatly contributed to her detractors dismissing her and her poetry as the prattle of a neurasthenic, the derrocada louca of her
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