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contemporary Portuguese literature | literary rambles
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Write a review Rate this item: 1 2 3 4 5. Preview this item Preview this item. The novels discussed in this study, written by Antonio Lobo Antunes, Lidia Jorge and Manuel Alegre among others, aroused passionate responses from the reading public and initiated a national debate, otherwise lacking in the contemporary press, with their systematic deconstruction of the rhetoric of patriotism and colonialism of Antonio Salazar's regime. The author's approach is of necessity grounded in postcolonial thought, as these works represent the awakening of a post-imperial conscience in Portuguese literature and society.
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Princeton University Library Catalog
Imperialism in literature. Portugal -- Colonies -- Africa. Novela portuguesa -- S. Guerra -- En la literatura. Portuguese colonies. Portuguese fiction. Kolonialkrieg Portugiesisch Roman Roman. Portugisisk litteratur -- historia -- talet. Imperialism i litteraturen. Portugal -- kolonier -- Afrika. User lists with this item 1 Imperialism in Literature items by Hannahvanhove updated Just for having claimed a national consciousness, a national identity that translated into the nationalist activities that demanded independence, there I was.
I had to make them real, truer, more representative. I also came to understand that the almost involuntary impulse to alter the Portuguese lan- guage, which happened when I put words in their mouths, was the path to follow if I was to make them more believable. The language of the working- class neighborhoods where I grew up was an integral and defining part of the identities of my characters, so the path for me to follow was clearly that one.
These characters were already present in Angolan literature from the end of the nineteenth century, first in novels and then in short stories. The only thing is that these characters had never been central figures in the narrative, by which I mean they were not the characters around which the plot was structured. I had known, well actually I mean, I remember a woman collecting things out of trash cans. It is the story of hunger and of a vain adolescent, of which I am very fond.
Its the story I like most from Luuanda. Next I remembered the huge arguments between neighbors that took place in the working-class districts, all about chicken eggs. It was all-out war- fare, in which my mother took part. The backyards were right next to each other, and the chickens wandered all over them, pecking in one yard, and lay- ing an egg in another. To whom does an egg belong, laid by a chicken who wanders from yard to yard? To whom do the riches of Angola belong?
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Several traditional and institutional authorities argue and give their views, validating power relations, and the traditional authorities compare their criteria with one another in order to reach an agreement. Until the Portuguese police arrive, who no longer want just the egg, but the chicken too.
And when it became a case of taking away not just the riches, but also the land, everyone united against this robbery, this alienation of property. At that historical juncture, there was no alternative. The only option was war. In the short story, the future generation, the children, resolve the issue: neither the chicken, nor the egg! The moral of the story is clearly political. In prison in Luanda, political prisoners were mixed with common criminals. Every time someone new arrived, someone knew or else tried to find out why they were in prison.
Everyone lied about just about everything, and especially about the real reasons they had been sent to prison. One day, a crippled man arrived, and I asked the guard why the poor wretch was in prison. I was told that it was because he had robbed ducks. And so I began to write the story about a duck thief, which is really a love story. They were not actu- ally novellas but they were longer than a short story and they had a form totally connected to orality. I finally had a way of des- ignating my type of narrative. And, in fact, it does. However, for me, at a quite advanced stage of writing the stories — in fact they were finished — the great lesson of Guimaraes Rosa was his use of language.
He confirmed my intuition. Clearly, the example of his books showed me that if the language style used was not that one then I would not be able to say what I wanted to say with those characters, nor would they be able to say what they wanted to about their relation to the world. Characters are defined with certain physical char- acteristics, but above all it is the language register that defines them, the way they articulate discourse or handle Portuguese. Lemos with his legal dis- course, his codes, speaks a language that no one there understands.
Azulhinho reads his Bible. Jose da Quitanda speaks Portuguese, and orders others around because he can, since he brings food and drink.
Guimaraes Rosa reassured me that it was legitimate, in literary terms, to construct a lit- erary language to achieve my objective. It represented a rupture, but I think that Luuanda achieves a harmonious relationship between the speech of the characters and the voice of the narrator. I cleaned it up. I deepened it. I quickly got the originals out of prison, in the normal way prisoners use to get stuff out. The PIDE were always looking for evidence or ways to incriminate us.
My book was dangerous material, since it had a political message written in it. The language I had used demonstrated cul- tural autonomy.
jectselmeoke.tk In my characters, in my countermapping of the city of Luanda, which brought the musseques to the fore, cultural difference was embedded, a difference that justified claims to political independence. At the time, this made my work political. Luckily, today, all this has been overtaken by history. Alfredo Bobela Motta, an Aaigolan, a writer and one of our friends, was at the time, , its editor-in-chief. He decided straight away that we should go ahead and do the book.
The typesetter did page proofs that later did the rounds in the musseques of Luanda. That was the edition that reached Portugal to compete for the Portuguese Writers Association prize. I think there were some hundred copies or so, and the Casa dos Estudantes do Imperio distributed it. I designed the cover, a hut with dripping letters, and I sent it with the original. Later, I suggested that they could place a picture of the actual city in dim grey in the background, and in the foreground, that black hut dripping, and the title in black.
My design heralded in itself a countermap of the city. In the next edition of Luuanda , the letters of the title became red. That is an incredible tale.
- Meaning of "alvoroçadamente" in the Portuguese dictionary.
- Flibustière !: Les aventures dAlexia Dumas, T1 (LITTERATURE JEU) (French Edition).
- A Desert of Fire and Glass (The Four Part Land Book 0).
According to the cover information, the edition was done in Belo Horizonte. In fact, this edition was done completely without my involvement by two PIDE agents, in Portugal, at a local printworks. With all the scandal, which included the destruction of the Portuguese Writers Association, the book was in great demand. These two agents made the book in Braga and distributed it, earning a packet out of it.
My lawyer wanted to file a law suit straight away, and this led to another incredible episode. To cut a long story short, I lost the case, because nothing could be proved — despite the fact that every- thing was totally obvious. The printworks were really easy to identify by the type of paper used. Worst of all, I had to pay all the court costs.
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