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Volume 54 / Humanities

LITERATURE: BRAZIL


Poetry

NAOMI HOKI MONIZ, Associate Professor of Portuguese, Georgetown University

A RENEWED INTEREST IN Brazilian poetry began in 1985, when new forums opened for this genre, a development that took poetry back to its origins in the compositions of oral trobadours. At that time poetry enjoyed enormous popularity and was read in public places like restaurants, bars, beaches, and "O Circo Voador" in Rio de Janeiro. The singer and actress Mariciene Costa who specializes in singing and recording works of poetry enjoyed great success in her S o Paulo shows. But, as of the early 1990s, this momentum declined. And even though there is much publicity about renowned authors such as Carlos Drummond de Andrade (in, for example, his posthumously published erotic poems, item bi 93010428) and Jo o Cabral de Melo Neto and Carlos Nejar (in their new poetry collections, items bi 92018261 and bi 92018287, respectively), there is also a slowdown in publishing and in the discovery of new talent.

Nonetheless, a number of trends detected in previous years continue today, such as: a) the activity of established women poets like Olga Savary, Hilda Hilst, Stella Leonardos and the new wave of women poets in the wake of authors such as Cora Coralina and Adélia Prado; b) from the late 1970s well into the early 1990s works by blacks have continued to increase, examining issues of both identity and oppression - the importance of the African heritage, racism, and the need to challenge the ongoing inequalities endured by Afro-Brazilians; c) the continued interest in the haiku mode of poetry evident in the large number of publications by authors who are established practitioners of the style as well as recent adepts; and finally, d) the considerable upsurge of concretist works such as Haroldo de Campos' new anthology of his best poems (item bi 93010439) and contributions by a new generation of concretist poets mostly in their 30s.


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