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Notes
1 Her work, especially the novel Úrsula, did not go unnoticed when it was published. However, “even though the author has overcome the material barriers of her time and was able to write and publish, her work was totally forgotten in subsequent years, and the second edition of her novel only came out in 1975.” (Miranda 77).
2 As Luana Barrosi rightly points out: “Despite the successful sales of Quarto de Despejo (Eviction Room) at the time of publication, literary critics only recently started to value the author's work as a production worthy of being studied as literature.” (22).
3 The recently published study by Fernanda R. Miranda, Silêncios prEscritos, sheds light on Afro-descendant female authors' silencing processes.
4 For Alfredo Bosi, “Resistance is a concept that is originally ethical, and not aesthetic” (11)., Eduardo Vieira Castro (2016) proposes the term “rexistência” (re-existence). (http://www.ihu.unisinos.br/185-noticias/noticias-2016/554056-povos-indigenas-os-involuntarios-da-patria).
5 For a discussion of the possible causes for such challenges, see the already mentioned Silêncios prEscritos.
6 Barrosi notes that “other examples are the contemporary productions of Conceição Evaristo and Jarid Arraes, who, despite being highly acclaimed by avid literary critics for their revision of the canon, are still difficult to access or little publicized by the hegemonic media” (22). And if even for Evaristo the barriers are still in constant construction, one can imagine the situation of the female writers studied in this article.
7 I cannot develop here a discussion on intersectionality, but it plays an important role in this case.
8 In practical terms, the resistor causes a “voltage drop,” and this characteristic also adds an interesting meaning for this reflection (the common term used to refer to voltage in Portuguese is tensão/tension).
9 All the works that I address here are published and can be consulted in this issue of the journal.
10 It is impossible not to mention Cidinha da Silva's reflection in a chronicle entitled “Quanto mais negro, mais alvo” (The blacker, the more targeted), a title that refers to Ricardo Aleixo's verse and Carlos Moore's understanding that "we are wrong to think we are the victims of racism. We are the target . . .” (117).
11 The author has also published texts in two anthologies from the project Sarau da Onça and one anthology published by Editora Cogito.
12 Please see the complete poem in this issue of the journal
13 The last line of the poem is: “dançar nas entranhas do Bélico - Sistema!” (dance in the bowels of the War-system!).
14 I refer to that form of verse that uses alliteration as the principal ornamental feature to help indicate the underlying metric structure, as opposed to other features, such as rhyme.
15 For a more in-depth perspective on the readings of Black bodies in society, see Dancing Bahia (especially chapter 6).
16 Understood in terms of how James Baldwin put it: "The effect, in a person, of being robbed of his sense of his human value." (minute 4:34 of the video on YouTube: https://www.youtube.com/watch?v=bAeYKwlIU08&t=280s)
19 For reading on the relationship between Afro-Brazilian female authors and "white" beauty standards in Brazil, see the study by Emanuelle Oliveira-Monte (2007). Note: by not using the word “white” in her poem, Sankofa adds one more element to the discussion of beauty standards with her line “there’s a lot of hot bodies” and its potential reference to people who adhere to such a standard regardless of their racial identification.
20 The video can be watched on https://www.youtube.com/watch?v=cnh0pxOTvh8
21 I’m using a neologism based on the already famous “escrevivência” by Conceição Evaristo.
* Translator’s note: The neologism is compounded by “escrita” (writing, in English) and “vivência," as in experience.
Additional information
Notes on contributors
Paulo Dutra
Paulo Dutra is Assistant Professor of Portuguese and Spanish at the University of New Mexico. He is the author of a short-story collection, Aversão oficial: resumida (2018; Official Aversion: Summarized), and a book of poetry, Abliterações (2019; Abliterations)