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… escrever… Julho 6, 2018

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“Como em todas as manhãs que acordo em casa para aí permanecer, há um pássaro que me transporta: uma ideia nasce, uma visão, um sentimento, depois não sou senão um outro ser que coincide comigo. Corporalmente me vejo escrevendo sem cessar, quer dizer, participando do eterno através da minha pulsão eterna de anotar, de receber companheiros que se levantam do nada, de escrever.

Maria Gabriela Llansol, “O Azul Imperfeito – Livro de Horas V (Pessoa em Llansol), – entrada de 19 de Fevereiro de 1977, sábado -, pp. 35/36, Assírio & Alvim, 2015.

livro de horas

reler Caio Junho 21, 2018

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João Carlos Nunes Ibanhez



O espaço e sua produção têm sido objeto de estudo de distintas ciências. Neste artigo, dialogando especialmente com a Geografia, a História e a Literatura, buscamos compreender as funções da espacialidade, sua confecção e as tensões que nela se desenvolvem na obra literária e, para tanto, foi escolhida a obra Onde andará Dulce Veiga?: um romance B, de Caio Fernando Abreu, publicada em 1990. Nesta obra os sujeitos marginais ocupam a cidade e a transformam em seu palco de conflitos, realizações, sexo, uma cartografia dos desejos que buscamos desvendar.

Édouard Louis: His Books Are His Weapon Junho 19, 2018

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Édouard Louis uses literature as a weapon. “I write to shame the dominant class,” said the 25-year-old French writer in a recent interview.

This confrontational approach began with the publication of his first autobiographical novel “The End of Eddy,” which was translated into multiple languages and came out in the United States last year. In it Mr. Louis recounted how he grew up having to conceal his homosexuality in a small town in northern France. He placed much of the blame for the narrow-minded attitudes of his family and friends on their insufficient education, which, he said, had been stymied by the desperate need to make enough money to put food on the table.

Of his impoverished mother, who works as a caregiver, Mr. Louis wrote: “She didn’t understand that her trajectory, what she would call her mistakes, fit in perfectly with a whole set of logical mechanisms that were practically laid down in advance and nonnegotiable.” As the first member of his family to attend university, Mr. Louis became drawn to writers like Toni Morrison, James Baldwin and his compatriot Didier Eribon.

“As someone from the proletariat these weren’t writers who made me feel unwelcome,” he said, sipping a Perrier in a crowded Parisian brasserie. “I don’t find this with many books. When I started to write I didn’t see the world of my childhood depicted anywhere.”

CreditSonny Figueroa/The New York Times

Mr. Louis’s second autobiographical novel, “History of Violence,” which is being released in the United States by Farrar, Straus and Giroux on Tuesday, goes further in its condemnation of institutional discrimination. It begins not long after Mr. Louis’s arrival in Paris in 2012 to study social sciences at the prestigious École Normale Supérieur. After a convivial Christmas Eve spent with friends Mr. Louis wandered home to his Paris apartment in the early hours of the morning. On the way back Mr. Louis was sweet-talked by a young man of Algerian descent whom he decided to invite up to his apartment. In the book Mr. Louis describes how for the next few hours he suffered all manner of human violence, including rape, a gun held to his head and near strangulation, before finally managing to flee his assailant.

Mr. Louis decided to write “History of Violence” after the experience of lodging a complaint with the French police concerning his rape and near murder. “I still have the report that was printed out for me to sign,” he said. “I didn’t recognize anything of what I’d said in it because the police sifts what it thinks is important and what isn’t.” Mr. Louis objected to what he called “the obsessive racism of the police,” which, he felt, made his assailant’s ethnic identity a unique focal point of the inquiry. There was also “a clash of sexuality” he said: “The concept of gay cruising was utterly foreign to the heterosexual policeman who interviewed me. He thought that what had happened to me was partly my fault for inviting a stranger into my apartment at night.”

Despite the trauma Mr. Louis still suffers from the attack, he does not want his alleged assailant, who is currently on parole awaiting trial, to go to prison. He would prefer some form of rehabilitation and subsequent reinsertion in society. “I grew up in a milieu where I learned about what prison does,” he said. “My cousin went to prison and my grandfather. I know that prison doesn’t solve any problems. It does the opposite by making people more violent than they already are.” So when the police told him that it was likely his assailant would be incarcerated for 10 or 15 years he tried unsuccessfully to withdraw his complaint. “The police told me once a crime has been committed it belongs to the state,” he said. “What’s that mean when your story doesn’t belong to you anymore but belongs to the state?”

In “History of Violence,” Mr. Louis noted that it was his close friends, the French writers Geoffroy de Lagasnerie and Mr. Eribon, who had persuaded him to lodge a complaint hours after the attack. Mr. Eribon, 64, is the author of “Returning to Reims,” a memoir about his own working-class upbringing and coming out as a gay man, which helped lead Mr. Louis to become a writer. While sympathizing with Mr. Louis about the need for less draconian French prison sentences, Mr. Eribon continues to believe that incarceration in a case like this is the only option. “I think there has to be some sort of solidarity with other gays who could otherwise just as easily be targets for the same man,” Mr. Eribon said in a recent telephone interview.

He also said that it had been important for Mr. Louis’s recovery to “re-appropriate his own story which he felt had been taken away from him by the police, by medical examiners and the penal system.” This idea that Mr. Louis’s story was taken away from him provides “History of Violence” with an original narrative viewpoint. Instead of recounting the events himself, Mr. Louis positions himself in the novel as an eavesdropper listening in behind a door on a conversation about the attack between his sister and her husband. It is Mr. Louis’s sister, Clara, who recounts her own version of what happened, with the author occasionally providing some parenthesis when he disagrees with what she is saying.


Writing “History of Violence,” an autobiographical novel, was important for Mr. Louis’s recovery from his attack.CreditJulien Bourgeois for The New York Times

“I’d had this idea for a long time of writing an autobiography as though it was written by someone else,” Mr. Louis said. The original version of the novel was criticized by some French reviewers for what they felt was a caricatural depiction of Mr. Louis’s sister, whose spoken words are often slangy. The translated version by Lorin Stein, who resigned from his position as editor of The Paris Review amid accusations of sexually inappropriate behavior, doesn’t quite capture this distinction. Though on the subject, Mr. Louis suggests that it is French critics who have a problem with his sister’s way of talking, not himself.

“My books are often faulted by bourgeois critics for prejudices that are theirs not mine,” he said. “When I write I don’t ask myself whether I’m being kind or cruel but whether what I’m putting down is true or false. I’m not a priest but someone who’s trying to reproduce the complexity of people’s characters.” Mr. Louis, who recently returned from a “stimulating” monthlong teaching stint at Dartmouth College in New Hampshire, already has a new autobiographical novel out in France called “Qui a tué mon père” (“Who Killed My Father”). In it he names and shames French politicians for debasing his father, a former factory worker, and others like him, by forcing them to work menial jobs for little money when they are in no physical condition to do so.

Mr. Louis’s desire to write about different forms of social violence is not something that he sees, unlike some of his detractors, as being miserablist. Quite the opposite in fact. “I think that the more you talk and write about violence the more goodness you can create in the world,” he said.

Tobias Grey is a writer and critic.

Follow Tobias Grey on Twitter: @YbotYerg.


“Mancebos de longas tranças enforcados em gravatas vão depauperando as danças com os pés aristocratas” Dezembro 7, 2017

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Se o “poeta maldito” da Lisboa dos anos 60/70 fosse vivo completaria hoje 80 anos. Que enorme prazer é ler (e ouvir) Ary dos Santos. Hoje como sempre!



aqui jazz a humanidade
sepulcro de pedra-pomes
duma pseudo euro-cidade.

Antro de feras criadas
entre manteiga e obuses
cansadíssima corrida
de modernas avestruzes.

Na cave do cio soa
um rumor acutilante
faca—-pássaro—-que voa
em seu espaço percutante.

agulha de tédio e ritmo
ninguém ouve—-ninguém come
a noite não tem princípio.

Mancebos de longas tranças
enforcados em gravatas
vão depauperando as danças
com os pés aristocratas.

Megalómanos artistas
ademaneiam poemas
enquanto velhas coristas
coçam glórias e eczemas.

Um canceroso rebenta
seu tumor de nicotina.
Uma puta seca tenta
suicidar a vagina.

o banqueiro está de esperanças
foram-lhe ao rabo do nome
mais de um milhão de crianças.

Seus olhos de rã repleta
batraqueiam um efebo
sua pupila secreta
rumina bolas de sebo.

Entanto a noite esfaqueia
o ventre das virtuosas
senhoras com pé de meia
que bebem água de rosas.

Das tripas lhe faz um nó
dos ovários um apito.
Estou tão só que me faz dó
solfeja seu pito aflito.

um continente castrado
vai desesperando de um lume
nunca mais incendiado.

Fenícios celtas e godos
odeiam seus próprios corpos.
Agora vingam-se todos
do peso de estarem mortos.

Mortos da morte mais lenta
que é possível conceber-se
dilacerada placenta
de estando morto——nascer-se.


da mudança e da permanência Agosto 6, 2017

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“O que causará a visão insólita de um sorriso de um estranho, cruzado há séculos numa rua anónima e desde então esquecido? Porque ressurge tão vívida e colorida a imagem de cestos de uvas numa vinha? A de uma sala onde só estive momentos? Que mecanismo me faz ouvir de novo o ladrar de um cão numa noite de inverno?

(…) O que ainda me resta será provavelmente feito de trivialidade, rotina, medo crescente. Mais também não espero.

Enquanto poder manterei este vadiar solitário, que se tornou um calmante. Vou caminhando e pouco a pouco pesam-me menos as culpas, surpreendo-me por vezes a sorrir. Descrente de que possam ser tão exíguas as diferenças entre o eu do menino e o do homem quase velho.

Então não mudei com o passar dos anos? No essencial, pouco ou nada. E os muros da prisão em que me sinto, talvez os não tenha levantado eu próprio, como pensei. Mais certo é ter nascido dentro deles, tomando por liberdade o que não passava de quimera.”    

“A Amante Holandesa” de J. Rentes de Carvalho, edição de bolso da Bertrand Editores, 2016, pp. 31-32 (li de 21/07 a 22/07 de 2017)


hei-de cantar-vos a beleza um dia Maio 1, 2016

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Acusam-me de mágoa e desalento,

como se toda a pena dos meus versos

não fosse carne vossa, homens dispersos,

e a minha dor a tua, pensamento.


Hei-de cantar-vos a beleza um dia,

quando a luz que não nego abrir o escuro

da noite que nos cerca como um muro,

e chegares a teus reinos, alegria.


Entretanto, deixai que me não cale:

até que o muro fenda, a treva estale,

seja a tristeza o vinho da vingança.


A minha voz de morte é a voz da luta:

se quem confia a própria dor perscruta,

maior glória tem em ter esperança.


Carlos de Oliveira

Soneto – “Mãe Pobre”  in Trabalho Poético, Livraria Sá da Costa Editora, 1998, pp. 46.



Teresa Veiga Abril 17, 2016

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Foi a descoberta literária de final de 2015. O nome é Teresa Veiga. Parece que se sabe pouco sobre a sua biografia. Já a sua obra está presente desde 1981, ano da publicação de “Jacobo e outras histórias” (foi recomendado para publicação pelo júri do Prémio Literário Círculo de Leitores) e tem nestas mais de três décadas enriquecido a ficção nacional com belíssimos contos.

Muitas vezes centradas em personagens/narradoras femininas, estas curtas aventuras ficcionais prendem o leitor nos pequenos pormenores de quotidianos rurais, ecoando por vezes sonoridade camilianas em espaços essencialmente beirões.

Tropecei primeiro na nova edição da Tinta da China do livro “Uma aventura secreta do Marquês de Bradomin” a que se seguiram nos últimos meses os livros de contos  “Jacobo e outras histórias”, “História da Bela Fria”, “O último amante”; e a novela “A paz doméstica”.

Tenho por ler o mais recente livro que publicou, “gente melancolicamente louca” que lerei mais adiante no ano. Quem sabe no areal de Odeceixe no Verão.

Mas espero sinceramente que a Teresa Veiga não deixe de escrever e publicar. Apesar de a ter descoberto tardiamente quero muito continuar a lê-la.

(pmr 27) desse lado o mar sobe ao coração Março 12, 2016

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Caminha devagar:

desse lado o mar sobe ao coração.

Agora entra na casa,

repara no silêncio, é quase branco.

Há muito tempo que ninguém

se demorou a contemplar

os breves instrumentos do verão.

Pelo pátio rasteja ainda

o sol. Canta na sombra

a cal, a voz acidulada.


Eugénio de Andrade in “O Peso da Sombra”, Assírio e Alvim, Lisboa, 2015, pp.59



(cfp) International Colloquium in Geohumanities: “Closing Circles, Open Horizons” Março 8, 2016

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International Colloquium in Geohumanities

“Closing Circles, Open Horizons”

Barcelona, October 19th-22nd


We invite postgraduate researchers, academics, activists, artists, and practitioners from across disciplines to contribute to the International Colloquium in Geohumanities, a three-day conference organized by the Association of Spanish Geographers, and the Catalan Geographic Society. We accept contributions in English and Spanish.

We invite to present papers from any of the wide aspects that could include the geohumanities . As a matter of orientation we suggest here a series of general topics that could include all kind of interpretations and a great diversity of interdisciplinary approaches.
Art and Cartography: Different forms of representation of spaces and places, form the use of the cartography to the visual arts and the their interactions.

Geography, creativity, experimentation and innovation: Creativity and experimentation forms linked to the uses, interpretations and emotions of anything geographic.  Spatial elements of the new forms of information acquisition and the new geographies derived of the Big Data.

History, Memory; Geographical aspects of the interpretation of the past and the construction of collective and individual memories.

Gender, bodies and sexualities: Realities, implications and agencies of the subject in the construction of spaces from the gender and sexuality perspective.

Geography, Media, and Social Networks: New forms of representation, dissemination and communication of geographical knowledge and its space-time relations.

Landscape, architecture: Different ways of reading, and understanding, environments, and geographic and non-geographic spaces. Cultural and phenomenological approaches to the analysis of landscapes.

Nature, Environment and Humanities: Different approaches to analyse the relationship among individuals, societies, and the natural environment.


For further information please check de colloquium website or contact geohumanidades@upf.edu

uma memória toda retorcida pela sensibilidade Março 6, 2016

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IMG A Gata e a Fábula_0007.jpg

Descobrira-se uma memória toda retorcida pela sensibilidade, positiva ou negativa, e ficavam-lhe vivos nos sentidos certos olhares, certos gestos, certas palavras, certos «fazer-de-conta», certos assomos de rebeldia, certas perplexidades de que ele, na devida altura – mísero humano de compreensão lenta e ciência comum -, não adivinhava o alcance e a consequência. Mais tarde, sempre se espantava de ter olhado sem se ver o que já havia indicativo nas reacções previas, e então percebia como o subconsciente agira indeliberado e se revelava sábio e quase divino no seu poder de adivinhação.

“A gata e a fábula”, Fernanda Botelho, Contexto, 1987, 5ºedição, pp.155-156