O ESCRITOR À PAISANA: a voz literária na correspondência de Caio Fernando Abreu
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Data
2018-05-11
Autores
Alselmi, André Luiz [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Este trabalho apresenta uma análise da correspondência de Caio Fernando Abreu pelo viés literário, a partir de um conjunto de 77 missivas reunidas na coletânea Cartas, organizada por Italo Moriconi em 2002. A partir do ponto de vista de alguns teóricos do gênero epistolar, como Jelena Jovicic, Marie-Claire Grassi, Brigitte Diaz, Geneviève Haroche-Bouzinac e Vincent Kaufmann, analisa-se, em algumas cartas endereçadas a uma variedade de destinatários – como familiares e amigos, em sua maioria do universo literário – , de que maneira a experiência pessoal e a experiência literária, nas cartas do escritor gaúcho, realizam-se concomitantemente. A fim de se demonstrar de que forma a correspondência do autor constitui uma faceta de sua produção literária, investiga-se, primeiramente, a construção da identidade de escritor a partir do discurso epistolar, considerado não como locus da verdade, mas como um texto ficcional, no qual o epistológrafo lança mão de estratégias capazes de criar uma “verdade simulada”, conferindo maior verossimilhança a seu discurso. Na sequência, com o respaldo das teorias de Mikhail Bakhtin e José Luiz Fiorin, são analisadas as diferentes personae que o escritor constrói a partir das cartas – do filho, do amigo, do escritor, do amante – , determinadas sobretudo pelo destinatário, que faz com que o epistológrafo apresente variações temáticas e formais, assumindo, assim, diferentes máscaras sociais. Após a análise da constituição da identidade do escritor e de seus diferentes éthe discursivos, analisa-se, com base nas ideias de Vincent Kaufmann, de que maneira as correspondências situam-se num terreno fronteiriço, entre o homem e a obra, priorizando, em vez da comunicação, o afastamento, graças ao qual a obra pode acontecer. Empreende-se, na sequência, uma análise voltada para o conteúdo do discurso das cartas, com o objetivo de demonstrar como o texto epistolar possui grande valor na criação dos parâmetros de uma identidade artística, no acompanhamento de uma obra em suas várias etapas, da ideia à recepção pelo público, na constituição de uma rede epistolar que envolve diferentes figuras do universo literário, de escritores a editores, e no exercício de uma crítica literária, paralela à crítica institucionalizada, como ressalta T. S. Eliot em seus ensaios. Em seguida, tendo como ponto de partida a concepção formalista de literatura, com base sobretudo nas ideias de Roland Barthes e de Roman Jakobson, investiga-se, de um lado, de que forma, em suas cartas, o autor distancia-se do discurso corrente, por meio de operações linguísticas, sintáticas e estilísticas, e, de outro, de que maneira incorpora traços de outros gêneros, como a resenha crítica, a crônica e o monólogo. Por fim, demonstra-se como, articulando elementos aparentemente opostos – da conversação cotidiana e da linguagem literária – , o autor cria uma poética do prosaico epistolar. A partir desses aspectos, este trabalho distancia-se da abordagem desenvolvida com base nos textos epistolares do autor até o momento – centrada, sobretudo, em seu valor histórico, biográfico ou paratextual – e, tratando as cartas com autonomia, demonstra o valor literário, tanto em termos conteudísticos quanto formais, desses documentos tão heterogêneos.
This paper presents an analysis of Caio Fernando Abreu’s correspondence through the literary bias, based on a set of 77 missives gathered in the collection entitled Cartas (Letters), organized by Italo Moriconi in 2002. From the point of view of some theorists of the epistolary genre, such as Jelena Jovicic, Marie-Claire Grassi, Brigitte Diaz, Geneviève Haroche-Bouzinac and Vincent Kaufmann, one analyzes, in some letters addressed to a variety of recipients - such as family and friends, mostly from the literary universe – how both personal and literary experiences, in the letters of the Brazilian writer, take place concomitantly. In order to demonstrate how the correspondence of the author constitutes a facet of his literary production, one first investigates the construction of the writer’s identity from the epistolary discourse, considered not as locus of Truth, but as a fictional text, in which the epistolography writer uses strategies capable of creating a "simulated truth", providing a greater likelihood to his discourse. Next, with the support of the theories of Mikhail Bakhtin and José Luiz Fiorin, the different personae that the writer constructs from the letters are analyzed – the one of the son, the friend, the writer, the lover –, determined mainly by the recipient, who makes the epistolography writer present thematic and formal variations, thus assuming different social masks. After analyzing the constitution of the writer's identity and his different discoursive éthe, one analyzes, based on Vincent Kaufmann's ideas, how the correspondences are located on a frontier ground between the man and the work, prioritizing, instead of communication, distance, thanks to which the work can happen. An analysis of the content in the discourse of the letters is then carried out, with the purpose of demonstrating how the epistolary text has great value in the creation of the parameters of an artistic identity, in the following of a work in its various stages, from the idea to the reception by the public, in the constitution of an epistolary network that involves different figures from the literary universe, from writers to editors, and in the exercise of a literary criticism, parallel to institutionalized criticism, as T.S. Eliot emphasizes in his essays. Then, starting with the formalist conception of literature, based mainly on the ideas of Roland Barthes and Roman Jakobson, one investigates, on the one hand, how, in his letters, the author distances himself from the current discourse, through linguistic, syntactic and stylistic operations, and, on the other hand, how he incorporates traits of other genres, such as critical reviews, chronicles and monologues. Finally, it is shown how, by articulating apparently opposing elements – of everyday conversation and literary language – the author creates a poetics of the epistolary prosaicness. Based on these aspects, this work distances itself from the approach developed from the author’s epistolary texts up to the present – which focuses, above all, on its historical, biographical or paratextual value –, and by treating the letters with autonomy, demonstrates the literary value, both in terms of content and form, of such heterogeneous documents.
This paper presents an analysis of Caio Fernando Abreu’s correspondence through the literary bias, based on a set of 77 missives gathered in the collection entitled Cartas (Letters), organized by Italo Moriconi in 2002. From the point of view of some theorists of the epistolary genre, such as Jelena Jovicic, Marie-Claire Grassi, Brigitte Diaz, Geneviève Haroche-Bouzinac and Vincent Kaufmann, one analyzes, in some letters addressed to a variety of recipients - such as family and friends, mostly from the literary universe – how both personal and literary experiences, in the letters of the Brazilian writer, take place concomitantly. In order to demonstrate how the correspondence of the author constitutes a facet of his literary production, one first investigates the construction of the writer’s identity from the epistolary discourse, considered not as locus of Truth, but as a fictional text, in which the epistolography writer uses strategies capable of creating a "simulated truth", providing a greater likelihood to his discourse. Next, with the support of the theories of Mikhail Bakhtin and José Luiz Fiorin, the different personae that the writer constructs from the letters are analyzed – the one of the son, the friend, the writer, the lover –, determined mainly by the recipient, who makes the epistolography writer present thematic and formal variations, thus assuming different social masks. After analyzing the constitution of the writer's identity and his different discoursive éthe, one analyzes, based on Vincent Kaufmann's ideas, how the correspondences are located on a frontier ground between the man and the work, prioritizing, instead of communication, distance, thanks to which the work can happen. An analysis of the content in the discourse of the letters is then carried out, with the purpose of demonstrating how the epistolary text has great value in the creation of the parameters of an artistic identity, in the following of a work in its various stages, from the idea to the reception by the public, in the constitution of an epistolary network that involves different figures from the literary universe, from writers to editors, and in the exercise of a literary criticism, parallel to institutionalized criticism, as T.S. Eliot emphasizes in his essays. Then, starting with the formalist conception of literature, based mainly on the ideas of Roland Barthes and Roman Jakobson, one investigates, on the one hand, how, in his letters, the author distances himself from the current discourse, through linguistic, syntactic and stylistic operations, and, on the other hand, how he incorporates traits of other genres, such as critical reviews, chronicles and monologues. Finally, it is shown how, by articulating apparently opposing elements – of everyday conversation and literary language – the author creates a poetics of the epistolary prosaicness. Based on these aspects, this work distances itself from the approach developed from the author’s epistolary texts up to the present – which focuses, above all, on its historical, biographical or paratextual value –, and by treating the letters with autonomy, demonstrates the literary value, both in terms of content and form, of such heterogeneous documents.
Descrição
Palavras-chave
Caio Fernando Abreu, Escrita íntima, Epistolografia, Gênero epistolar, Cartas e literatura, Intimate writing, Epistolography, Epistolar genre, Letters and literature