o conto insolúvel de Herberto Helder - Universidade do Minho

acolher na boca,
depois no chão dos olhos: o poema
ou o dia em que Herberto Helder de uma queda
foi ao chão da mão de Fiama Hasse Pais brandão
JORGe FeRNANDeS DA SILVeIRA
(Universidade Federal do Rio de Janeiro; CNPq)
abstract
para izabela leal e luis maffei,
a leitura contínua
The main focus of this essay is to read Herberto Helder’s work by way of
critical texts of eduardo Prado Coelho and Rosa Maria Martelo. During the course
of thirty-five years, these two literary critics have dated and situated A colher
na boca (1961) within a poetic context that extends beyond the author’s lifetime.
They perceive Helder’s work as the key to the reception of poetic textuality within
contemporary Portuguese poetry. In other words, Helder’s work retains its presentday
prominence as the ideal intermediary within several generations of divergent
poets. In this context Fiama Hasse Pais Brandão, an extraordinary representative
of a new generation of poets who emerged in 1961, sets the time when Portuguese
Modernism reiterated the formal act of writing based on the rigorously creative
reading of the Text through one of her poems which was the epigraph of the first,
and only, volume of Poesia toda (1981).
Eduardo Prado Coelho
«Quem se assenta à nossa mesa?»
(Herberto Helder, «O poema»)
Associa-se habitualmente a fiama Hasse Pais brandão um lugar
no fluir das gerações: aquele que se assinala com o nome de Poesia 61.
DIACRÍTICA, ciênciAs dA literAturA, n.º 23/3 (2009), 83-100