Book, Poetics (AC Cesar)[LS]

Language: Brazilian Portuguese. Ana Cristina Cesar left an indelible mark on Brazilian literature of the 20th century during her brief passage.. He became one of the most important representatives of the marginal poetry that flourished in the 1970s, precisely because of the singularity that distanced him from the "laws of the group". She created a very unique diction, which combined prose and poetry, pop and high literature, the intimate and the universal, the masculine and the feminine - for the modern and liberated woman, capable of speaking openly about her body and her sexuality, poured herself out in a delicacy that could conflict, in the view of the unwary, with the energetic feminism characteristic of the time. Between diary fragments, fictitious letters, travel notebooks, bold summaries, prose texts, and lyrical poems, Ana Cristina fascinated and seduced her interlocutors, in a permanent game of veiling and unveiling.. Dinners of April, Complete Correspondence, Kid Gloves, At Your Feet, Unpublished and Dispersed, Ancient and Loose: books out of print for decades are now again available to the reading public, enriched by a section of unpublished poems, an afterword by Viviana Bosi, and a copious appendix. The editorial curation and presentation were the responsibility of the also poet, great friend and depositary, for many years, of the Carioca's writings, Armando Freitas Filho. From the independent volumes of her early career to the posthumous books, the work of the muse of marginal poetry - gathered for the first time in a single volume - still opens, thirty years after her death, to endless readings. “Ana C. grants the reader that delicious, somewhat forbidden pleasure of peeking at the intimacy of others through the keyhole. One of the most original, talented, engaging and intelligent writers to emerge lately in Brazilian literature.” - Caio Fernando Abreu, 1982 “An ultra-synthetic text, unfoldable in many readings, but never exhaustible. I am just an eternal dazzled by the poetry, the prose and the person of the carioca.” - Reinaldo Moraes, 1982 “Between Ana and the text, between Ana and life, there was the ellipsis, the pleasure of the secret pact with her possible interlocutor. That's what she called 'feminine pathos'. Of that, she made surely the best and the most original literature produced of the 1970s.” - Heloisa Buarque de Hollanda, 1984 “She wasn't - she remains - like a beast.” - Armando Freitas Filho, 1985 “Ana Cristina Cesar left an absolutely unique poetic work in the panorama of 20th-century Brazilian literature.” - Joana Matos Frias, 2005 “Ana Cristina, like other poets of her generation, struggles with the now.” - Viviana Bosi, 2013