Book, Poetics (AC Cesar)[LS]

Language: Brazilian Portuguese. Ana Cristina Cesar left an indelible mark in her brief passage through 20th century Brazilian literature. He became one of the most important representatives of the marginal poetry that flourished in the 1970s, precisely because of his singularity that distanced him from the “laws of the group”. She created her own diction, which combined prose and poetry, pop and high literature, the intimate and the universal, the masculine and the feminine - because the modern and liberated woman, capable of speaking openly about her body and her sexuality, was expressed in a delicacy that could conflict, in the eyes of the unsuspecting, 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 revealing. Scenes from April, Complete correspondence, Kid gloves, At your feet, Unpublished and scattered, Old and loose: books out of print for decades are now once again available to the reading public, enriched by a section of unpublished poems, an afterword by Viviana Bosi and a rich appendix. The editorial curation and presentation were carried out by the poet, great friend and custodian, for many years, of the Rio native's writings, Armando Freitas Filho. From independent volumes from the beginning of her career to posthumous books, the work of the muse of marginal poetry - collected for the first time in a single volume - is still open, thirty years after her death, to endless readings. “Ana C. grants the reader that delicious, somewhat forbidden pleasure of spying on other people’s privacy through a keyhole. One of the most original, talented, engaging and intelligent writers to emerge recently in Brazilian literature.” - Caio Fernando Abreu, 1982 “An ultra-synthetic text, unfoldable in many readings, but never exhaustible. I am just eternally amazed by the poetry, prose and people of Rio.” - Reinaldo Moraes, 1982 “Between Ana and the text, between Ana and life, there was the ellipse, the pleasure of the secret pact with her possible interlocutor. This she called 'feminine pathos'. From this, she certainly created the best and most original literature produced in the 1970s.” - Heloisa Buarque de Hollanda, 1984 “She was not - she remains - like a beast.” - Armando Freitas Filho, 1985 “Ana Cristina Cesar left an absolutely unique poetic work in the panorama of Brazilian literature of the 20th century.” - Joana Matos Frias, 2005 “Ana Cristina, like other poets of her generation, struggles with the now.” - Viviana Bosi, 2013