Lucila Nogueira (Brazil)

Por: Lucila Nogueira
Traductor: João Sedycias

Do Tear Me Up

do tear me up
but do not leave me unfinished
unravaged palace to the memory of nothingness
wretched regression to abstract visions

do tear me up
but do not leave me as a mirage on the windowpane
for I know how to fulfill Thy flesh
even if detached in my reverie

Lucila Nogueira was born in Brazil. She is a poet, essayist, short story writer, publisher, critic, university professor and translator. She has published 15 poetry books: Almenara, 1979; Pecho abierto, 1983; Quasar, 1987; La dama de Alicante, 1990; Libro del desencanto, 1991; Ainadamar, 1996; Ilaiana, 1997-2000; Zinganares, 1998; Imilce, 1999; Amaya, 2001; La cuarta forma del delirio, 2002; Reflectores, 2002; Bastidores, 2002; Desespero blue, 2003 and Estocolmo, 2004. Her first book, Almenara, obtained the poetry prize Manuel Bandeira from The Government of the State of Pernambuco, en 1978. That prize was given again by Quasar, in 1986. As an essayist, she published Ideology and literary form in Carlos Drummond de Andrade, 2002. The legend of Fernando Pessoa, 2003, in preparation is the book El cordon encarnado, her doctorate thesis about the books El perro sin plumas and Muerte y vida Severina of Joao Cabral de Meklo Neto. She is postgraduate professor in Literature and linguistics at the Federal University of Pernmbuco where she teaches Portuguese literature, Brazilian literature, Theory of Literature and Portuguese Language. She directed the department of literature from 1998 to 1999. She is the member of The Academia Pernambucana of Philology and from the Brazilian Academy of Philology with headquarters in Rio de Janeiro. Since seven years ago, she publishes the lusophone magazine Encuentro. She belongs to the Editorial Committee of the online magazine "mafua" from The Federal University of Santa Catarina and collaborates in the virtual magazine "Aguja". Published by Floriano Martins and Claudio Willer. Hers is a voice that comes from the chant of the ancient sibillas to the more characteristic sounds of the present time, it goes between the most explicit sexuality amd the more abstract levels of spirituality, it deepens in the tragic sense of life and besides seeks the most delicate instant; it goes from the serenity of a crystalline water lake and the electric thunder of the human storm, it passes from sublime beauty to a contusive narration about issues related to modernity, it represents a crossing of readings and personal experiences, from its Iberic ancestrality to the mythic Southamerican archetype, a Brazilian diction that breaks with the experimental intellectualism, already worn out in the beginnings of this century, it rescues the fantasy and the spontaneity by guiding us by the means of an intimacy full of referring atmospheres into other geographies and other worlds.