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Descartes com Lentes
Um fluxo de linguagem, que reinventa a língua. Uma construção literária que imagina a vinda do filósofo René Descartes para o Brasil na caravana de Mauricio de Nassau. O confronto entre as prerrogativas do pensamento cartesiano e outras formas do saber, baseadas nos fluxos exuberantes da terra brasilis.
Escrito no final da década de 1960, o texto é considerado o embrião gerador de Catatau, a obra mítica do poeta curitibano.
“Nestes climas onde o bicho come os livros e o ar caruncha os pensamentos, estas árvores ainda pingando as águas do dilúvio. Ah, Brasil, Parinambouc, minha Tróia, este mundo é sujeira; este mundo não sai: é uma sujeira em meu entendimento no vidro de minhas lentes.”
Escrito no final da década de 1960, o texto é considerado o embrião gerador de Catatau, a obra mítica do poeta curitibano.
“Nestes climas onde o bicho come os livros e o ar caruncha os pensamentos, estas árvores ainda pingando as águas do dilúvio. Ah, Brasil, Parinambouc, minha Tróia, este mundo é sujeira; este mundo não sai: é uma sujeira em meu entendimento no vidro de minhas lentes.”
56 pages, Hardcover
Published January 1, 2024
5 people want to read
About the author
Paulo Leminski
53 books154 followersPaulo Leminski Filho (Curitiba, August 24, 1944 – Curitiba, June 7, 1989) was a Brazilian poet and writer. He took pride in being of mixed Polish and African descent.
His first small-press collection came out in the late 1970s. Although he never finished college, by the 1980s he knew Japanese, French, and English well enough to do translations. His most noted renderings are of Alfred Jarry, James Joyce, John Fante, John Lennon, Samuel Beckett, and Yukio Mishima. He also helped to produce a number of albums and was said to have taught judo.
Leminski was a prolific poet, wrote experimental prose / essays, occasionally wrote songs, and was a cultural agitator. He was the leading voice of his generation, having followed different paths of Brazilian lyric from the early 1960s through the late 1980s. His style of poetry has been compared to that of American poet e. e. cummings (song writer / singer Luciana Souza on the Tom Schanbel show on KCRW 89.9 fm 06/24/2009). He contributed to the journal Invenção, while still a teen and would maintain a strong sense of visuality and layout in his poetic output. Some of Leminski's poetry of the late 1970s/early 1980s has been linked to the controversial labe of poesia marginal. But his dedication to resolution in language set him apart. His collections Caprichos & Relaxos (1983) and Distraídos venceremos (1987) are landmarks. In the latter, his rigor and intertextual urges are clear. A neo-baroque narrative, Catatau (1975), has become a cult book. His home town Curitiba has sponsored a yearly celebration of his legacy and cultural vibrancy in Brazil. The event's name Perhappiness is taken from a one-liner by the poet.
His first small-press collection came out in the late 1970s. Although he never finished college, by the 1980s he knew Japanese, French, and English well enough to do translations. His most noted renderings are of Alfred Jarry, James Joyce, John Fante, John Lennon, Samuel Beckett, and Yukio Mishima. He also helped to produce a number of albums and was said to have taught judo.
Leminski was a prolific poet, wrote experimental prose / essays, occasionally wrote songs, and was a cultural agitator. He was the leading voice of his generation, having followed different paths of Brazilian lyric from the early 1960s through the late 1980s. His style of poetry has been compared to that of American poet e. e. cummings (song writer / singer Luciana Souza on the Tom Schanbel show on KCRW 89.9 fm 06/24/2009). He contributed to the journal Invenção, while still a teen and would maintain a strong sense of visuality and layout in his poetic output. Some of Leminski's poetry of the late 1970s/early 1980s has been linked to the controversial labe of poesia marginal. But his dedication to resolution in language set him apart. His collections Caprichos & Relaxos (1983) and Distraídos venceremos (1987) are landmarks. In the latter, his rigor and intertextual urges are clear. A neo-baroque narrative, Catatau (1975), has become a cult book. His home town Curitiba has sponsored a yearly celebration of his legacy and cultural vibrancy in Brazil. The event's name Perhappiness is taken from a one-liner by the poet.
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