Eu era dois, diversos?: o diálogo poético de Max Martins e Age de Carvalho

Abstract

This research aims at the poetic dialogue established between Max Martins and Age de Carvalho, both born in Pará, in the northern part of Brazil, through the study of the book A fala entre parêntesis (1982), written in two hands, by both of them. Also, by the dialogue present in the following books, by Max Martins: Caminho de Marahu (1983) and Colmando a Lacuna (2001), and by Age de Carvalho, Arena, Areia (1986), Pedra-um (1990) and Caveira 41 (2003). From then on, the aim is to search answers to the question proposed by the epigraphy of their book: “Eu era dois, diversos?” [Was I two, diverse?]. This question articulates the whole study and highlights the poetic relationship between the two writers, beyond any time. Initially, the reserach discusses the poetic correlation between the concepts of eroticism and melancholy in connection to the existence of a multiple poetic subject, present in A fala entre parêntesis. To discuss that, we take the position of Nunes (1982) which considers the book “a path from subjectiviy through intersubjectivity”. We also consider the thoughts of Georges Bataille (1987; 2015), Barthes (1984), Paz (1994; 2009) and Siscar (2016) in order to examine the erotic character of poetry as a bridge to transgression and tension, in the perspective of metapoetics. From then on, I discuss melancholy as a literary and philosophical activity according to the concepts proposed by Lages (2007), involving the experience of loss and silence in the process of writing. Furthermore, the research turns to the examination of the close connection between poetry and photography, taking the photograph study that accompanies the book A fala entre parêntesis, in the light of Sontag (2007), Didi-Huberman (2010) e Flusser (2011), considering this field of study, with the idea of image as a mirror and testimony of this brotherhood. At last, this research investigates the poetic adventure involving the friendship of the two poets, based on their biography and lyric identities and identifications, in poems published until 2003. I also use Agamben (2009) to debate the concept of contemporary, and the philosophy of Zen-budhism to track the meanings of this friendship and the links established between them