GUILHERME MANDARO'S POETICS IN THE CONTEXT OF THE MILITARY DICTATORSHIP

Abstract

This paper aims to analyze the work of Guilherme Mandaro (1952-1979) in its aesthetic and political aspects in the context of the military dictatorship. Starting from the mimeograph and its reverberations in the memory and literature of a generation, we initially analyze the context in which the so-called marginal literary generation took place and, later, we present the author, considered one of the main precursors of this production in the 1970s. The term "marginal" within poetry is related in this perspective not to a determined marginalized social class, but in direct relation to the means of literary production used and its conception situated at the margins of the canons. Thus, it broadened the paths of art in general, decentralizing it from old paradigms, fruit of the period of immense atomism experienced at the end of the 1960s. The qualitative, bibliographical research takes place through the traces left by the poet in his brief, intense existence, scrutinized through his participation in the collective "Nuvem Cigana" (1972-1980) and in the poetic works Hotel de Deus (1976) and Trem da noite (1979). His poetics comes from urban echoes originating from Brazilian Modernism, North American counterculture, rock, and Rio de Janeiro street carnival, among myriad possibilities arising from the experiences of this generation. The poet unveils the marginal literary movement against the official canons of literature, the ways of opposing the military dictatorship and, in a broad perspective, joins the countercultural youth of the West, using poetry as an artifact of contestation of the capitalist and technocratic system.