EWA A. ŁUKASZYK
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selected recent writings in portuguese & spanish

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"A tradição épica na hora da “lusofonia horizontal”. Uma viagem à Índia de Gonçalo M. Tavares face a outras vozes poéticas da língua portuguesa", Scripta, vol. 24, no 52/2020, p. 119-138.
http://periodicos.pucminas.br/index.php/scripta/article/view/23984/17588

The article presents the evolution of the concept of Lusophony, from its political formation in the last decade of the 20th century till the new reality observed by José Eduardo Agualusa. The first formulation implied, according to Alfredo Margarido, a return to the period of Maritime Discoveries; such a return effectively happened, on the symbolic level, with the ironic re-elaboration of the literary model given by Camões in Uma viagem à Índia by Gonçalo M. Tavares. The alleged “horizontal” dimension of the new Lusophony is debated through the confrontation of Tavares with the epic resonances of other poetical voices: Tony Tcheka, Conceição Lima, Filinto Elísio and Afonso Cruz. Following the theory of minor literature formulated by Gilles Deleuze and Félix Guattari, the author speaks of a “desertification” of the epic tradition that loses its glorious connotations. As a consequence of this process, the closed horizon of hegemonic literature opens up for new connectivities.

“Amargas mistidas. O desalento africano em Desesperança no chão de medo e dor de Tony Tcheka” [“Bitter mistidas. The African despair in Desesperança no chão de medo e dor of Tony Tcheka”], Studia Romanica Posnaniensia, no 46(3)/2019, p. 7-18.

The essay focuses on selected poems from the volume Desesperança no chão de medo e dor published in 2015. Tony Tcheka offers a bitter comment on the reality of his native Guinea-Bissau that, for analytical sake, is confronted with other voices of the country. The topics discussed are: the crisis of collective identity, as well as such values as freedom and solidarity; the deficient status of Kriol as a supposed "national" language; sexuality and gender issues, such as promiscuity and insufficiency of male role models; the status of traditional beliefs and tribal identifications. 
​
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Tabanca, a traditional village in Guinea-Bissau.
SCImago Journal & Country Rank

 “

Em vias de conclusão, podemos constatar que a poesia de Tony Tcheka traça um programa positivo, composto por tais elementos como o retorno à terra (entendida como a fonte do sustento e a localização das axiologias tradicionais), a valorização do feminino, respeito pela natureza entendida como recurso biosférico e como floresta sagrada, um certo distanciamento em relação aos estrangeiros e às modalidades usuais de cooperação que se revelaram ineficientes. Com certeza, é um programa minimalista, adequado às condições do país que se mantém, há décadas, na última dezena ou, quanto muito, a última vintena dos países mais pobres do mundo. O regresso ao poilão que simboliza o universo tribal pode ser interpretado como a consequência do desmoronar do projeto da modernização, assim como o da construção nacional unificada, de expressão crioula. Entretanto, os guineenses “declinaram o convite” para a festa de liberdade, onde o destino nacional podia entrar em convergência como o mundo desenvolvido. O programa do regresso ao sagrado milenar do poilão implica a aceitação do pluralismo que não encontrava lugar na agenda política das primeiras décadas da independência. Pode ser visto como um passo para trás, que o poeta é forçado a assumir perante uma realidade que não se deixa reformar, a dos múltiplos “ka ten” que não se deixam encher nem de comida, nem de democracia, nem de solidariedade, nem sequer de kerensa que deveria fechar o fosso entre o homem e a mulher numa sociedade tradicionalmente tão marcada pela ordem patriarcal inflexível.
amargas_mistidas.pdf
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(in progress:) "Ser homem na Guiné Portuguesa. O retrato das masculinidades coloniais nos romances de Fausto Duarte, Auá e O negro sem alma"
​

 “

A apreciação crítica da obra de Fausto Duarte traça uma inevitável controvérsia acerca da sua escrita, também relacionada, sem dúvida, com a mudança dos critérios e paradigmas ao longo do tempo. Em 1984, Russell Hamilton estava prestes a reconhecer as boas intenções do autor que, apesar da sua inscrição colonial evidente, tentou presentar as culturas africanas sob uma luz favorável. Em 2007, Moema Parente Augel confessou, em tom muito mais crítico e desiludido: “Considero bastante sintomáticas as referências estereotipadas e reducionistas de Fausto Duarte às diferentes etnias”. Por isso não hesitava em incluí-lo na categoria de autores de literatura colonial, “quase sempre funcionários da administração portuguesa, ou militares ou missionários, todos marcados logicamente pela convicção da missão civilizatória do branco”. Certamente, este juízo não carece de fundamentação. No entanto, a escrita de Fausto Duarte, tomada com o benefício da sua inscrição colonial, revela um questionamento da condição masculina, da virilidade que não se reafirma nas condições de supremacia colonial, mas que, antes pelo contrário, depara com novas fontes de incerteza, hesitação, depreciação, amargura. É esta qualidade de questionador da codificação ibérica da masculinidade que mais me surpreende e que justifica um retorno a Fausto Duarte no presente ensaio.
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