Pamela de Simas Rodrigues

A louca da casa: entre o biografema real e a farsa autobiográfica

Introduction

A louca da casa: entre o biografema real e a farsa autobiográfica. Analise a obra "A louca da casa" de Rosa Montero, que mistura biografia e ficção. Entenda a metalinguagem na escrita e a fronteira entre o real e a farsa autobiográfica.

Abstract

Em A louca da casa, Rosa Montero cria uma narrativa de muitas camadas, que mistura ensaio, biografia e ficção; muitas vezes, borrando os limites entre os gêneros. Ao mesmo tempo em que elucubra a respeito do ato de escrever, pensando em como funcionam os procedimentos dos romancistas, embasando-se nas ideias de diversos autores e utilizando dados de suas biografias, utiliza, também, aspectos de sua própria vida como chave para pensar sobre o tema. As histórias que conta sobre si mesma, no entanto, se contradizem ao longo da narrativa, de modo que o leitor já não sabe mais o que é verdade e o que se trata de puro exercício de ficcionalização. Este ensaio busca pensar no procedimento de escrita da autora como um exercício metalinguístico que demonstra, na prática, o que há de ficcional no biográfico e o que há de biográfico no ficcional, ao mesmo tempo em que traz reflexões pessoais a respeito de experiências de leitura.

Review

This essay proposes a compelling analysis of Rosa Montero's *A louca da casa*, a work characterized by its intricate blend of essay, biography, and fiction, which deliberately blurs conventional genre boundaries. The core objective of the paper is to examine Montero's writing procedure as a sophisticated metalinguistic exercise. By exploring how Montero crafts a narrative that simultaneously reflects on the act of writing, thinking about novelists' procedures, and incorporates elements from her own life and those of other authors, the essay sets out to unpack the inherent fictionality within biographical accounts and the biographical resonance within fictional constructs. A significant strength of this analysis lies in its focus on the deliberate contradictions embedded within Montero's self-referential narratives. The paper effectively highlights how these inconsistencies challenge the reader's perception of truth, leading to a profound meditation on the nature of autobiographical representation and fictionalization. The abstract promises a deep dive into how Montero's work functions as a practical demonstration of these theoretical concepts, illustrating the interplay between the 'real biografema' and the 'autobiographical farce' (as suggested by the title). Furthermore, the inclusion of the author's personal reflections on reading experiences adds a valuable layer of subjective engagement, enriching the critical perspective with a lived dimension of literary interaction. Overall, this paper appears to offer a timely and insightful contribution to the study of contemporary literature, particularly concerning autofiction and meta-narrative strategies. Its rigorous examination of Montero's unique approach to genre and truth promises to illuminate complex questions surrounding authorial authenticity, reader reception, and the very fabric of literary creation. The analysis could be particularly impactful for scholars interested in the boundaries of memoir, the ethics of representation, and the evolution of the novel in a post-truth era. This review anticipates that the essay will provide a robust framework for understanding the profound implications of Montero's literary experimentation.

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