Rita de Cássia Bovo de Loiola

“É para você que escrevo, hipócrita”

Introduction

“É para você que escrevo, hipócrita”. Analisa a poesia de Ana Cristina Cesar (A teus pés, Inéditos e dispersos) e a alusão ao "leitor hipócrita" de Baudelaire. Explora a relação com o destinatário e a formação de sentidos poéticos.

Abstract

O artigo propõe o estudo de alguns trechos da poesia de Ana Cristina Cesar, em especial os contidos em A teus pés (1982) e em Inéditos e dispersos (1985), que aludem ao “leitor hipócrita” de Charles Baudelaire. O objetivo é destacar a relação estabelecida com o destinatário, investigando como elementos da poética baudelairiana seriam convocados e reinventados pela poeta. Por meio da mobilização da poesia e da escrita ensaística dos autores, trata-se de compreender de que maneira o vínculo com o interlocutor, colocado como uma exigência pelo poema e constituído também pela dessemelhança, descompasso ou desacordo, seria capaz de promover um movimento ambíguo de abertura e fechamento para que os sentidos poéticos sejam constituídos conjuntamente. Tal leitura implicaria o posicionamento ativo do interlocutor, sugerindo a relação crítica com o poema e, em última instância, deste, com o mundo.

Review

The article, provocatively titled “É para você que escrevo, hipócrita” – a direct and engaging allusion to Baudelaire – proposes a compelling study of select passages from Ana Cristina Cesar’s poetry, specifically from *A teus pés* (1982) and *Inéditos e dispersos* (1985). The central thrust of the research lies in exploring how Cesar invokes and reconfigures Baudelaire’s concept of the “hypocrite reader” to establish a unique relationship with her addressee. The abstract clearly articulates an intention to investigate how elements of Baudelairian poetics are not merely borrowed but actively reinvented, leading to an ambiguous interplay of openness and closure that is crucial for the co-constitution of poetic meaning. This approach promises a nuanced understanding of Cesar’s engagement with her readership and her literary predecessors. The methodology outlined, involving the mobilization of both poetry and essayistic writing from both authors, appears robust and well-suited to the intricate nature of the subject matter. The paper's strength lies in its ambition to dissect the complex bond between poet and interlocutor, a relationship characterized by both demand and dissimilarity, dissonance, or disagreement. This focus on the "vínculo com o interlocutor" as a generative force for poetic sense-making is particularly insightful. The abstract convincingly argues that such a reading necessitates an active, critically positioned reader, ultimately extending the poem's critical engagement to the world itself. This broadens the scope of the inquiry beyond mere intertextual analysis, situating it within a larger framework of literary reception and its ethical implications. In conclusion, this article promises to be a significant contribution to the study of Ana Cristina Cesar’s work and to broader discussions on intertextuality, reader-response theory, and the poetics of engagement. By carefully tracing Cesar’s reinvention of a key Baudelairian trope, the paper offers fresh perspectives on her sophisticated literary dialogue and her unique approach to poetic address. The emphasis on the active role of the reader and the dynamic interplay of connection and disjunction suggests a rich and rewarding analysis that will undoubtedly deepen our understanding of Cesar’s profound and influential poetic legacy within Brazilian literature.

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