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    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    This Is Not A Feminist Poem – Wana Udobang (a.k.a. Wana Wana)

    from AFROWOMEN POETRY – Three Poets from Tanzania: Langa Sarakikya, Gladness Mayenga, Miriam Lucas

    The Bitter Bulbs of Trees Growing by the Roadsides of History – Three Poems by Iya Kiva

    The Bitter Bulbs of Trees Growing by the Roadsides of History – Three Poems by Iya Kiva

    What Was Heart Is Now A Scorched Branch – Three Poems by Elina Sventsytska

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Water: The Longest Tunnel Where the Color Blue Is Born — Four Poems by SHANKAR LAHIRI

    Message to Forough Farrokhzad and other poems – Samira Albouzedi

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    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    BOW / BHUK – Parimal Bhattacharya

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    A Very Different Story (Part II)- Nandini Sahu

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    The Aunt: An Exhilarating Story by Francesca Gargallo

    THE PROGENITOR – Zakir Talukder (trans. from Bengali by Masrufa Ayesha Nusrat)

    Stalks of Lotus – Indrani Datta

    Love in Africa and the Variety of its Declinations:  Short-story Tasting from Disco Matanga by Alex Nderitu

    Love in Africa and the Variety of its Declinations: Short-story Tasting from Disco Matanga by Alex Nderitu

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    FLORAL PRINT FLAT SHOES – Lucia Cupertino

    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

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    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

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    Menstruation in Fiction: The Authorial Gaze – Farah Ahamed

    Menstruation in Fiction: The Authorial Gaze – Farah Ahamed

    Aadya Shakti, or Primal Energy – Lyla Freechild

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    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

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    Plowing the publishing world  – Tribute to Brazilian writer Itamar Vieira, by Loretta Emiri

    Plowing the publishing world – Tribute to Brazilian writer Itamar Vieira, by Loretta Emiri

    Jaider Esbell – Specialist in Provocations, by Loretta Emiri

    Jaider Esbell – Specialist in Provocations, by Loretta Emiri

  • Interviews & reviews
    The mushroom at the end of the world. Camilla Boemio interviews Silia Ka Tung

    The mushroom at the end of the world. Camilla Boemio interviews Silia Ka Tung

    The Excruciating Beauty of Ukrainian Bravery: Camilla Boemio Interviews Zarina Zabrisky on Her Photography Series

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    Reportage of War and Emotions, the Tour of Three Ukrainian Poets in Italy

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    Videos from worldwide readings in support of Ukrainian writers, September 7, 2022 – Zoom Readings Italy

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    Reportage of War and Emotions, the Tour of Three Ukrainian Poets in Italy

    From Euromaidan: Three Ukrainian poets to spoil Westsplaining fest in Italy – Zarina Zabrisky

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    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

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    Artwork by Mubeen Kishany – Contamination and Distancing

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    Phoenix: Part I – YIN Xiaoyuan

    Surrender to Our Explosive Democracy – Five Poems by Serena Piccoli from “gulp/gasp” (Moria Poetry 2022)

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Me and French, or What I Did During the Pandemic (Moi et le français, ou Ce que j’ai fais pendant la pandémie) – Carolyn Miller

    Becoming-animal as a Mirror – Ten Animals from Gabriele Galloni’s Bestiary

  • News
    HAIR IN THE WIND – Calling on poets to join international project in solidarity with the women of Iran

    HAIR IN THE WIND – Calling on poets to join international project in solidarity with the women of Iran

    THE DREAMING MACHINE ISSUE N. 11 WILL BE OUT ON DEC. 10

    THE DREAMING MACHINE ISSUE N. 11 WILL BE OUT ON DEC. 10

    RUCKSACK – GLOBAL POETRY PATCHWORK PROJECT

    RUCKSACK – GLOBAL POETRY PATCHWORK PROJECT

    REFUGEE TALES July 3-5:  Register for a Walk In Solidarity with Refugees, Asylum Seekers and Detainees

    REFUGEE TALES July 3-5: Register for a Walk In Solidarity with Refugees, Asylum Seekers and Detainees

    IL BIANCO E IL NERO – LE PAROLE PER DIRLO, Conference Milan Sept. 7

    IL BIANCO E IL NERO – LE PAROLE PER DIRLO, Conference Milan Sept. 7

    OPEN POEM TO THE CURATORS OF THE 58th VENICE BIENNALE  FROM THE GHOSTS OF THAT RELIC YOU SHOULD NOT DARE CALL “OUR BOAT” (Pina Piccolo)

    OPEN POEM TO THE CURATORS OF THE 58th VENICE BIENNALE FROM THE GHOSTS OF THAT RELIC YOU SHOULD NOT DARE CALL “OUR BOAT” (Pina Piccolo)

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Home Non Fiction

Plowing the publishing world – Tribute to Brazilian writer Itamar Vieira, by Loretta Emiri

March 2022

April 29, 2022
in Non Fiction, The dreaming machine n 10
Plowing the publishing world  – Tribute to Brazilian writer Itamar Vieira, by Loretta Emiri
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The eighteen years I lived in the Amazon, fighting alongside with and for the indigenous people in the defense of their rights, lead me now to walk the paths of the Internet on a daily basis. I am always searching for good news that will, at least partly, alleviate my bitterness for being, currently,  so far away geographically from Brazil. I consider myself an indigenist and a writer, so literature is the subject of my research and reflections as well.

In June 2020, I was greatly intrigued by the news that the Brazilian writer and activist Itamar Vieira had won the prestigious LeYa-2018 Literary Prize in Portugal for a still unpublished novel Torto Arado (Crooked Plow) and that spurred me to find out more. The information I cobbled  together about him brought him closer to my heart because of our many shared experiences: we read a number of the same authors, as teenagers we wrote in secret from our families, we studied the thought of some of the same anthropologists, we were both involved in the struggle for land waged by the poorest segments of the Brazilian population, neither of us were ever seriously taken into consideration by prominent publishers because of our working-class backgrounds and the issues we deal with in our work. Itamar Viera’s life path triggered me to ponder, be aware and hope. With this brief essay I would like to pay homage and thank him.

Itamar Vieira was born in 1979 in Salvador, in the state of Bahia, Brazil. His identity alone as a nordestino* made him a target of discrimination. In addition, his ancestors included black slaves, indigenous tupinanbá, poverty-stricken Portuguese immigrants. He was born and lived in the city of Salvador, but his father and paternal grandparents worked in the countryside; that is why his childhood memories are firmly tied to peasant culture. He was trained as a geographer thanks to the “Milton Santos” scholarship awarded  to low-income young blacks, and he was the first student to receive it. He participated in some national job competitions hoping to become a teacher but in the same period he also applied to INCRA (the National Institute of Colonization and Agrarian Reform ) finally choosing to work there, as he believed it would more challenging and stimulating for him than to implement his concepts in schools. Upon leaving his native city of Salvador, Itamar entered what is known as Deep Brazil. There communities do not struggle to live but merely to survive; slavery, servility, racism, male chauvinism, discrimination, violence, injustice are rampant; land conflicts are brutal and constant. The real wealth of Deep Brazil consists of the cultural diversification of its  population, the solidarity of which such population is capable, their formidable resistance to the abuses of local oligarchies and the State.

For fifteen years, through the INCRA, Itamar developed peasant literacy projects, documented the rural work performed by women, worked for land regularization. In 2017, he became a Doctor of Ethnic and African Studies with a thesis on the formation of Quilombolas ** communities in the Brazilian Northeast. His experiences and his encounter with indigenous people, landless workers and quilombolas gave rise to most of the characters in his books. He has given voice to a slice of humanity that has been mute for centuries, whose existence is suffering and precarious, but whose feelings such as the longing for a dignified life, autonomy, freedom are universal. By mixing real facts with magical and spiritual elements, Itamar has developed a distinct literary style that allows readers to immediately recognize him as the author.

Here are some data recorded by the Study Group in Contemporary Brazilian Literature of the University of Brasilia: 97.5% of Brazilian novelists, published between 2005 and 2014 by large publishing houses, are white, despite the fact that whites are only 47.73% of the population. More than 70% of these writers are men, despite the fact that most Brazilians are women, that is 51.6%. Because they are written by rich white men from Rio de Janeiro and São Paulo, nearly 78% of the characters in the novels are white and most of them are men. Itamar Vieira did not send the manuscript of his book Torto arado to large publishing houses, because he knew perfectly well what kind of reception they would give to someone like him, an author without connections, of  his social background, with his skin color, who insisted on creating such humble and mistreated characters. He sent the manuscript to Portugal  instead where it won the LeYa-2018 Literary Prize for Best Novel. Of course, from that moment on, you can surmise that it was the publishing houses who were seeking out the writer… .. In 2020 the book even won the Jabuti Prize, which is the most coveted and prestigious in Brazil.

I end  this brief essay by congratulating the publisher Tuga Edizioni, which translated and published the book in Italy. I conclude with the hope that Itamar Vieira’s trajectory will contribute to making most of the medium and large publishing houses, both Brazilian and Italian, question their publishing choices. By continuing to privilege a caste of writers and their ethnocentric interests, they themselves are guilty of discrimination against authors, characters and contents, all of which if included  could instead transform the dictatorship of literature into a multi-ethnic, democratic, just, fascinating republic.

 

 

Loretta Emiri lived in the Brazilian Amazon for eighteen years, working with and for indigenous peoples including the Yanomami. She has published the Dicionário Yãnomamè-Português, the poetic collection Mulher entre três culturas, the ethno-photographic book Yanomami para brasileiro ver. In Italian, she wrote Amazzonia portatile (Portable Amazon),  Amazzone in tempo reale (Amazon in real time, special jury prize for Nonfiction “Franz Kafka prize Italy 2013”), A passo di tartaruga -(At a Turtle’s  Pace)In May 2018 she was awarded the special career prize “Novella Torregiani –  For Literature and Figurative Arts”. In 2020 her book  Mosaico indigeno(Indigenous Mosaic) was released by Multimage press.

 

 

 

Glossary

*Nordestinos = individuals coming from the Northeast region of Brazil.

** Quilombolas = descendants of communities founded by African slaves who fled from the plantations where they were prisoners at the time of slavery. The word quilombo means settlement in the Angolan Bantu language.

 

 

 

 

Tags: afrobrazilian writersBrazilDeep BrazildiscriminationEurocentric publishingItalyItamar VieiraLoretta EmirinordestinoNovelpublishing worldquilombolasTorto Arado

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