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    All the Sadeqs are getting killed – Mojaffor Hossain, translated by Noora Shamsi Bahar

    Photographer Sumana Mitra on her street photography and recent explorations of Surrealist techniques

    Here, Where We Keep on Meeting – Giuseppe Ferrara

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    Figures of Pathos  (Part I)- Salvatore Piermarini

    Figures of Pathos (Part I)- Salvatore Piermarini

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

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    Jaider Esbell – Specialist in Provocations, by Loretta Emiri

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    Farewell, Silver Girl – Carolyn Miller

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

    Skjelv Du På Handa, Vladimir? / Does Your Hand Shake, Vladimir? –  Transnational Solidarity Project (Odveig Klyve)

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    Alahor in Granata: A Forgotten Opera by Donizetti – Fawzi Karim

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    EARTH ANTHEM : A eulogy of the Earth, its beauty, its biodiversity – Abhay K.

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

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    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
  • Poetry
    A medley of artwork from Le braccianti di Euripide collective

    The dolls have pronounced it – Poems by Mohamed Kheder

    Ukrainian Poetry in La Macchina Sognante – In Solidarity with the People of Ukraine

    Ukrainian Poetry in La Macchina Sognante – In Solidarity with the People of Ukraine

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

    Three Poems from “The Bastard and the Bishop” – Gerald Fleming

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

    God appeared at midnight: Three poems by Bitasta Ghoshal

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

    I dream of the tree of silence: Poems by Rafael Romero

    Always another curtain  to draw open: Five poems by Helen Wickes

    Always another curtain to draw open: Five poems by Helen Wickes

  • Fiction
    FLORAL PRINT FLAT SHOES – Lucia Cupertino

    FLORAL PRINT FLAT SHOES – Lucia Cupertino

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

    The Red Bananas – N. Annadurai

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

    THE CULPRIT – Gourahari Das

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

    A very different story (Part I) – Nandini Sahu

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

    After Breaking News – Mojaffor Hossain

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

    THE THEATER OF MEMORY – Julio Monteiro Martins

    Let the Rivers Speak! – Lucia Cupertino and the Poetry of the Global Souths, by  Pina Piccolo

    Fanta Blackcurrant – Makena Onjerika

    Photographer Sumana Mitra on her street photography and recent explorations of Surrealist techniques

    All the Sadeqs are getting killed – Mojaffor Hossain, translated by Noora Shamsi Bahar

    Photographer Sumana Mitra on her street photography and recent explorations of Surrealist techniques

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  • Non Fiction
    Figures of Pathos  (Part I)- Salvatore Piermarini

    Figures of Pathos (Part I)- Salvatore Piermarini

    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

    Farewell, Silver Girl – Carolyn Miller

    Farewell, Silver Girl – Carolyn Miller

    Lino-printing fairy tales over Constitutions- The artwork of Mihaela Šuman

    Layers of overlap: theatre, cinema, memory, imagination – Farah Ahamed

    Architectures of Delusion –  Steve Salaita

    Architectures of Delusion – Steve Salaita

  • Interviews & reviews
    The Power of the Female Gaze: On Maria Antonietta Scarpari’s Artistic Practice – Camilla Boemio

    The Power of the Female Gaze: On Maria Antonietta Scarpari’s Artistic Practice – Camilla Boemio

    A new reality needed –  A conversation with Mathew Emmett, by Camilla Boemio

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    Farewell, Silver Girl – Carolyn Miller

    A medley of artwork from Le braccianti di Euripide collective

    Sagar Kumar Sharma in Conversation with Santosh Bakaya

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    Sagar Kumar Sharma in a Literary Conversation with Sarita Jenamani

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    That’s how war left me alive – Wesam Almadani interviewed by Le Ortique

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    M’aidez, May Day – Pina Piccolo

    M’aidez, May Day – Pina Piccolo

    Desperately seeking Marion: A Review of ” Women, Antifascism and Mussolini’s Italy – The Life of Marion Cave Rosselli”, by Isabelle Richet

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

    Tim Ingold’s “Correspondences” – Giuseppe Ferrara

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

    But for plants there is no delegating: Seven Poems by Achille Pignatelli

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

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    Skjelv Du På Handa, Vladimir? / Does Your Hand Shake, Vladimir? –  Transnational Solidarity Project (Odveig Klyve)

    Skjelv Du På Handa, Vladimir? / Does Your Hand Shake, Vladimir? – Transnational Solidarity Project (Odveig Klyve)

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

    The malice of desires feeds the power of my imagination – Poems by Mubeen Kishany

    Alahor in Granata: A Forgotten Opera by Donizetti – Fawzi Karim

    Alahor in Granata: A Forgotten Opera by Donizetti – Fawzi Karim

    EARTH ANTHEM : A eulogy of the Earth, its beauty, its biodiversity – Abhay K.

    EARTH ANTHEM : A eulogy of the Earth, its beauty, its biodiversity – Abhay K.

  • News
    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)

    OPEN LETTER BY A GROUP OF BLACK ITALIAN WOMEN

    OPEN LETTER BY A GROUP OF BLACK ITALIAN WOMEN

    Crowdfunding for [DI]SCORDARE project

    Crowdfunding for [DI]SCORDARE project

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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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