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Primera Persona: Escritoras y Artistas Mujeres en Revolución

by Ana Pérez-Quiroga, Fernanda Botelho, Júlia Ventura, Margarida Vale de Gato, Natália Correia, Paula Rego, Susana Mendes Silva e Tatiana Faia

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 La Revolución de los Claveles en Portugal fue crucial para la liberación y para la afirmación de las mujeres en diversas esferas de la vida social, política y cultural. En el campo de la literatura y las artes visuales, si bien escasas, las manifestaciones y representaciones del yo femenino en el largo período de la dictadura fueron muy relevantes y premonitorias del movimiento que florecería en democracia—un proceso revolucionario todavía en curso y sin precedentes en la historia de Portugal, de reivindicación y conquista de la identidad femenina como identidad fuerte y no subalterna—. Primera Persona: Escritoras y Artistas Mujeres en Revolución es una antología poética y visual que pretende alumbrar el camino de emancipación y afirmación de las mujeres en la literatura y el arte. El encuentro, en el presente volumen, de obras de ocho autoras portuguesas de distintas generaciones, anteriores y posteriores al 25 de Abril—Natália Correia, Fernanda Botelho, Paula Rego, Júlia Ventura, Ana Pérez-Quiroga, Susana Mendes Silva, Margarida Vale de Gato y Tatiana Faia—, se presenta como un diálogo crítico, y críticamente informado por un glosario temático, entre figuras «históricas» de la literatura y el arte portuguesas en femenino y las más jóvenes generaciones de autoras mujeres.
First Person: Women Writers and Artists in Revolution

by Ana Pérez-Quiroga, Fernanda Botelho, Júlia Ventura, Margarida Vale de Gato, Natália Correia, Paula Rego, Susana Mendes Silva e Tatiana Faia

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 The Carnation Revolution, which took place on 25 April 1974, was crucial for Portugal’s liberation and for securing women’s place in various spheres of social, political and cultural life. In literature and the visual arts, the manifestations and representations of women’s selfhood, however scarce, which appeared during the long years of the dictatorship, were highly significant in paving the way for the movement which would flourish with the arrival of democracy — a revolutionary process, still unfolding now, that is unprecedented in Portuguese history and involves reclaiming and victoriously achieving a feminine identity that is strong and not subaltern. First Person: Women Writers and Artists in Revolution is an anthology of poetry and visual artworks that seeks to shed light on the path taken by women, in literature and art, on their journey towards emancipation and self-affirmation. This collection gathers a series of works by eight Portuguese authors from different generations, who came both before and after the 25th April — including Natália Correia, Fernanda Botelho, Paula Rego, Júlia Ventura, Ana Pérez-Quiroga, Susana Mendes Silva, Margarida Vale de Gato e Tatiana Faia. Their works intermingle as part of a critical dialogue, which is critically informed by a thematic glossary, between historical female figures from Portuguese literature and art, on the one hand, and the youngest generations of women authors, on the other.
Mis Versos, Mi Voz - Poemas escritos por fadistas mujeres

by Aldina Duarte, Amália Rodrigues, Carminho, Cuca Roseta, Mafalda Arnauth e Teresinha Landeiro

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 Mis Versos, Mi Voz revela la fuerza de un colectivo, de un número creciente de mujeres que dan voz al fado no solo como intérpretes, sino también como autoras de sus poemas. a Amália Rodrigues, autora de versos célebres y precursora de la poesía de mujeres en el fado, se suman cinco extraordinarias artistas de generaciones posteriores: Aldina Duarte, Mafalda Arnauth, Cuca Roseta, Carminho y Teresinha Landeiro. Los versos incluidos en esta antología no solo nos acercan a las voces escritas de estas fadistas mujeres, a sus experiencias, emociones y reflexiones, como también desafían el poder del patriarcado, que ha dominado, desde sus inicios, la creación literaria y musical del fado. Las transformaciones sociales y culturales en el Portugal de las últimas décadas se proyectan hoy en la más expresiva y tradicional categoría musical de este país. Y así se renueva el fado por la voz de las mujeres que lo escriben y que le abren nuevos caminos rumbo al futuro.
My Verse, My Voice - Poems written by women fado singers

by Aldina Duarte, Amália Rodrigues, Carminho, Cuca Roseta, Mafalda Arnauth e Teresinha Landeiro

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 My Verse, My Voice reveals the collective strength of a growing number of women who give voice to fado not only as performers, but also as authors of their own poems. Amália Rodrigues, author of celebrated verses and foremother of women’s fado poetry, is joined by five extraordinary artists from the generations who followed her: Aldina Duarte, Mafalda Arnauth, Cuca Roseta, Carminho, and Teresinha Landeiro. Not only do the verses included in this anthology bring us closer to the written voices of these women fadistas, along with their experiences, emotions, and reflections; they equally challenge the power of patriarchy, which has dominated the literary and musical composition of fado ever since its inception. Portugal’s social and cultural transformations, in recent decades, are today reflected in the country’s most expressive and traditional musical genre. In this way, fado is renewed by the voices of the women who write it, as they open new paths for its future.
Êxtase do Outono a Ser

by Ana Luísa Amaral

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 Edição bilingue (Português e Ucraniano).
Song of Emerging Homeland and Other Poems

by Natália Correia

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 Natália Correia (1923-1993) was a surrealist poet and proud Azorean. Her erotically-charged, nature-loving poetry brims full of lush imagery drawn from her volcanic island homeland—a dream-like space from which she could speak, with illuminating insights, from the margins of Portuguese culture. Correia spent her whole life as a vocal opponent of patriarchal authority, under Salazar’s New State dictatorship. Within Portugal today, she is remembered as a cultural agitator, writer, left-wing politician, and champion of human rights (especially women’s), and her provocative, diva-like public persona and image has perennially scandalised conservative mores. This anthology, which brings Correia’s poetic oeuvre to Anglophone audiences for the first time, conveys the breadth and inventiveness of her work, tracking the development, over time, of her eco-matriarchal utopianism. In particular, the Song of Emerging Homeland (1961) and the Motherland poems (1967) communicate her yearning for the overthrowal of patriarchy and an ensuant liberation of repressed feminine energies, sounding a clarion call for women’s bodily autonomy. This woman-centred philosophy went hand-in-hand with her green politics, and we have the pleasure of presenting her to you as a relevant and pioneering eco-feminist poet for our own environmentally-troubled era.
Rimas Perdidas, Vendaval Disperso

by Florbela Espanca

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 Edição bilingue (Português e Ucraniano).

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