Voz e silêncio: os modos de construção da narrativa nas memórias de Galo das trevas

Abstract

The remembrance of Navian experiences puts the reader in front of a country culturally unknown to many, with many historical aspects, and with a narrative style and a narrator that break with the literary tradition of the autobiographical text. In the fifth volume of the memoirs, Galo das Trevas: as twelve imperfect candles, the author breaks – in the positive sense of the word – with several aspects of the memorial text. In addition to remembering, not only their past experiences, but also the ways of life of their ancestors, family members, friends and an entire society, constituting memories that portray the private and the public, the individual and the collective; the author gives life and voice to the dead of the past, and brings to light the speeches interrupted or silenced by the ideological conjunctures of the time and by time itself. Based on a theory that presupposes the unfolding of the self, it is possible to perceive in the work the aesthetic modes that the author creates to promote unfoldings of himself in the narrators used, and, from these, in the places of voice he presents. He creates the voice places to make the silenced speak. In doing so, the author uses the process of unfolding his voice in the voice of the narrators – of the first and second parts of the work – and in the voice of the protagonist. It is the unfolded voice that testifies to what the author witnessed. In this work, we use the theoretical assumptions of Writings of the self, ethics and Witness Literature for the postulation of the theory of Unfolding and Places of Voice, through which there is the possibility of speaking, for the subaltern, within the world that is the literary work. The sharing of these voices, in a duel or in contradiction, within the space of the work, constitutes a process of identity (re)construction of the silenced speeches during the 1930 Revolution.