The 8 imperdíveis poems by Fernanda Young
Fernanda Young (1970-2019) was one of the greatest voices of contemporary Brazilian literature. His precious verses are são fortes, feministas e viscerais.
Conheça agora oito two serious imperdíveis poems of her.
1. Submissão Votes
If you want to be able to pass the seu terno, the one that you do not use because you are tied up.
Sewing as suas meias for or long winter ...
Wear a chuva cape, don't want to be molded.
I know of noite fizer that the expected cold will be able to cover it as my internal body.
And you will see how minha a minha pele de algodão macio, agora quente, it will be fresh when janeiro.
Our months of outono eu varro to her varanda of her, to deitarmos under all the planets.
O meu cheiro will cover you with touches of lavender - In my day other women and some nymphs - Depois plantarei para ti Margaridas da spring and there I do not have a body of some kind and light dresses, to be pulled with total hair from the wish of a chimera.
I will go to see you refletted you.
But when it's time to get wet and go embora I know that, I fry, I deixarei você longe de mim.
I would not be ashamed to ask her love for esmola, but I would not like to see her or her garden.
(Nem vou deixar - mesmo querendo - nenhuma photography.
So cold, the planets, nymphaetas and all a minha poetry).
Or more cited poem by Fernanda Young é provavelmente Submissão Votes. It is understandable that these are two major literary events of her because the verses provoke high degree of identification as a reader or to mention a frequent feeling - or love - from everyday situations (passar or terno, dress as meias, varrer a varanda ...).
Or eu-lyrical, dull, goes to or love gives his life fazendo uma visceral declaration of devotion. Here, this little subject appears completely raised by feeling, despite emphasizing that he knows his own limits within the relationship.
Young's creation is curious because it begins with a total dedication to a romantic partner and closes itself with a starting with great explanations, showing the enthusiasm of the beginning of the paixão and the vazio deixado hair finished.
Confira or declaimed poem:
2. Sem title
Estou for a triz. De novo.
It seems, of fato, encenação.
I thought it was a lie
essa minha cara com esses olhos fallen.
I learned such
olhar, reading the poems of
some, ou são os remedios.
Eu vinha crente que no mais
required disso. Disso: caneta,
paper, soothing and pajamas.
Dancei muitas musicas e ri
of mim mesma. That what
repeats itself. Eu. Eu same:
corpo e a cabeça cheia de
hair.
My brain is soaked
do the size of a cheap one.
Os verses acima compõem or initial stretch of a long poem present in Dores of romantic love, launched in 2005. We found nessa criação e in various other of the same publication um eu-lrico desperate, sem chão, at the edge of an abyss.
Medo, frustration, anguish, fatigue - There are some two sentiments that permeate a description of the poetic subject. Depressed, he found shelter from us poems and remedies, but he remained dull, an illustration that appears from the image of the pajamas and the calming.
In writing, no text arises as a way of being, of constituting an identity of self. swinging guy, despite everything or gloomy context.
3. Sem title
A lens of love grudou in the retina and trouxe a reality
for a paixão.
Agora, nela, veem-se open pores, you looked disconcerting
e azuis on the side of the nostrils, that inspires and expires
or emphysemic exhaustion of two lungs that never inflamed
get scared,
wait e dor.
like two hysterical lovers amused myopia. (...)
As it is really funny that no one wants to see you.
In another breeding present in Dores of romantic love we see a poetic subject another time hopelessly apaixonado.
In a large part two love poems find a more symbolic description, related to affections, here the original approach is focused on the questão do corpo (retina, pores, nostrils, lungs). There is all a vocabulary linked to anatomy and tangible year, to the corporeal order.
The eu-lyrical body clicks, transshipments, and a living photograph, A record of the reactions that or affects promote.
4. Sem title
No one wanted confiscations here.
Nem reminiscences.
It's just a question to keep
or focus.
By isso esse format, essa false
elaboração.
If someone was here, I really wanted to be
bom,
would count as syllables of a sonnet
perfect,
but no case. Nem é or case, here,
em meio to all this confusion, be her
uma mulher prestes a chorar ou não.
No!
Taí uma coisa that I am not going to be interested
você. None wanted confissões
here.
Os verses acima compõem or initial section of a poem that treats of love and literary fazer. As two quests there are quite a few faces to Fernanda Young's poetics and they appear here synthesized.
Or poem comes as a reflection on the eu-lyrical paper in two verses. Tell him about what or leitor hopes to find us verses and concluded that he was not, of course, qualified for such a task.
O little poetic subject tries to suppress and hide her current condition (uma mulher prestes a chorar-ou não) to give lyrical prominence. To the less interesting it is explained that the person is more able to dissert on the written composition.
5. Sou essa
Eu board or labyrinth quente das minhas veias.
I repeat these words as mantras, more than once on the face of it.
For times I furo in no or cloth, I like to carry that scare.
É a digital de sangue that ali left: minhas tears, beers, rompantes.
It revealed itself to me, exposing itself to fraquezas, confusion, raiva.
It does not bother me.
Há muito cansei de
Excuse me.
Sou essa, e oil not be loved.
I regret something
I say here and embroider:
Foi ter saido de mim,
To leave some enter.
A poem full of images belas e fortes, even if it could be described Sou essa. Here, no attempt to define, or eu-lyrical persecute your own identity and try to understand yourself by not giving me your anxieties and concerns.
Permeated by disturbing feelings - sudden attacks, sadness and euphoria - he is compelled to oil himself and be burned, embracing all his subjective questions and transient complexities.
A metaphor gives life as a sewing percorre todo or poem is used to illustrate the various phases of the path of the poetic subject.
6. Sem title
Sou a complete house.
I have recantos em minhas
Dobras, lareira and um belo
Black tulip garden.Também sou uma caravela
That runs noisy and
Escorregadia on the oceans
That led to novos
Continents.E uma caneta macia de um
Garçom proud; the gosta
From ouvir: - What a caneta boa!
Quando assinam a conta.Posso be the elastic of
Pompom nas chiquinhas de
Uma menina que chora,
Flat, not side by side.
TO identity question É or nickname that face move to written do poem acima. O poetic subject uses at first the metaphor of the house to promote an interior mergulho and self-discovery.
Logo to follow el escapes for other metaphors that help to unveil burned (caravella on or ocean, elastic hair of menina flat do patio).
Or eu-lyrical here it appears, therefore, as um multifaceted and fluid individual, that you can have many identities and be in many places, assimilating the complexity of the human dimension.
7. ***
There are certain waters that will not kill the headquarters,
Você já notou?
As a saudade that did not lead us to
Nenhuma epiphany.
Saudade deveria semper render um verse
Perfect, since it is useless.
We agreed tired by
Feel it,
I know we sleep.
Ela rouba us or present,
Blind us or future.
Estou assim agora: dam
Last year when
Estive com você.
Or poem named just with three asterisks, it is missing and tenta nomear o vazio da absent left by someone who is not there.
A saudade - a feeling so frequent that we all experience hair less once in life - it is the guiding center of Fernanda Young's poem.
In the absence of a view here from a solar or beautiful perspective (like or recognition of something well lived), more sim as a feeling than magician, that rouba or present, that permeates and impede olharmos to front.
8. Skull
As suas outras cost me
imprisoned in his plexus.
knock-knock-knock, bati com
shyness, logo that I don't
That I should leave.
No one opened the door.
Pedi, chorei, arranhei seu
internal. Nothing.
You didn't love me, but me
Prendeu. You didn't love me,
but you sewed me in you.
Skull it is present not free of poems A mão esquerda de Vênus (2016) is false about a frustrated relationship: despite the eu-lyrical being completely enfeitiçado, or loved apparently not capable of giving back or feeling of affection.
To use the image of the incarceration or poetic subject, I use the symbolism of the body, showing itself to be extremely creative to illustrate what I felt.
Although painful - because in the end it's about a poem that fails about or abandonment - Skull tem um olhar deeply poetic and beautiful.
Quem foi Fernanda Young
Fernanda Maria Young de Carvalho Machado was born in Niterói, not Rio de Janeiro, in May 1970.
Throughout her career she has worked as a writer and roteirist, besides being an actress and television presenter.
Os roteiros produced by Fernanda Young were written with husband Alexandre Machado. Among them are the famous series Os Normais (2001-2003), Minha Nada Mole Life (2006) e How to Take Advantage or Fim do Mundo (2012).
In relation to the films foram four: Bossa Nova (2000), Os Normais - O Film (2003), Muito Gelo e Dois Dedos D’Água (2006) e Os Normais 2 (2009).
A literary career of the writer began in 1996 with the publication of Vergonha two pés. You will see more of a dozen books that will culminate as the last release, Post-F: For male and female além do (2018).
Fernada Young was married as also author Alexandre Machado and together they have four filhos: Estela May, Cecília Madonna, Catarina Lakshimi and John Gopala.
A writer failed on August 25, 2019, a victim of an asthma crisis that triggered a cardiac arrest.
Conheça also
- Os mais beautiful poems written by Brazilian authors
- Os melhores poems by Hilda Hilst
- The charming poems of Adélia Prado
- The imperdíveis poems of Cecília Meireles
- The imperdíveis poems of Portuguese literature
