Why is Recent Brazilian Literature So Bad? (2)

(Rodrigo Contrera)

You can see it in the feeble attempts of Brazilian writers trying to innovate. Almost always these attempts are mere emulations of what their European counterparts or from other continents (never Latin American) have already done, whether successful or not.

The dialogue with other arts? They did it long ago. The dialogue with the surrounding reality? That too. Existential introspection (like a Beckett or something similar)? That too. Brazilian writers just do the same, differently, and with less radicalness (or radicalism). Not to mention those who simply piggyback on others' attempts to stand out as if they were appendages of other authors or movements.

This tendency is quite predictable and, even more, very mediocrizing, because critics notice these schemes and overlook them, as if it were natural. And it isn't. It's just a sign of the mental colonialism that dominates authors in this vast, complex, diverse, intriguing country, so open to experimentation. Of course, this encompasses other artistic areas, such as visual arts, sculpture, painting, and even architecture.

Are there exceptions? Yes, of course. But these exceptions are soon treated by almost everyone as the exception of genius. Niemeyer? Genius. Machado? Genius. Nelson Rodrigues? Genius. And what's curious is that, being labeled as geniuses, they are preserved like in formaldehyde jars and... they are not followed, nor imitated, nor are attempts made to surpass them. They are considered untouchable and therefore impossible to challenge, even though they have motivated everyone to do so.

This imitative and colonized custom is also perfectly suited to other Latin American countries, but under very particular nuances. It happens with other people from other continents too, but here I'm focusing only on Brazilian literature.

Why does this happen? A deep study on this would need to be conducted. I don't even have a hypothesis about it, but it's so common it goes unnoticed. It's somewhat like journalism, where I work, where you have to stick to your box to not disturb the less busy, better positioned, and more settled. Brazilian literature is like a minefield where, if you stand out, you are allowed to do so only if you are willing to take the risk and, in the end, if successful, be deemed a genius and therefore take a space in the pantheons where flattery is essential.

There are always commendable exceptions in other fields as well, like Raul Seixas, or Milton Nascimento, or even Di Cavalcanti, but notice how these examples ultimately confirm this habit of stifling those who stand out as different and ridiculing those who enthrone themselves as utterly unique.

It's fundamentally a kind of conspiracy of mediocrity, where only the well-connected stand out and then monopolize vernissages where everyone pats each other on the back before enjoying a meal in some trendy restaurant.

(Rodrigo Contrera)

Translated by ChatGPT