Edited By Fernando Beleza and Simon Park
Mário de Sá-Carneiro: Intersectionist (Fernando Cabral Martins)
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FERNANDO CABRAL MARTINS
Mário de Sá-Carneiro: Intersectionist
‘Novela Romântica’: A Paradox
Although the traditions of Romanticism and Symbolism endure in the writing of Sá-Carneiro, there are fundamental aspects of them that evolve. It is for this reason that, right from Dispersão (1913) [Dispersal] to his final poems, Sá-Carneiro can be read alongside the avant-garde of his age. This is the primary paradox of his work: it preserves a given tradition whilst also breaking with it. And it is this paradox that fuels the strangeness and sophistication of his imagination. Indeed, after the revolution of Paulismo that resulted from his dialogue with Fernando Pessoa and which is documented in their published correspondence from 1913–14, experimental tendencies emerge in Sá-Carneiro’s work that lead him to become an Intersectionist, combining his more experimental style with certain nineteenth-century, Romantic, and Decadent traits.1
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