Literatura-Mundial, Pós-Memória e Resistências Pós-Coloniais em O Canto da Moreia (2019) de Luísa Semedo e de As Novas Identidades Portuguesas (2020) de Patrícia Moreira

O presente artigo discute O Canto da Moreia (2019) de Luísa Semedo e As Novas Identidades Portuguesas (2020) de Patrícia Moreira como expressões de literatura-mundial, no sentido em que este conceito foi cunhado pelo Grupo de Investigação da Universidade de Warwick em 2015. O Canto da Moreia e As Novas Identidades Portuguesas são duas narrativas que propõem olhares interseccionais sobre as comunidades diaspóricas cabo-verdianas numa sociedade portuguesa ainda não reconciliada com o seu legado pós-colonial. Defende o presente artigo que, em ambas as narrativas, a estética literária se desenvolve enquanto resistência ao modelo patriarcal, neoliberal e neocolonial estruturante da modernidade portuguesa pós-colonial e desumanizador de sujeitos racializados, à semelhança da crítica que é feita no âmbito das sociedades pós-coloniais europeias. Ao dar protagonismo a vozes racializadas, historicamente ausentes na literatura portuguesa, estas narrativas mostram que a superação de silêncios sobre o passado colonial pode configurar-se como reparação histórica, dependendo de a estas vozes lhes ser dada a possibilidades de se constituirem sujeitos históricos e agenciadores do seu destino. Esta é uma derradeira forma de resistência coletiva, reparadora de dinâmicas identitárias pós-coloniais.

This article discusses Luísa Semedo’s O Canto da Moreia (2019) and Patrícia Moreira’s As Novas Identidades Portuguesas (2020) as expressions of world-literatu-re. World-literature is a concept drawn from the work published by the Warwick Collective Research (2015) and understands the literature that conveys the world-sys-tem, simultaneously singular and deeply uneven. O Canto da Moreia and As Novas Identidades Portuguesas are two narratives that show intersectional gazes into the dias-poric Cape-Verdean communities in the Portuguese society, not yet reconciled with its postcolonial legacy, being a fictional representation of the extent to which those communities have been affected by a capitalist system, grounded upon a patriarchal, neoliberal and neocolonial model that has shaped postcolonial Portuguese modernity and dehumanized Black subjects. It is argued that, in both narratives, literary aes-thetics emerges as resistance to the consequences of that model. Hence, the concept of post-memory, widely discussed in academia since. Marianne Hirsh’s seminal work (2012) is particularly relevant for this article because these are narratives in which the transmission of memory, within the family and the community, emerges as resistance to collective forgetfulness. As Michael Rothberg (2009) argues, the collective memory should result from the negotiation of various memories and experiences of a hetero-geneous community. As narratives written by Portuguese authors of African descent, historically absent in Portuguese literature up till the beginning of the second decade of 2000, that give protagonism to Black voices, Semedo’s and Moreira’s works show that overcoming specific silences about the colonial past can act as historical reparation, de-pending on whether these voices are given the possibility of evolving as historical sub-jects and agents of their own destiny. This also emerges as an ultimate form of collective resistance that rejects hegemonic narratives of collective memory and, within the wider discussion on reparations of postcolonial identitariandynamics, contributes to define alternative and counter-hegemonic horizons that ensure the representativeness of the various subjectivities in the collective memory.