The acoustic box in the novela Florim: Expansion of genres and authorship

Abstract

The novela Florim (2020), by Ruth Ducaso, continues the project of Bahian writer Luciany Aparecida, who, among other resources, uses different poetic signatures depending on the diction and effect that she intends to produce as the making of the text. In this work, condensed into less than seventy pages, the reader meets the character Dita, a woman who works in the drug trade, is a palm oil seller at the fair, has “nine children” and dreams of being called a poet. Florim is conducted by three interspersed voices; the voice of the narrator Dita, the protagonist's diary, and Dita's poetry. In addition to the three voices (narrative/diary/poetry), there is also a fourth element, also prominent throughout the text, to be credited to Ruth Ducaso, the voice of the Prologue. They are interventions in parentheses, at first reminiscent of classical theatre, and which also evoke the “choir experiences” mentioned by Flora Sussekind (2013). In this article, I analyse the manoeuvrers operated by the writer Luciany Aparecida, notably the signature and expansion of genres. In them, the reader in an interested and active gesture is not based only on the notion of recognition, but makes use of a performative repertoire, common to poetry and theatre. Florim, therefore, despite being catalogued as a “novela”, transcends the advertised format, as an example of post-autonomy.