A conspiração da palavra e/ou a linguagem perturbada na escrita de Lourenço Mutarelli

Abstract

This lecture investigates the study of the possible conspiracies contained in the words of the ficticious work of the brazilian writer Lourenço Mutarelli, starting by the novel The art of producing effect without a cause, but drawing a transverse reading by all of his literaty work, since Drain s smell until his latest novel, The eldest son of God and/or Book IV. So, there are eight novels being studied, although the research doesn t try to run out the themes of any of them, dedicated to investigate a main point that may be unfolded by all this books. In this sense, the notion of conspiracy would indicate, in his writing, an occult force that each text might carry, producing wasting consequences over the ways of arranging the reality: would there be, in words, the power of transform or produce a new state of things? In the plane of the books, this strenght expresses itself by internal processes to the universe of all novels his characters, plots and even the style decisions applied by Mutarelli and by profusion of disturbing connections settled with other texts, authors and knowledges, what contributes to the formation of a organic theoretical body implied in the narratives themselves (Spinoza, Nietzsche, Deleuze, Derrida, Lévi, Benjamin), creating a own symbolic construction in the closed universe of each novel and, at the same time, open in the context of his work. It was decided that the lecture would be built from the sequency of the Tarot cards (suggested in The stillborn, from the author, as a reading pattern) as a way of enter upon not decipherer readings, but cryptographic. With it, the symbolic dimension opened and pregnant of meanings and the presence of pop culture elements and aesthetic-formal elements adopted by the author promote the meeting of each novel with a conspiratorial and, in a certain way, demonic dimension of fictional reality. Then, with the links between the novels and theoretical texts of different types, it testifies the hypothesis of an aesthetic work pointed to the understanding of the literary doing as a conspiracy against the established language