Novas: Selected Writings by Haroldo de Campos

By Haroldo de Campos

Haroldo de Campos (1929–2003) taught literary concept on the Pontifícia Universidade Católica, in São Paulo for many of his lifestyles and released numerous volumes on translation conception and on Brazilian and foreign literature. He was once a prolific translator who brought the paintings of many international poets to Brazil, starting within the early Fifties with Ezra Pound, and so much lately Charles Bernstein. His final paintings of translation, Homer's Iliad, has been released in volumes by means of Mandarim in Brazil.

Contents
Foreword Interessantíssimo, vii
Acknowledgments, ix
A notice in this version, xi
Introduction, xiii

I: Poetry
From Xadrez de estrelas [Star Chess] (1949–1974), 5
From Invenção [Invention], 12 months 6, no. five (1967), 65
From Signantia: quasi coelum (Signância: quase céu)
[Paradisiacal Signifiers] (1979), 69
From A educação dos cinco sentidos [The schooling of the Five
Senses] (1985), 93
From Galáxias [Galaxies] (1963–1976, 1984), 121
From Finismundo: A última viagem [Finismundo: The Last
Voyage] (1990), 131
From Crisantempo: no espaço curvo nasce um [Chrysantempo:
In Curved house Is Born A] (1998), 139

II: Essays
Reinventing culture, 155
Anthropophagous cause: discussion and distinction in Brazilian
Culture, 157
Disappearance of the Baroque in Brazilian Literature:
The Case of Gregório de Matos, 178
The Trans-American Pilgrimage of Sousândrade’s Guesa, 194
An Oswald de Andrade Triptych, 201
The Concrete second, 215
Pilot Plan for Concrete Poetry, 217
The Open murals, 220
The Informational Temperature of the textual content, 223
Concrete Poetry–Language–Communication, 235
A Laboratory of Texts, 247
Brazilian and German Avant-Garde Poetry, 249
The Ghost within the textual content (Saussure and the Anagrams), 276
Poetic functionality and Ideogram/The Sinological Argument, 287
Translation as construction and feedback, 312
Hölderlin’s pink note, 327
Eucalypse: the gorgeous Occultation, 334
Light: Paradisiacal Writing, 349

Notes, 359
Bibliography of Works via Haroldo de Campos, 391
Index of Poem Titles, 395

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Extra resources for Novas: Selected Writings

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The “generation of light” through translation is finally exemplified by de Campos’s own translation of a fragment by Cavalcanti in which he superimposes Pound’s translation onto a version of Dante. De Campos’s masterly solution, which he calls “hypertranslation” (“Cavalcanti via Pound via Dante”), is an operation involving several strata that allow the text’s meaning to shine through. “Transcreation,” “hypertranslation,” “translight,” “transluciferation”—these are some of the names that Haroldo de Campos coined throughout his career in an attempt to define the practice of writing.

Blue circles around the nose. Fossoyeurs. Cave inhabitants. Cephalolamped miners. A lit head, a glow, lampires. Darkavern, vermats curl around the substance of gloom. Purplenightprowling vampires. Waking up: a flight of albino bats. Schlafwandler—sleepwalkers hate grates. They want the sun. Vitriol suns. Turnsoles. Topaz at high noon. Chrysophorus. The sun. Wormvenomous dungeon where the bloodletting of corals stagnates. Adiaphanous. Tourniquet on the jugular. My blood, a voiceless river. 15 Le Poète maudit bénit.

Ivory brawls, your thighs, mouthless rivers, gigantic rounds, the skin nubile-pink, tiger lilies titillating in nylonhypnosis. The thinness of Sunday, you save. The manuscribe counts your hours with fleshless bones gnawing at the nails of his idleness. To love: sucking the silks. Saccharin. A fire of crystals facing us. Belnarcissus closing watery eyes. Viciouscactus. A labyrinth of lilacs: your eyes. Glaukopis. Blue-green panther in flexible heat. Sulphurnocturne. Imprisoned in roses. Sunday’s claustrophobia.

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