By SERAPHIM PIETROFORTE*
Leila's verses are sharp and punctual replicas, strong enough to resignify the fluent order of things and of poetry itself.
meet Leila Miccolis
In 1984, the publisher Codecri launched the book Anthology / Porn Art, the first volume of the ARTESetCETERA collection; in addition to Glauco Mattoso, Paulo Leminski and Bráulio Tavares, the selection of poets includes Leila Míccolis, for whom, in the spirit of the book, “long live the fucking whore, the old whore, the whoredom, the daughter of a whore, and every whore that gave birth to”. Thus, among so many whores and in the pages of Anthology, there is this poem of his:
Of evils, the lesser
If I call you a little bitch
I am sexist and indecent!
However, if I do not call,
you don't enjoy…
Pornographic art may not be possible without the use of swear words, which is an indecent way of being; pornographic poetry certainly appreciates censored words, but not only in the scares they may cause. As poetry, words and swear words are accountable for textual greatness beyond vocabulary; in Leila Míccolis' poem, one can undoubtedly notice the prosodic musicality linking the phrases and words together, but poetic ingenuity is not limited to this; it is better to appreciate how the link between what is said and how it is said occurs in the verses.
The poem is almost a quatrain, and it is precisely in this “almost” that it shows itself to be ingenious. In quatrains, the four lines are usually expressed in regular meters, generally in major or minor roundels; Leila’s quatrain suggests being formed by major roundels, that is, by seven poetic syllables, as in the first three lines, however, the last one has only four syllables, clashing with the rhythm of the others.
In this way, the prosodic stability generated by the metric recurrence is modified in the last verse, significantly altering the rhythmic rhythm established between the initial tonic and unstressed syllables; the scansion of the poem certainly allows for a better visualization:
If I call you a little bitch uu – uuu –
I'm sexist and indecent! uu – uuu –
However, if I don't call, uu – uuu –
you don't cum… uuu –
At the same time, in the narrative of the text, two lovers meet, with one of them resisting the verbal advances of the other, but needing them, paradoxically, to enjoy themselves. In view of this, if the supposed advances flow through the swear words, the enjoyment also flows, also flowing, in the prosodic dimensions, the larger roundels and the established rhythm; however, if the advances stop, interrupting the enjoyment, the rhythm is broken. Narrative fluency, therefore, correlates with prosodic fluency, revealing the complexity of the text.
Under these circumstances, how can we read Leila Míccolis? In principle, it would be enough to know the Portuguese language; however, between the language and the countless speeches generated through it, there is the discursive dimension, which directs distinct types of discourses, each with its own semiotic specificities. In other words, from the potentialities of the language to the realizations in speech, there are discursive genres, allowing, among other functions, to distinguish, in our culture, for example, religious, political, journalistic, literary discourses, etc.
Such discursive formations, once stabilized, constitute themselves polemically; in literary discourse, therefore, criteria emerge to say what belongs or does not belong to its field, or rather, to say what is literary and what is not. Such criteria reflect, precisely, the ideological clashes of the many ways of making literature; the initial question, therefore, could be reformulated as follows: in literary terms, how does Leila Míccolis direct her poetics?
The semiotics of poetic engineering
Enjoying poetry, far from focusing solely on subjectivity, demands that sensitive – and therefore attentive – readers reflect on the objectivity of language and its varied discourses; using this objectivity, when asked about one’s favorite poet, it might be prudent to answer that it depends, among many criteria, on the discursive regime invoked in the poem. In this way, in addition to dialoguing with poetry, the poet tends to choose certain poetic approaches and uses them both to compose and to justify himself aesthetically; once the poem is justified in the poetic regime of its composition, by choosing some discursive forms and, consequently, excluding others, different modes of appreciation are suggested.
To continue, assuming that poetry is made through work with verbal languages, it becomes convenient to look, in poetic engineering, for proposals for systematizing discursive regimes; to this end, Augusto de Campos is compared with Roberto Piva.
Augusto de Campos, in several poems, emphasizes the deconstruction of the linguistic system, investing: (1) in the segmentation of the sentence into lexical constituents – in the poem Heart – Head, the phrase “my head begins in my heart” appears rewritten as color (in (come (ca (my) beça) ça) my) action, while the phrase “my heart does not fit in my head” is rewritten as fit ( in (not (color (my) action) fits ) my) ça –;
(2) in the segmentation of the word into morphological constituents – the poem City it is constructed from the morpheme -idade (suffix that expresses a subjective quality in the form of a noun), from the phonological accommodation in [sidade] and from a series of adjectives with the word “cidade” resonating in the noun formed, such as capacité-capacidade, loquaz-loquacidade etc.;
(3) in the segmentation of the morpheme into phonological constituents – in Poetamenos, there are verses such as “semen(t)emventre”, with phrases suggested using common phonemes, for example, “sêmen em ventre” or “semente em ventre”.
Roberto Piva, on the contrary, invests more in the intonation flow than in segmentations of the levels of language analysis; in the poem The Angels of Sodom, based on the motto “I saw the angels of Sodom”, the poet develops his verses:
I saw the angels of Sodom climbing
a mountain to the sky
and their wings destroyed by fire
fanned the afternoon air
I saw the angels of Sodom sowing
prodigies for creation not
lose your harp rhythm
I saw the angels of Sodom licking
the wounds of those who died without
boast, of supplicants, of suicides
and the dead young people
I saw the angels of Sodom growing
with fire and from their mouths they sprang
blind jellyfish
I saw the angels of Sodom disheveled and
violently annihilating the merchants,
stealing the sleep of virgins,
creating turbulent words
I saw the angels of Sodom inventing
God's madness and repentance
In general terms, while Augusto de Campos asserts the discontinuity of the word, Roberto Piva asserts continuity. In other words, one divides the language into formal constituents and the other, by inserting the word into the flow of intonation, ensures the discursive flow. In the latter case, the flow is not only intonational; there is, however, a semantic flow, since the speaker, by relating commonly disparate meanings, generates lexical delusions, bringing together commonly distinct semantic fields, thus promoting continuities between domains generally taken separately.
Thus, based on the definition of the formal category discontinuity vs. continuity, applied to verbal language, a systematization of poetic engineering regimes is proposed, since, through them, ways of making poetry are described, in principle. Two regimes are therefore defined: (1) the regime of the poet who affirms discontinuity, the linguist poet – this poet divides language into constituents just like linguists do in their analyses –; (2) and the regime of the poet who affirms continuity, the visionary poet – this poet writes verses similarly to religious visionaries, imbued with mystical inspiration and lexical delusions.
From the two opposing regimes, two other regimes arise. Therefore, there are poets who prefer to deny verbal discontinuity; approaching colloquial speech, these poets do not divide discourse into linguistic constituents nor invest in intonation flows and delirious content; in their verses, they approach conversations and not rallies and sermons. In some poems, Ferreira Gullar, for example, composes using this technique; here are the verses of Two poets on the beach:
It's carnival,
the earth trembles:
a couple of poets talk
At Leme beach!
They both talk about poetry
and bathers
who have never read Drummond or Mallarmé.
– And will they read my poem?
she asks.
– Someone will read it.
– Even if you don’t read it
I won't stop saying
what do I see in this sand
that they step on without seeing.
And the oldest poet
smiled comforted:
the poetry is there
reborn by your side.
The word is not segmented and there are no intonation flows; poetry is brought closer to speech through free verse and the semantic concentration on the figures of the beach, the bathers and the poet couple during the Rio Carnival. By doing so, the poet seems to converse with the readers; he is the conversational poet. Everything happens, therefore, in gradations between the opposing terms discontinuity vs. continuity, outlining zones of poetic action:
discontinuity / linguist →
non-discontinuity / conversationalist →
continuity / visionary
Finally, there are poets who prefer to deny continuity, taking the opposite path to that of the conversational poet. These poets make use of metrical verses, because with metrics, through rules and conventions, limits are imposed on the prosodic and semantic continuities of the visionary without, however, segmenting the word, like the linguist. Thus, by creating poetry using well-defined rules of composition, the poet is defined as an architect.
In Brazilian literature, two good examples of poet architects are Glauco Mattoso, with his 5555 sonnets (in heroic or sapphic decasyllabic forms), and Pedro Xisto, with his more than 1500 haikus, all according to Guilherme de Almeida's proposal (that is, verses of five, seven and five syllables, with rhymes at the ends of the smaller roundels and the accent of the larger roundel rhyming with the end of the verse). Here are some haikus by Pedro Xisto, with the rules respected, despite the poet's innovations in this structure:
drums beat
drums drums
drums:
thuds
yay yay yay
there: hey yo-yo: there
oh oh iaiá ia
holy sea (to call
the beautiful) mirrors and reveals
already: mother iemanjá
olinda: oh beautiful
daughter of something infinite glaucous
sea the navy
SLABE SLABE SLABE
SLAB SLAB SLAB SLAB
LAJEA LAJEA tear
Returning to the previous reasoning, there are new gradations between the two terms discontinuity vs. continuity, this time, however, in the opposite direction:
continuity / visionary →
non-continuity / architect →
discontinuity / linguist
From this point of view – a semiotic point of view – Leila Míccolis is a conversational poet; her poems, even with rhymes, are close to colloquial poetry, closer to speech than to the prosodic-phonological structures emphasized by Glauco Mattoso or Pedro Xisto. It is worth asking how Leila Míccolis develops her conversation, that is, seeking to understand her themes, her ways of expressing them, the relationships between what is said and what is said. Before proceeding, however, some considerations about the semiotic method developed and comparative literature are in order.
Literature, discourse and language as systems
In the fields of linguistic and literary studies, the concept of system is often used, explicitly or implicitly, demanding, amid the polysemy of any concepts, a more precise definition; in view of this, a system is designated as an organized set, in which each element is established in relation to the others.
Thus, according to modern linguistics, in a given language, at the level of expression, a phoneme is defined in relation to the others, through phonological features, specific to that linguistic system; in Portuguese, for example, the vowel /a/ is defined in relation to the vowels /e/ and /o/ through the degree of openness, with duration not being relevant in that language, as is the case in Latin. Still in linguistics, at the level of content, the lexicon is formed, similarly, in semantic oppositions: (i) in English, the words meat e flesh are defined, respectively, according to the category death vs. life, the first meaning being meat that is eaten and the second meaning being meat formed by the muscles and fat in living beings; (ii) in Portuguese, this category, on the other hand, is not included in the meaning of the word “meat”.
In these circumstances, when linguistics, transcending the domains of the sentence, develops into discourse theories, this systems-based methodology, derived directly from structuralist currents of thought, is taken forward in some proposals, among them, in narrative and discursive semiotics.
From this perspective, in a given discursive field, established in relation to other fields, each discourse is defined in relation to the others, this time, through semiotic categories, involving both the plane of expression and the plane of content; that said, the regimes of poetic engineering, demonstrated above, are defined in relation to each other through the formal category discontinuity vs. continuity, applied either to prosodic and phonological instances or to semantic and pragmatic instances.
From this point of view, the literary system, according to the famous formulation of Antonio Candido in Formation of Brazilian Literature, derives from equivalent conceptions; in general terms, according to the author, literature is configured as a system in which authors, readers and critics define each other mutually. In view of this, it is important to know to what extent language, the semiotic foundation of literature, mediates the relations between the formatives of the literary system.
In this topic, the conception of poetic engineering regimes – by describing the semiotic relations between poets, language and poetry – allows, among the various forms of the literary system being constituted, to specify the way in which criticism, through analysis, and the public, guided by taste, conform to the verbal meaning itself, through which the themes and social and psychological contradictions are expressed literarily.
Furthermore, in Antonio Candido's ideas, when defining the discursive roles responsible for the enunciation of the literary system – that is, the writer, the critic and the reader –, the co-enunciators of the literary enunciative scene are established, inserted sometimes in the composition and sometimes in the enjoyment of the paths of poetry, which is carried out as a practice, precisely, in the semiotics of those regimes.
The poetic engineering of Leila Míccolis
Although Leila Míccolis' poetry emphasizes erotic-pornographic themes – which is already relevant enough, given the prudish nature of much of canonized Brazilian poetry – her work also encompasses other themes; her conversation, like Glauco Mattoso's architecture, is not limited to eroticism; it deals with almost everything; even in eroticism, from the fescenine to the subtle, there are gradations. Just to illustrate this:
Can
Do you want to know what happens?
Our love, so sober,
It became a drag.
Low camera
Selling the lawn mower,
ant protests and screams;
— Turn off that chainsaw!
The geometry of the sea
Getting zero in Math
I consider it an affront:
and get the angles of the waves right…
doesn't count?
Circus
Laughing out of obligation
or to make an average
it's a tragedy.
Cat fight
Live like cats,
that nest
one on top of the other,
and sleep in friendly intimacy,
until the next fight.
self-taught
Sofri
the influence of many poets
that I have never read.
Names changed
Nature is wise,
but sometimes it gets in the way.
An example of this flaw
lexico-grammatical,
we see in the animal kingdom:
who should be called Widow
wasn't it the queen bee?
Try it now
From the glue write the content
on the shapely leg;
and the colleague, seeing everything,
can't paste anything.
Radar
Therefore,
my normal
it's analog wake up
and go to sleep digitally.
Leila Míccolis, similarly to Glauco Mattoso, although dealing with varied themes, sees the world mediated by eroticism; however, while he chooses the sonnet to express himself, she defines herself through a specific style of conversation, characterized by the conciseness of words. To read her accurately, therefore, it is worth looking for Leila Míccolis before in her ways of speaking than, specifically, in her preferred themes.
Conversational poets, in general, opt for long speeches; because in such a regime attention is diverted from the prosodic-phonological apparatus – emphasized by architect and visionary poets – to the semantic contents formed in poetry, the conversational regime lends itself efficiently to engaged speeches, since the regime, in itself, favors thematization, so important to justify and affirm any ideologies.
To illustrate, it is enough to look at poets who are in tune with political causes, such as Ferreira Gullar, or affirmative action, such as Paulo Colina or Horácio Costa, involved, respectively, with the black and homoerotic movements; all of them poets, frequently using so-called colloquial poetry. Leila Míccolis, however, although she talks a lot, since her work is numerous, writes concisely, distancing herself from the prolixity of the three previous poets, and it is therefore worth verifying what effects of meaning are generated in her poetry, since the conversations of Ferreira Gullar, Paulo Colina and Horácio Costa guarantee the detailed explanation of the causes defended.
There are, of course, immediate correlations between the conciseness and prolixity of poetic forms and the four determined poetic regimes; linguistic poets and architects tend towards conciseness, while visionary and conversational poets tend towards prolixity, after all, conversations and sermons lead to longer poems than sonnets, haikus or most concrete poems. In view of this, to observe the long texts resulting from the visionaries' mottos, it is enough to invoke the prayer “I saw the angels of Sodom” and the way Roberto Piva elaborates it in The Angels of Sodom, or even the phrases “I saw the exponents of my generation (…) who (…)”, “Moloch” and “I am with you in Rockland”, used by Allen Ginsberg to compose the long poem Howl.
As for the conversationalists, the IV canto of the poem Within the swift night, by Ferreira Gullar, which narrates the assassination of revolutionary leader Ernesto Che Guevara, is a good example of how, based on the emphasis on a certain thematic path, such poets compose long lectures when, engaged, they seek to justify themselves:
The waters of Yuro flow, the shooting now
is more intense, the enemy advances
and close the siege.
The guerrillas
in small groups divided
hold on
the fight, protect the retreat
of the injured comrades.
At the top,
large masses of clouds move slowly
flying over countries
towards the Pacific, with blue hair.
A strike in Santiago. It rains
in Jamaica. In Buenos Aires there is sun
in the tree-lined avenues, a general plots a coup.
A family celebrates their silver wedding anniversary on an approaching train
from Montevideo. On the side of the road
a Swift ox moos. The Stock Exchange
in Rio closes on a high
or low.
Inti Peredo, Benigno, Urbano, Eustáquio, Ñato
punish the advance
of
rangers.
Urban falls,
Eustachio,
Che Guevara sustains
the fire, a blast hits it, throws it again, it is resolved
the knee, in astonishment
the companions return
to catch him. It's too late. They run away.
The swift night closes over the faces of the dead.
In this way, although such effects of conciseness and prolixity are confirmed in the regimes of poetic engineering, other correlations are also being developed – among them, the concise conversation of Leila Míccolis – which, before invalidating the previous correspondences, end up expressing the potentialities of each regime, suggesting new effects of meaning.
In general, visionaries present themselves as mystical poets, evoking angels, demons and other religious entities, while conversationalists, with colloquial verses, almost prose, become more human; in this way, if the visionary, from the pulpit where he speaks, places himself above the enunciator of the poem, for the conversationalist, casual encounters are enough for him to start speaking. However, in these casual conversations, sometimes extensive and charged with seriousness, how do Leila Míccolis's quick and sharp interventions fit in?
Inserted into conversation, his poetry refers to so-called brief forms, such as jokes or puns. Freud's well-known study, The joke and its relationship with the unconscious, meets the effectiveness of these choices; broadly speaking, Freud approximates the mechanisms of jokes to those of the unconscious; for him, through jokes, repressed contents are expressed, saying, with them, things that could not be said.
It is said that two public figures, who had become dishonestly rich, commissioned portraits from a renowned painter; during the party for the exhibition of the paintings, they both asked a certain critic, among the guests, for his opinion, when he, surprisingly, complained about the figure of Christ being absent between the two frames; it is also said that, when asked about the visit to his rich cousin, the poor cousin replied that it had been a “family” visit.
The examples are from Freud himself: in the first, faced with the impossibility of directly offending public figures by calling them corrupt, the critic points out the absence of Christ, crucified between two thieves; in the second joke, the neologism “familionária” arises from the combination of the words “familia” and “millionaire”, confusing the meanings in the fusion of signifiers, pointing to personal relationships defined more in social distinctions than by family ties.
Placed in discursive contexts, jokes involve work with language, and in pragmatic terms, they challenge the conversational flows in question; thus, in the example of the paintings, the joke turns illustrious hosts into bandits and, in the example of the cousins, family relationships succumb to social differences.
From this perspective, in order to disorient the conversation, jokes necessarily present arguments capable of overcoming the values affirmed in fluent speech; however, in linguistic effectiveness, jokes do not lend themselves to long replies, seeking to counter the current flow with another flow, but do so punctually, investing in the stop, acting as a fright, in the course of what is expected. As a result, when the conversation stops, silence appears, a time for reflection and embarrassment.
Similarly, Leila Míccolis's concise poetry reveals itself as a tonic and acute accent in the fluency of conversational poets; her poetry recalls the concise poems of EM de Melo e Castro, or rather, their acuteness. Inventing discursive genres in the fields of poetry, Melo e Castro, in the book Neo-Pagan-Poems, comprises seventy sharp points, of which the first three are selected:
1.
minimum area
maximum point
sand
liquid
tale
maze
2.
phallic body
shallow sea
unique
Hair
aerial
3.
sows sound
between air
and sand
wave top
full
Melo e Castro, by dedicating himself to the discontinuity of the word in concrete and experimental poems, or to fixed forms, as in sonnets, moves between the regimes of the linguist and architect poets, making, from their sharpness, new fixed forms. Leila Míccolis, however, does not set out to purify pre-established forms; her verses, although concise and sharp, orient poetry differently.
To better understand Leila Míccolis' poetic engineering and how she transforms jokes into poetry, it is worth comparing, in terms of rhymes, her verses with those of Pedro Xisto, who, similarly to Melo e Castro, moves between the regimes of poets, linguists and architects.
Taking the five haikus mentioned above, although innovative and ingenious, the prosody and rhymes remain constant, with rhymes at the ends of the smaller roundels and the accent of the larger roundel rhyming with the end of the verse; in this way, the prosodic-phonological structure imposed by the genre invoked by the poet is guaranteed.
In this way, metrics and rhymes are a function of the constraints of the genre; appreciating them involves, above all, valuing the solutions found not only within the poem, but also in relation to the chosen canonical form.
In Leila Míccolis, on the contrary, this does not occur; because there are no rigid rules to follow, rhymes and metrics occur throughout the poem, without pre-established conditions, generating effects of a sense of spontaneity, disconnecting the verses from formal traditions.
Rhymes, perhaps because they are more evident than the other prosodic properties of the poem, seem to readers less accustomed to poetry to be the only characteristic of poetic discourses; this is seen in young and inexperienced poets, when they do not pay attention to the meter, or in conservative views, which do not recognize poetry when it is written without rhymes. Taking advantage of these circumstances, Leila Míccolis creates, with rhymes, an unpretentious but not poorly written poetry.
A brief analysis of the poem Of evils, the lesser, made at the beginning, ratifies such observations; in this poem – If I call you a little whore / I am sexist and indecent! / However, if I don’t call you, / you don’t enjoy it… –, the word “enjoys”, rhyming with “indecent”, does not appear randomly, just to make the text sound like poetry through rhymes; in the verses, the rhyme is articulated with the break in the meter and its correlations with the narrative, exposed above.
Thus, without apparently asserting itself in complex linguistic architectures, Leila's witty poetry, sounding spontaneous and unpretentious, comes across, in the heart of serious and extensive conversations, the conversational poets, however, due to colloquialism, without ceasing to be realized in this poetic regime. It still remains to verify the performative attitude of the conversational poet.
In the theoretical model of poetic regimes, in addition to a systematization of the ways of making poetry, it is inferred performances, that is, ways in which the poet acts in relation to his own work and his co-enunciators. Thus, poets linguists, when affirming the discontinuity of linguistic units, they need writing to segment the word, which, expressed orally, due to the intonation flow, always appears linked to other words.
Only in analysis do linguistic units become recognizable as discrete units; consequently, such poets tend toward visual poetry, creating close links with the supports used for writing, whatever they may be. On the contrary, visionary poets, when they affirm prosodic continuity in mottos and variations, drift toward orality, becoming poets of the stage rather than of books; when declaiming, the poet becomes performer more in line with theatrical praxis than with plastic and typographic arts.
The architect poet, in turn, constantly uses writing to organize the chosen poetic forms; the typographical arrangement of sonnets or haikus exemplifies this. The conversational poet, finally, exercises the performance constructing enunciative scenes suitable for the unfolding of orality calmly shared between the co-enunciators and less effusive and centered on the poet enunciator, as visionary poets do, who are much more emphatic.
In studies on the poetry of Ana Cristina Cesar, which is often concise like Leila Míccolis, Viviana Bosi makes some observations about the relationship between the performative attitude and the brief and succinct style; in general terms, according to the author, Ana Cristina Cesar, in confluence with performance artists, would make some of her poems sound like performances oral. In this way, the poem becomes Happening; these four poems by Ana Cristina would sound like happenings within orality, similarly to the insertion of Happening in everyday life:
I am living hour by hour, with much fear.
One day I'll get away – little by little I'll get away, I'll start a safari.
I am a woman from the 19th century
disguised in the 20th century
Why this lack of concentration?
If you love me, why don't you focus?
I'm jealous of this cigarette you smoke
So absentmindedly
Leila Míccolis's poetry is equivalent; using Viviana Bosi's conclusions, the same observations about her praxis are admitted. In her poems-happenings, among the poets of Brazilian literature, Leila positions herself as if she were talking to us; in conversations, often serious, her verses are sharp and punctual replies, strong enough to resignify the fluent order of things and of poetry itself.
*Seraphim Pietroforte is a full professor of semiotics at the University of São Paulo (USP). Author of, among other books, Visual semiotics: the paths of the gaze (Context). [https://amzn.to/4g05uWM]
References
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FREUD, Sigmund. The joke and its relationship with the unconscious🇧🇷 São Paulo: Companhia das Letras, 2017.
GINSBERG, Allen. Howl. Sao Paulo; L&PM, 2005.
GULLAR, Ferreira. all poetry🇧🇷 Rio de Janeiro: José Olympio, 2015.
KAC, Eduardo; Anthology / porn art. Rio de Janeiro: Codecri, 1984.
MELO E CASTRO, Ernesto Manuel de. Neo-Pagan-Poems. New York: Black Demon, 2010.
MICCOLIS, Leila; PIETROFORTE, Antonio Vicente (orgs.). Unfamiliar / complete poetry by Leila Míccolis 1965-2012. São Paulo: Annablume, 2013.
PIETROFORTE, Antonio Vicente. Language as a system. In: FIORIN, José Luiz (org.). Introduction to linguistics I – objects and practices. São Paulo: Context, chap. 4, p. 86, 2002.
_____. The discourse of concrete poetry. Coimbra: Annablume & Coimbra University Press, 2012.
PIVA, Robert. A Stranger in the Legion – Collected Works Volume 1. New York: Routledge, 2005.
XISTO, Peter. Ways. New York: Routledge, 1979.
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