Literature of the Marginalised

This paper aims to analyse the mental state of Taslima Nasreen and Alexandr Solzhenitsyn, writers that are primarily celebrated for their rich casket of fictional narratives, through poems written at a juncture in their lives when they were dealing with the pain of separation and displacement from home and country. As a consequence of defying their respective governments through their revolutionary writings, such a separation is accompanied by the loss of a stable identity. Although they do not share the socio-political context that resulted in exile, the commonly felt strains and fissures of exile have guided their perspectives through particularly intimate landscapes, so that it is possible to describe their poems' meaning in a wholly decontextualised manner. They both are, in a way, separated from conventional contexts: exile is an alienating experience, and home, no longer homelike, is perhaps an even more estranging place.

This paper aims to analyse the mental state of Taslima Nasreen and Alexandr Solzhenitsyn, writers that are primarily celebrated for their rich casket of fictional narratives, through poems written at a juncture in their lives when they were dealing with the pain of separation and displacement from home and country. As a consequence of defying their respective governments through their revolutionary writings, such a separation is accompanied by the loss of a stable identity. Although they do not share the socio-political context that resulted in exile, the commonly felt strains and fissures of exile have guided their perspectives through particularly intimate landscapes, so that it is possible to describe their poems’ meaning in a wholly decontextualised manner. They both are, in a way, separated from conventional contexts: exile is an alienating experience, and home, no longer homelike, is perhaps an even more estranging place.

A partir do estabelecimento da literatura como campo do conhecimento, regras e valores instituídos por estudiosos passaram a indicar o que é ou não literatura. A literatura se tornou altamente seletiva e reacionária, pois se baseou no gosto de determinada classe social negando textos que não se enquadrassem em seus padrões. Passou a considerar textos e escritores fora de seu eixo como literatura marginal. Todavia, em contraposição a esse estigma negativo, nos últimos anos do século XX, surgiu uma nova modalidade literária que passa a se denominar literatura marginal em contraposição à acepção negativa empregada aos que foram classificados sob essa marca. Dentre os escritores dessa modalidade destaca-se Ferréz. Aqui será feita breve análise de seus três romances com a finalidade de demonstrar a força desse movimento, sua forma de resistência aos preceitos literários institucionalizados e seu caráter de denúncia à violência que estão submetidos comunidades periféricas e sujeitos marginalizados.

A greater part of human life is decorated with the forms and genres of literature established from time to time by the human endeavors. It is true that the succeeding parts of time supersede some of them and in the process new forms came up categorically called as the sophisticated forms of literature.  But in this case, none of the literary outputs can be called as the old and new. It is developed so because each output has a permanent mark of its appearance in the due course of time and the period when it is born and started flourishing. The folklore of every region of the world therefore stands of extreme importance. It is on these earlier formulations that the next genres achieve their status and become strong as an accepted form of literature. ...