The article deals with the fantastic short-story as it appears in Brazilian Regionalism, attempting at an explanation of this little studied phenomenon. It argues that the Regional fantastic, a mode in-between the uncanny and the marvelous, may correspond to an ambiguous feeling of an intellectual torn between an imposed urban modernity and the archaic mind of most of the country.
The essay examines the role of primitive art and “non-artistic” genres in the works of the American poet Elizabeth Bishop. Bishop, similarly to other authors, believed that primitive artists and the authors of works which art not primarily intended as art can “naturally” achieve effects which artists have difficulties achieving intentionally. Bishop’s translation of The Diary of “Helena Morley” and its relationship to her own texts is examined to illustrate the point.
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