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NAS MARGENS
DA FICÇÃO
A GLOSSARY FOR ON THE EDGES OF FICTION
A F
pag. 56 {ANEDOTA} {ANECDOTE} pag. 32 {FABULAÇÃO} {FABULATION}
EDUARDO STERZI EDUARDO BRITO
PEDRO G. ROMERO
D
pag. 20 {FIM DO MUNDO}
pag. 56 {DIORAMA} {END OF THE WORLD}
MARTA JECU YURI FIRMEZA
E J
pag. 28 {ESPECULAÇÃO} {SPECULATION} pag. 36 {JOSÉ DE GUIMARÃES}
MUSA PARADISÍACA EDUARDO LOURENÇO
VINICIUS N. HONESCO
O T
pag. 48 {ORALIDADE} {ORAL TRADITION} pag. 24 {TALISMÃ} {TALISMAN}
TIAGO PEREIRA MARTA MESTRE
P
pag. 26 {PANGOLIM} {PANGOLIN}
SÉNAMÉ KOFFI AGBODJINOU
F
“Importa quais histórias contam histórias”; “importa quais histórias fa-
zem mundos e quais mundos fazem histórias” – este é um mantra
no pensamento visionário da filósofa da ciência Donna Haraway.
No horizonte do campo de ação disso que talvez seja um axioma
para uma ética do fazer científico, filosófico, e também artístico,
está, para Haraway, a ficção científica – e a seu lado, outras variantes
da sigla para o gênero em inglês, SF: fabulação especulativa [specu-
lative fabulation], fato científico [science fact], feminismo especula-
tivo [speculative feminism], – que descobriu nos livros de escritoras
norte-americanas como Ursula Le Guin, Joanna Russ, Alice Sheldon,
Marge Piercy, Octavia Butler, entre outras.
No pós-1968, quando o presente se impôs como desafio e a confiança
ocidental no futuro foi posta em crise – algo que depois encontrou
formulação cristalina, ainda que paradoxal, no grito de “No future”
da banda de punk rock britânica Sex Pistols –, algumas dessas
mulheres se aventuraram numa forma de literatura popular para
fabular novos modos de organização social e comunitária, alianças
possíveis entre humanos e não humanos, vivos e não-vivos, e outras
dinâmicas de gêneros. “Experimentos mentais”, na definição de Le
Guin, ou exercícios de “E se...”, como propôs Russ, a ficção científica
converte-se num laboratório ético-político para pôr a imaginação
“It matters what stories tell stories”; ence over religion, and, finally, to a rad-
“it matters what stories make worlds ical transformation in the conception
and what worlds make stories”- this and experience of time and space. In
is a mantra in the visionary thinking the modern era, the future frees itself
of the philosopher of science, Donna from the dominions of Christian escha-
Haraway. She believes science fiction tology and becomes a utopia of justice,
–that she discovered in the books calm, equality, freedom and autonomy,
by North-American writers, such as to be achieved through man’s mastery
Ursula Le Guin, Joanna Russ, Alice of nature, while space begins to be seen
Sheldon, Marge Piercy, Octavia Butler, as an expression of a temporality or-
among others – plays an important ganised hierarchically between progress
role in what could be an axiom for an and delay: the colonies, the uncivilised
ethics of the scientific, philosophical, “savage”, as a stage to be overcome.
art making. The same for the other If science fiction has found a fertile
variants of the genre’s acronym, SF: soil to develop in Europe and North
speculative fabulation, science fact, America, it is not without some mixed
speculative feminism. signals that it is appropriated here (we
In the post-1968 period, when the are writing from Brazil), where the
Western confidence in the future en- arrow of history, moving towards pro-
tered into crisis - something that later gress, seems to warp, spiral, entering
found a crystalline, albeit paradoxical, into a temporal and surreal verti-
formulation in the cry, “No future”, of go. The science and technology that
the British punk rock band, Sex Pis- fuelled the modern Western imagina-
tols - , some of these female authors tion arrived in Brazil by caravel, boat,
ventured into a form of popular lit- airplane, dial-up or fibre-optic internet,
erature to devise new modes of social to find other techniques and regimes of
and community organisation, possi- thought, generated outside the modern
ble alliances between humans and rational order.
non-humans, the living and non-living, Perhaps it is possible to glimpse a specu-
and other dynamics of genres. “Mental lative science fiction from the tropics in
experiments”, in Le Guin’s definition, the encounter between these different
or exercises of “What if ...”, as proposed indigenous and alien conceptions and
by Russ, science fiction became an eth- practices of science and technology. A
ical-political laboratory that placed the shamanic techno, afro-futurist, haunted,
imagination at the service of other pos- DIY, low-fi and kitsch SF: here the forest
sible futures; futures that are not subor- spirits dance with pixels and with tech-
dinated to the achievement of modern nical flaws, the Curupira and the Head-
techno-scientific promises, nor lever- less Mule spontaneously combust and
aged by the exceptional figures of brave dematerialise in liquid crystals, manipu-
heroes, pioneers and conquerors. lated by hacked computer programmes.
Although the ascendants and inaugural Sustaining a sense of wrath against the
milestones of SF are a topic of debate, non fulfillment of the modern prom-
it is commonly believed that its popu- ise, yet not denying the existence of
larisation between the 19th and 20th other world views, this science fiction
centuries in Europe corresponds to the could be an ally of feminists, in the for-
transformations of the Industrial Rev- mulation of alternative futures.
olution and the French Revolution, to
the prevalence of the discourse of sci-
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