This article proposes the hypothesis that the editing and re-editing process of Frauta de barro, by the Amazonian poet Luiz Bacellar (1928–2012), involves an aesthetic procedure that can be understood in the context of archiving possibilities — both material and immaterial — in non-hegemonic settings, characterised by limited safeguarding of cultural memory. The focus is on the relationship between the theme of the imminent or actual disappearance of specific names, objects and places in a changing city, and the textual economy that emerges from the seven versions published during the poet's lifetime. Viewed through this lens, the observed textual mobility and instability appear indicative of the surrounding culture's anarchivic nature, internalised as a regime of meaning production. This article builds upon the reflections on archive and memory of authors such as Jacques Derrida (2001), Diana Taylor (2013), Aleida Assmann (2011), and Reinaldo Marques (2015), to argue that Frauta de barro establishes a poetics of anarchivism extending to the entire Bacellarian oeuvre. The study concludes that the collection of printed texts can serve as a dossier that can support the development of local theories of the archive in the Amazonian context.

Abstract

This article proposes the hypothesis that the editing and re-editing process of Frauta de barro, by the Amazonian poet Luiz Bacellar (1928–2012), involves an aesthetic procedure that can be understood in the context of archiving possibilities — both material and immaterial — in non-hegemonic settings, characterised by limited safeguarding of cultural memory. The focus is on the relationship between the theme of the imminent or actual disappearance of specific names, objects and places in a changing city, and the textual economy that emerges from the seven versions published during the poet's lifetime. Viewed through this lens, the observed textual mobility and instability appear indicative of the surrounding culture's anarchivic nature, internalised as a regime of meaning production. This article builds upon the reflections on archive and memory of authors such as Jacques Derrida (2001), Diana Taylor (2013), Aleida Assmann (2011), and Reinaldo Marques (2015), to argue that Frauta de barro establishes a poetics of anarchivism extending to the entire Bacellarian oeuvre. The study concludes that the collection of printed texts can serve as a dossier that can support the development of local theories of the archive in the Amazonian context.