O New Weird: a fundamentação de um subgênero da fantasia em exorcismos, amores e uma dose de blues, de Eric Novello

• Autor(a) principal: Taniguchi, André Karasczuk
• Data de Publicação: 2021
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações do Mackenzie
• Texto Completo: https://dspace.mackenzie.br/handle/10899/28530
• topic: literatura brasileira contemporânea; fantasia; new weird; CNPQ: LINGUISTICA, LETRAS E ARTES

The New Weird is a Fantasy subgenre that combines tropes from Horror, Science Fiction, and other literary genres into a mysterious and grotesque urban setting. It is speculated that this subgenre may have been started around the beginning of the twentieth-first century with the writings of China Miéville – specially Perdido Street Station (2000) –, despite some of its roots being manifested during the 90s. Mendlesohn and James (2009) argue that the New Weird is an English literature movement, however, in this dissertation, we present an extensive analysis of the Brazilian novel Exorcismos, amores e uma dose de blues (2014), written by Eric Novello, which shares various traits from the subgenre. Therefore, this study is divided into three parts: first, a theoretical discussion about Fantasy (or Fantastic Literature), considering its various terms, conceptions and circles, along with its historical trajectory in Brazil and worldwide; in the second part, we organize all the theoretical considerations about the New Weird and its main pillars; the third part is dedicated exclusively to the analysis of Novello’s novel according to New Weird’s theories. Our analysis of Exorcismos, amores e uma dose de blues (2014) considers four of the most important aspects of the subgenre: the combination of genres, which, in the novel, manifests itself with the presence of Horror, Science Fiction and Crime Novel traits; the extensive use of grotesque elements, those related to the transfiguration and mutation of the body; the essential presence of the urban setting represented by Libertà, an alternative version of São Paulo; and the political discourse, since Novello’s book has various dialogues with issues of the contemporary world. Our main theoretical references are VanderMeer (2008) for New Weird considerations; Causo (2003), Mendlesohn (2008), Matangrano and Tavares (2018), Roas (2012) and Tolkien (2014) as references for Fantasy; and James (2012) for Crime Novel theory.