Articulações de "úteros" fecundos banhados com águas de feto e afeto em Maya Angelou e Conceição Evaristo.

Abstract

This escrevivente pregnant-writing is a flow-reading of maternity experiences in the Améfricas (GONZALEZ, 1988a), in literary texts by Maya Angelou, (2010, 2018a, 2018b), by Conceição Evaristo (2016a, 2016b), and by other black women writers. I also wet this investigation with my memories of a community of women who accompany me in this creative braid. The question of research presented is: how and why do the escrevivências evident in the works chosen as research corpora fecundate a matripotent writing? As general objective: to highlight how the escrevivências in the chosen corpora inheirit a legacy that aims to fertilize a new interpretation crossing about black maternities in the literature of the Amefricas. To achieve this objective, the following specific objectives were necessary: i) to articulate the fertile “wombs” writings by Maya Angelou and Conceição Evaristo, by means of the cartography of themes, elements, crossings and scenes of black maternities; ii) to identify how the process of getting pregnant, carrying out pregnancy, nourish and looking after children, the whole place of maternity itself for black women is related to a whole set of kidnapped rights; iii) to describe in these matripotent writings how and why maternities appear from the point of view and the bodies of black women, even in face of the precariousness of existence and everyday loneliness; iv) to examine in these diasporic escrevivências of black maternities the aesthetic-literary categories of uterus-speech as a place of affection, loyalty, freedom, ancestry and love, based on the political, social and affective meaning of such practices. In order to do this, on my knees with Oyěwùmí’s (2016) matripotence, I co-create the notion of braid-writing as a methodological basting of ancestral woven and re-woven memories in this embrionary movement of return to our uterus-house, by means of solar contractions based on escrevivência (EVARISTO, 2007; 2020) and intersecionality (CRENSHAW, 2002; COLLINS, 2017; AKOTIRENE, 2018). Along each map, drawing, words route, the movements were to break dams, to break with the waterwritings through the layers that solidified (and still solidify) the maternity building. The weave of this cosmoperceptive reading (OYĚWÙMÍ, 2002) is a black literary critic about maternity as pregnancy, in which each trimester/ section had fallopian tubes that fed the epistemic embryo in its growing phase: i) in the first trimester, I related the image of the primary-uterus, as ancestral continuity potency, with the image of the uterus-(river)head, a source of life for the community, even though vilified, controlled, mutilated, its sliding waters did not and will not cease; ii) in the second trimester, I sought to baste the image of the uterus-calabash with the way these black women keep/ spread/ blow life in the face of the most adverse situations: hunger, misery, poverty, violence and loneliness; and, finally, iii? in the third semester, through the uterus-speech as a place for healing, strength, invention and joy, I paid tribute to the great mothers to help me understand that maternity is a methodology of life that pulsates in black wombs.