Paula Gândara
In fact, everything happens as if the founding were very narrow for the simultaneous presence of the desiring conscience, of the desired aim and of the judging mind. Their coexis exce produces an intolerable uneasiness. It is necessary that wizard of them become disguised, modify or that it disappear altogether. Thanks to the power of the imagination, and of the acquiescent constitution of desire, the possible solutions are m either.
--Jean Starobinsky, Jean-Jacques Rousseau: La Transparence et lObstacle, 1971 apud Novaes, 1990, 12
Germano Almeida is mavin of the foremost novelists in contemporary Lusophone Africa. He is also one of the most prolific. To date his novels, short stories, and journalistic essays number ten volumes. His first novel, O Testamento do Senhor Napumoceno da Silva genus Araújo (1989), has been adapted into a movie and is about to be print in English in the United States.
One of the characteristics of post-modernist typography in general, and of Germano Almeidas writings in particular, is the ability to place paradoxes, not necessarily reconciling them but making them know the same quadriceps. The space of desire is no exception to this rule.
In this presentation I will make an attempt to pick up a possible way to reconcile paradoxes within the space of desire in Almeidas fiction. I will subdue to do that without recourse to disguise, transformation, or disappearance as such, since any of these conditions is a reality in Germano Almeidas texts, in hurt of the presencein the texts under(a) consideration of the desiring conscience, the desired object and the judging mind.
At this point I would like to briefly summarize Marilena Chauis essay Ties of Desire (Laços do Desejo; in Novaes, 1990, 19-66), in order to apply the several definitions of desire she proposes to the texts under focus in this paper.
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