(em)arranhaço

Entangling and consubstantiation in Salette Tavares' poetics

Abstract

This paper focuses on the exploration of the figure of the spider, used by Salette Tavares in “Aranha” (1963), and later in “Aranhão” (1978) and “Borboleta de Aranhas” (1979), as a speculative model to understand spatialization features within the author’s poetics. These three works are analyzed as three different moments of the same image, in a kind of close-up movement towards the figure of “Aranha”, as suggested by the accumulative processes of reproduction in these works as well as by the redimensionalization/multiplication of the typographic image of the poem from 1963. In addition, through this same speculative model, this study engages with the workings of the spatial poems “Maquinin” (1963-2010) and “Porta das Maravilhas” (1979), using the logic of the arachnid webbing as a basis for exploring the poetic effects of the chosen materials and three-dimensional arrangements of these works. In all readings, phenomena of consubstantiation are highlighted, through which Salette Tavares ratifies her vision regarding the inseparability between form and content in an irremediable way.