Desire in Germano Almeida

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Desire in Germano Almeida Paula Gândara In fact, everything happens as if the world were very narrow for the simultaneous presence of the desiring conscience, of the desired object and of the judging mind. Their coexistence produces an intolerable uneasiness. It is necessary that one of them become disguised, transformed or that it disappear altogether. Thanks to the power of the imagination, and of the acquiescent nature of desire, the possible solutions are many. --Jean Starobinsky, Jean-Jacques Rousseau: La Transparence et l’Obstacle, 1971 apud Novaes, 1990, 12 Germano Almeida is one 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 Araújo (1989), has been adapted into a movie and is about to be published in English in the United States. One of the characteristics of post-modernist writing in general, and of Germano Almeida’s writings in particular, is the ability to juxtapose paradoxes, not necessarily reconciling them but making them inhabit the same space. The space of desire is no exception to this rule. In this presentation I will make an attempt to identify a possible way to reconcile paradoxes within the space of desire in Almeida’s fiction. I will try to do that without recourse to disguise, transformation, or disappearance as such, since any of these conditions is a reality in Germano Almeida’s texts, in spite of the presencein the texts under consideration of the desiring conscience, the desired object and the judging mind. At this point I would like to briefly summarize Marilena Chaui’s essay “Ties of Desire” (“Laços do Desejo”; in Novaes, 1990, 19-66), in order to apply the several
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