Karla de Almeida Petel

O CENTAURO EMUDECIDO (DE) DAVID GROSSMAN: AUTOFICÇÃO EM FORA DO TEMPO

Introduction

O centauro emudecido (de) david grossman: autoficÇÃo em fora do tempo. Explore David Grossman's "Fora do tempo" as autoficção, revelando seu luto profundo, bloqueio criativo e reflexões melancólicas após a morte do filho na guerra.

Abstract

Fora do tempo (2012) foi escrito pelo autor contemporâneo israelense David Grossman, cinco anos após ter perdido seu filho durante a segunda guerra com o Líbano, em 2006. A articulação entre prosa e poesia feita por Grossman, nesse texto, serve a propósito de comunicar sua experiência de dor e consternação a partir do luto, revelando seu caráter autoficcional. Da mesma forma, um dos personagens mais emblemáticos da obra -- um centauro metade-escritor, metade-escrivaninha -- em flagrante bloqueio criativo durante cinco anos, também devido à morte de seu filho, é mais um eco da realidade do escritor em sua literatura de lamentação e melancolia.

Review

This paper, "O CENTAURO EMUDECIDO (DE) DAVID GROSSMAN: AUTOFICÇÃO EM FORA DO TEMPO," promises a compelling analysis of David Grossman's *Fora do tempo*. The abstract effectively outlines the paper's core argument: that Grossman's 2012 work, written five years after the tragic loss of his son, functions as a profound autofiction. By examining the articulation of prose and poetry within the text, the study aims to reveal how Grossman communicates his personal experience of grief and consternation, thereby positioning the novel as a poignant literary response to personal trauma. A significant strength of this proposed study lies in its focus on a highly impactful contemporary author and a work deeply rooted in personal tragedy. The identification of autofiction as the primary analytical lens is particularly apt, providing a robust framework to explore the complex interplay between authorial experience and literary creation. The abstract's highlight of the emblematic centaur character—a "metade-escritor, metade-escrivaninha" grappling with a five-year creative block due to his son's death—is a powerful illustration of the paper's insightful approach. This character serves as a compelling echo of Grossman's own reality, underscoring the work's profound engagement with themes of lamentation and melancholy. This paper appears poised to make a valuable contribution to the scholarship on David Grossman, autofiction, and the broader field of trauma literature. By meticulously tracing the author's grief through his literary output, especially through such vivid symbolic representations, the study offers significant insights into how personal anguish is transformed into art. The analysis of *Fora do tempo* through this lens promises to deepen our understanding not only of Grossman's unique creative process but also of the universal human experience of profound loss and the redemptive potential of literature. It is likely to be a thought-provoking and emotionally resonant piece of scholarship.

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