Exércitos de bailarinos na minificção brasileira

Abstract

Consolidated in Spanish America since the 1970s, minifiction only reached its maturity in Brazil at the turn of the twenty-first century. In the country, there are still scarce studies of this fictional genre marked by brevity, expressive intensity, narrativity and generic hybridity, features that abound in microtales books by Dalton Trevisan, Marina Colasanti and Fernando Bonassi, among others. Paradoxical in its form and content, microfiction often dialogues with other literary and extraliterary genres, collecting various references and replanting them in the fertile soil of interdisciplinarity, from where they thrive as another artistic expression. As a kind of "anti-avant-garde", minifiction appeals to tradition and then subverts it and overcomes it, demolishing in this movement the walls that segregate and categorize genres and knowledge. The challenge of microfiction author is to write stories that are simultaneously tale and graffiti, photography and poem, film and haikai, headline and aphorism, without ever forgetting to be, in the fever of transgression, what they first propose to be: fictions of minimum proportions and maximum effect.