“Leonorona” (1970): The Uncreative Postpoetry of Ana Hatherly

Abstract

This article analyzes “Leonorana” (1970), by Ana Hatherly, from the perspectives of artistic postproduction, coined by Nicolas Bourriaud, and uncreative writing, primarily coined by Kenneth Goldsmith and Marjorie Perloff. In this sense, “Leonorana” is positioned in the tertiary sector of literary creation. Consequently, its literary creation does not objectively start from the creativity, inventiveness, and originality of Hatherly, but from the recycling and reuse of pre-existing materials. Such thing happens throughout its labyrinthic game of verbal-visual appropriations made from the work of Luís de Camões and the Portuguese Baroque of the 17th and 18th centuries. Thus, “Leonorana” is classified as an uncreative postpoem, which, in the 1970s, brought to the literature notions of radicant, coined years later by Bourriaud.