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A Silent Scream: Trauma and Madness in the Early Works of António Lobo Antunes

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A Silent Scream: Trauma and Madness in the Early Works of António Lobo Antunes UNIVERSITY OF NOTTINGHAM Department of Spanish, Portuguese and Latin American Studies A Silent Scream: Trauma and Madness in the Early Works of António Lobo Antunes Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy Ricardo Rúben Rato Rodrigues in memory of my grandmother, Mariana Inácia dos Santos Rato Acknowledgements This has been a labour of love, pain and sacrifice. I could not have made it without every single one of you. First and foremost, to my supervisors, Professor Bernard McGuirk (mentor and guide against contrarian tides) and Dr. Adam Sharman (reassuring reader and most valuable adviser). To both of you, my sincere thanks for the patience and for the intellectual and personal guidance. To Prof. Ana Gabriela Macedo, who opened my eyes to academic passion. To my family: My grandfather, Sebastião Rato, whose belief in my capabilities has kept me going, through darkness and light. My mother, Luísa, to whom I own my life and the sense of humour that kept me afloat in the worst of times. My brother Carlos, the real body behind the words of this thesis, your suffering will never be forgotten. To my sisters Natasha and Laura, love, unconditional. To my lovely niece Mariana, ray of hope and source of joy. To my father, who instilled in me the love for literature. To Ana, António and Rui, for the support and the laughter. To my dear friends: Yves Gilonne, for being there, for listening and keeping my spirits up. I owe you more than words can tell. And of course to Kate Gilonne, Éliot Gilonne and Bolt. Rui Miranda, for the friendship, the timely reminders to keep going, for the belief in my work and the enlightening conversations. To Alexandra Campos, thank you. David Smith, who taught me the inside of the earth, fellow traveller on this path. Henrique and Mónica, we’re always be together, together in electric dreams. Onur, brother in arms. Rúben, Manu, Erica, Professor Jeremy Lawrance, Gareth Stockey and the entire Spanish, Portuguese and Latin American Studies Department. Tasabeeh, for assuaging the torments of my heart, Apoorva, Carlos, Licheng and Ling, Jeena, Alia and everyone else at Lincoln. You’re really my second family. To everyone in the office: Ben, Izzy, Margarita and Mel (thanks for everything, fags and all), and everyone else, too many to mention. You all know who you are! To the Reds (Chris, Ashot, Steve, Christie, Callum and all those who proudly have worn the colours over the years). Finally, to Zoë, thank you for sharing your life with me, and Cintia, to whom I owe my love and gratitude. You know you’ll always live within me. Table of Contents Introduction…………………………………………………………………….1 Part 1. Lobo Antunes: as Writer, as Soldier, as Psychiatrist…………………...3 Chapter 1. Lobo Antunes, as writer……………………………………………4 1.1.Biography/Autobiography………………………………………9 1.2.The ‘Biographemical Cycle’…………………………………...35 1.3.Style, content and the renewal of the art of the novel 1.3.1. The Language of Madness and Trauma………………...39 1.3.2. Master Narratives versus Counter-Narratives………….40 1.4. Abjection……………………………………………………..49 1.5. Chronicles…………………………………………………….52 Chapter 2. Lobo Antunes, as soldier…………………………………………59 2.1. The Letters…………………………………………………...66 2.2. The (War) Chronicles………………………………………...90 2.2.1. Emília e uma noites……………………………………90 2.2.2. Esta maneira de chorar dentro de uma palavra………97 2.2.3. 078902630RH+…………………………………………....107 Chapter 3. Lobo Antunes, as psychiatrist…………………………………...118 3.1. Miguel Bombarda (Hospital, Doctor and…Metonym)……..133 3.2. Lobo Antunes and Antipsychiatry…………………………..143 3.3. Lobo Antunes and Trauma…………………………………..147 3.4. The Chronicles (Psychiatry)………………………………....160 3.4.1. Crónica escrita em voz alta…………………………...161 3.4.2. A Pradaria das Caçadas Eternas……………………..168 Part 2. Trauma and Madness in the Trilogy of Learning……………………174 Chapter 4. Memória de Elefante…………………………………………….175 Chapter 5. Os Cus de Judas………………………………………………….225 Chapter 6. Conhecimento do Inferno………………………………………...273 Conclusion…………………………………………………………………...318 Bibliography…………………………………………………………………322 Introduction This thesis aims to invite the reader into a journey, guided by António Lobo Antunes texts, in particular his three initial novels; Memória de Elefante (1979), Os Cus de Judas (1979) and Conhecimento do Inferno (1980). Throughout the journey, which is in reality a downwards journey, the reader will be invited to reflect upon the different dimensions, existing in tension, in the author’s work, namely those of Writer/Soldier/Doctor. The biographemical quality of his writing will permit a successful articulation of such dimensions, never losing from sight the wider context of the Lusophone world. The tensions resulting from the points of contact between these dimension originate in that locus horrendous that was the so-called Portuguese Colonial War and its aftermath, a war in which the author directly participated and whose scars still run deep in Portuguese (and not only) society. Thus, there will be a long two-part meditation on the context by way of illustrating the issues raised via textual analysis of the novels; with the further, deeper and particular perspective of Lobo Antunes. Furthermore, this thesis will engage with the problematics and debates of trauma and madness, contributing to the discussion of how literature can tackle these issues effectively and in a cathartic way. The author’s autobiography placed him in this interstitial place in between such traumatic realities as war and mental institution. In return, it is through his literature that he will raise those pertinent questions that interest us all. 1 It is a silent scream, but one that attacks the master-narratives of oppression and authority, be it in its antipsychiatric or antimilitaristic mode. The result will invariably be a call for a more empathetic, compassionate and just society, one that does not forget its role in the traumatic realities of its past. The thesis is divided in two distinct parts. Part 1 (chapters 1, 2 and 3) will engage with the broader questions elicited by the triangular relationship between writer/soldier/doctor, exploring the questions of autobiography and the historical and cultural contexts relevant for Lobo Antunes. Part 2 will proceed to a close reading of the three novels, again in the same engaging manner and without ever forgetting the issues of trauma, madness and conflict. 2 Part 1 Lobo Antunes: as Writer, as Soldier, as Psychiatrist. 3 CHAPTER 1 Lobo Antunes, as writer The opening salvo in António Lobo Antunes’ literary production consists of three novels: Memória de Elefante1 (1979); Os Cus de Judas2 (1979); and Conhecimento do Inferno (1980)3. These novels constitute a trilogy which we shall, for the purposes of this thesis, identify as pertaining to the ‘Biographemical4 Cycle’. The reasons behind considering them as ‘biographemical’ rather than simply ‘autobiographical’ will be explored in detail further on. It has also been classified as the ‘Ciclo da Aprendizagem’: ‘Lobo Antunes reconhece haver pelo menos quatro ciclos em sua obra. O primeiro considera ser o de sua aprendizagem como escritor e é composto pelos títulos: Memória de elefante (1979), Os Cus de Judas (1979) e Conhecimento do inferno (1980).’5 However, it seems that the concept of ‘aprendizagem’ (learning) transcends the mere classificatory role when applied to the author’s work, developing into a legitimate trope of his own, articulated with ‘knowledge’, in constant dialogue with other themes in the 1 António Lobo Antunes, Memória de Elefante, (Lisboa: Dom Quixote, 2004). 2 António Lobo Antunes, Os Cus de Judas (Lisboa: Dom Quixote, 2010). 3 António Lobo Antunes, Conhecimento do Inferno (Lisboa: Dom Quixote, 2010). 4 This is my term and it is intimately related with Barthes’ notion of Biographéme. 5 Luís Fernando Prado Telles, ‘Nas trilhas do lobo’, Novos estudos – CEBRAP, n.83 (March 2009) São Paulo <http://www.scielo.br/scielo.php?pid=S0101- 33002009000100014&script=sci_arttext> [accessed 12 December 2014]. 4 novels. Therefore, applying what in reality is a working concept in the author’s oeuvre to a fixed category of classification would seem inappropriate as it would limit the full impact of such a term in the interpretation and analysis of his work. Moreover, classifying this cycle in such a way would exclude the concept of ‘knowledge’ (which goes hand in hand with that of ‘learning’). It is certainly, for the author, the cycle in which he learned how to be a writer and how to find his artistic voice (no wonder such classification is made by the author himself) but it is not the cycle in which the reader will cease to learn from his novels, as all of them as a whole, no matter the cycle they are ascribed to, work in that direction. Finally, a further reason for dismissing such a classification is that, the cycle includes another novel, Sôbolos Rios que Vão6, published in 2010, when it is fair to assume that the period of ‘learning his trade’ is over for the author. This later novel, despite its stylistic difference, also coincides with biographical events that happened to the author (in particular the diagnosis of his cancer) thus justifying its presence in the cycle. Also pertaining to the cycle are some of his more autobiographical chronicles, which emerge intermittently, but without fail. The nature of these novels makes it a tricky task to classify and frame them by the standards of contemporary literary criticism. Part ‘confessional novel’7, part inverted odyssey, part stream-of consciousness narrative of self-deprecation and loathing, the novels are a complex network of layers of multidimensional 6 António Lobo Antunes, Sôbolos rios que vão (Lisboa: Dom Quixote, 2010). 7 ‘A rather misleading and flexible term which suggests an “autobiographical” type of fiction, written in the first person, and which, on the face of it, is a self- revelation.
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