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UM ESTUDO DA METAFICÇÃO NO ROMANCE SWEET TOOTH, DE IAN Mcewan

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UM ESTUDO DA METAFICÇÃO NO ROMANCE SWEET TOOTH, DE IAN Mcewan Universidade Federal da Paraíba Centro de Ciências Humanas, Letras e Artes Programa de Pós-Graduação em Letras ENTRE LEITORES (E) ESPIÕES: UM ESTUDO DA METAFICÇÃO NO ROMANCE SWEET TOOTH, DE IAN McEWAN Caio Antônio de Medeiros Nóbrega Nunes Gomes João Pessoa – Paraíba 2017 Caio Antônio de Medeiros Nóbrega Nunes Gomes ENTRE LEITORES (E) ESPIÕES: UM ESTUDO DA METAFICÇÃO NO ROMANCE SWEET TOOTH, DE IAN McEWAN Dissertação apresentada em cumprimento às exigências do Programa de Pós-Graduação em Letras, do Centro de Ciências Humanas, Letras e Artes, da Universidade Federal da Paraíba (PPGL – CCHLA – UFPB), como requisito para a obtenção do título de Mestre em Letras. Área de Concentração: Literatura, Cultura e Tradução. Linha de Pesquisa: Tradução e Cultura. Orientadora: Profa. Dra. Genilda Azerêdo. João Pessoa – Paraíba 2017 AGRADECIMENTOS A Jenison, Elisa e Geralda, por tudo. À professora Genilda Azerêdo, por toda a confiança, pelo apoio e pelas provocações – pela melhor orientação. À professora Lucia Nobre, por ter me apresentado à ficção de Ian McEwan e por todas as inúmeras e preciosas contribuições durante esta pesquisa. Às professoras Liane Schneider e Rosângela Neres, pela disponibilidade e pelas importantes observações feitas, respectivamente, no exame de qualificação e na defesa final. A todos os colegas e professores do PPGL, que de alguma forma estiveram presentes nesses dois anos. Ao CNPq, pela bolsa, essencial para o desenvolvimento desta pesquisa. RESUMO Esta dissertação propõe uma análise da metaficção no romance Sweet Tooth, escrito por Ian McEwan e publicado em 2012. Para tanto, examinaremos os movimentos que o texto literário faz em direção à própria literatura – a suas condições de produção e recepção –, que caracteriza um processo contínuo de reflexão sobre o fazer ficcional. Nosso aporte teórico é composto por estudos publicados na área da metaficção, seja em relação a seus princípios gerais, seja em relação a cada uma das estratégias criativas aqui analisadas. De fato, diversos procedimentos metaficcionais problematizam o fazer literário no romance de McEwan, a exemplo da paródia das narrativas de espionagem e de detecção, do recurso mise en abyme e da representação metamidiática da literatura, que dotam a narrativa de uma estrutura complexa, que irá influenciar diretamente o processo de recepção. Assim, nossa análise pretende identificar como Sweet Tooth tem seus significados construídos a partir do fenômeno estético da metaficção. Nosso referencial teórico-metodológico é composto especialmente pelas discussões de Bernardo (2010), Hutcheon (1980) e Waugh (1984), no que concerne o fenômeno estético metaficcional, e por Hutcheon (1989) e Korkut (2005), em relação à estratégia criativa da paródia. PALAVRAS-CHAVE: Metaficção; Paródia; Literatura inglesa contemporânea; Ian McEwan. ABSTRACT This dissertation proposes an analysis of metafiction in Ian McEwan’s novel Sweet Tooth, published in 2012. For that purpose, we will examine the movements this literary text makes towards literature itself – towards its production and reception conditions –, which characterizes a continuous process of reflecting upon fiction-making. Our theoretical framework encompasses studies published in the field of metafiction, be it in relation to its general principles or specific metafictional strategies activated in our analysis. Indeed, several metafictional mechanisms problematize fiction-making in McEwan’s novel, such as the parody of spy and detection narratives, the use of mise en abyme, and the metamedial representation of literature, that endow the narrative with a complex structure which will highly influence the reception process. Accordingly, our analysis focuses on how Sweet Tooth has its meanings constructed regarding the aesthetic phenomenon of metafiction. Our analysis is supported by critical and theoretical principles drawn especially from Bernardo (2010), Hutcheon (1980), Waugh (1984), in relation to the aesthetic phenomenon of metafiction, and from Hutcheon (1989) and Korkut (2005), regarding parody. KEYWORDS: Metafiction; Parody; Contemporary English literature; Ian McEwan. SUMÁRIO Introdução........................................................................................................................1 Capítulo 1: Cartografando o cartógrafo Ian McEwan..................................................5 1. Mapeando indícios: Ian McEwan, vida e obra.........................................................6 2. Apontamentos sobre a ficção de Ian McEwan.......................................................19 3. A metaficção em narrativas de Ian McEwan.........................................................28 Capítulo 2: Deslocamentos metaficcionais em Sweet Tooth........................................41 1. Considerações sobre a metaficção.........................................................................42 2. Para além das fronteiras.........................................................................................53 2.1. Imbricações entre ficção, teoria e crítica em Sweet Tooth............................54 2.2. Representação metamidiática da literatura em Sweet Tooth........................75 3. Espelhamentos (em abismo)..................................................................................92 4. Reviravolta..........................................................................................................103 Capítulo 3: O jogo paródico em Sweet Tooth..............................................................107 1. Sobre as possibilidades do jogo paródico............................................................108 2. Paródia das narrativas de espionagem em Sweet Tooth.......................................116 3. Paródia das narrativas de detecção em Sweet Tooth............................................130 3.1. Pistas/rastros/vestígios textuais.................................................................138 Considerações finais....................................................................................................144 Referências...................................................................................................................148 1 INTRODUÇÃO Nesta dissertação, propomos um estudo da metaficção em Sweet Tooth, décimo terceiro romance do escritor inglês Ian McEwan, publicado originalmente em 2012. Buscaremos, em outras palavras, percorrer analiticamente os movimentos que tal texto literário faz em direção à própria literatura, problematizando a criação ficcional e refletindo sobre o que significa contar uma história. Embora a prática reflexiva, em que a literatura se volta em direção a si mesma, seja bastante recorrente nas produções ficcionais da contemporaneidade (especialmente a partir da década de 1960), a metaficção já foi apontada por alguns críticos como desprovida de vida, ao desenvolver, em suas palavras, metacomentários demasiadamente narcisistas. O próprio McEwan se posiciona a esse respeito, quando afirma: “acredito que a metaficção só ganha vida se em suas veias corre o sangue vermelho do realismo. É preciso uma boa razão para empregar a metaficção, não faz sentido exercitá-la apenas como um número de circo”1. A boa razão encontrada pelo escritor, em Sweet Tooth, para o emprego da metaficção foi o enredo que envolve a protagonista e narradora em primeira pessoa Serena Frome. No romance, essa personagem é recrutada ainda jovem, durante o início da década de 1970, em plena Guerra Fria, para fazer parte do MI5, o serviço britânico de inteligência interna e contraespionagem. Proveniente de uma situação familiar bastante confortável, filha de um bispo da Igreja Anglicana, ela teve acesso a uma excelente educação, graduando-se em Matemática na Universidade de Cambridge. Apesar de sua formação em exatas, Serena gostaria de ter cursado Letras, sendo uma de suas características mais significativas o fato de que ela é uma ávida leitora de romances. A paixão pela leitura e o fato de possuir um certo conhecimento sobre literatura contemporânea a levaram a ser chamada para atuar como colaboradora na Operação Sweet Tooth (que empresta seu nome ao próprio romance). Tal operação consistia de uma tentativa, por parte do MI5, em participar ativamente no combate cultural e ideológico da Guerra Fria. Jornalistas, sociólogos, economistas, entre outros, possuidores de tendências anticomunistas, seriam financiados secretamente pelo Serviço de Inteligência, disfarçado 1 Informação retirada de “Ian McEwan fala do romance ‘Serena’, que lança semana que vem, em sua volta à Flip”. Disponível em: https://oglobo.globo.com/cultura/ian-mcewan-fala-do-romance-serena-que-lanca- semana-que-vem-em-sua-volta-flip-5334466. Acesso em: 30 de maio de 2017. 2 por trás de conexões com Fundações Filantrópicas, a fim de que pudessem escrever, dentro de suas áreas, artigos, ensaios, pesquisas que se articulassem à ideologia capitalista. A Serena é dada a tarefa de recrutar o candidato a ser o único escritor de ficção da operação, Tom Haley. Antes de sequer conhecê-lo, Serena sente-se profundamente tocada por seus contos; mais adiante na narrativa, o próprio Haley também a afeta significativamente. No decorrer da narrativa, uma relação romântica entre ambos se desenvolve e Serena se vê cada vez mais desconfortável com a posição que ocupa, a de espiã do homem que ama. Em Sweet Tooth, em meio aos acontecimentos do enredo, o fazer literário constantemente se torna objeto de reflexão. Percebemos várias estratégias de criação metaficcional como responsáveis por dotar o romance
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