The Brazilian writer João Gilberto Noll is well known both in Brazil and in other countries because of his particular poetry, built into a copious narrative production that emerged in 1980 with the publication of the collection of stories O Cego e a dançarina, and which continues to be highly fertile even now. In the opinion of the Argentine scholar Reinaldo Laddaga (2007), João Gilberto Noll is one of the writers who has published some of the most innovative narratives seen in recent times, and not only in Latin America. The singularity of Noll ́s literature has attracted the attention of critics and has spawned many studies that have been published in a significant volume of theses, books, articles, papers, etc. In this extensive body of critical studies there are divergent positions on Noll ́s literature. Many of them attribute significant value to Noll ́s literary production considering the degree of innovation that shows to be positive in relation to the more expressive behavior displayed by the novel genre throughout modernity. However, there are many other critics who argue that the lack of identification of Noll’s narratives with the novel genre is due to certain formal and thematic peculiarities. Considering the singularity of Nollian narrative production and studying his last novel, Solidão Continental (2012), we seek to understand what this singularity could be expressing and examine the impacts of this singularity on the field of Brazilian literature
Ferigolo, I. (2014). “A dança da solidão”: a condição narrativa em solidão continental, de João Gilberto Noll. Revista Chilena De Literatura, (88). Retrieved from https://cyberhumanitatis.uchile.cl/index.php/RCL/article/view/36080
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