“At my parents’ house there was a boy who lived under my bed. He shot fire from his mouth. I wanted to fly, like him, and shoot fire from my mouth. Those were my most intimate desires, but they were forbidden, or I felt they were forbidden. It took me a long time, a very very long time, to allow myself to fly and shoot fire from my mouth.”
A writer obsessed with the workings of the conscious mind, the artist-painter-character of the novel she is writing, and Margaret Cavendish, the 17th century philosopher-researcher-novelist who haunts her days, are some of the figures evoked in this story. If artistic discourse can be considered, by nature, a counter-current discourse, why is it that, even so, some stereotypes are maintained and reproduced within it? A chain of subliminal associations going back to the ancient Greeks seems to continue to link masculine, intellect, tall, hard, spirit and culture, as opposed to feminine, body, emotion, soft, short, flesh and nature. Sou uma Ópera, um Tumulto, uma Ameaça, created by Cristina Carvalhal, is a story containing other stories or it’s about how to tell a story or about our minds when we try to tell a story. A fantasy, a mental landscape, based on Siri Hustvedt’s The Blazing World.