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LGBTQ literature in Brazil encompassesliterature written byBrazilian authors that involves plots or characters that are part of or related tosexual diversity. It has a tradition that dates back to the seventeenth century, specifically the work of the poetGregório de Matos, who throughout his life wrote a series of satirical poems of ahomosexual nature about his political adversaries.[1]
The first narrative works referencing homosexuality came almost two centuries later, in the 1870s and 1880s, by writers such asJoaquim Manuel de Macedo,Aluísio Azevedo, andRaul Pompéia.[2] The works of these authors, most of which were framed in the genre ofnaturalism, presented a view of homosexuality based on conceptions of the time, under a negative stereotype of sexual deviation.[3][4] In the midst of this context, the novelBom-Crioulo (1895) appeared, written byAdolfo Caminha. This is traditionally pointed out as the initiator of BrazilianLGBTQ literature, in addition to being considered the firstLGBTQ novel inLatin America.[5] Although he also shared a negative view of homosexuality,[6] he was the first to center a plot on asame-sex relationship.[7]
The beginning of the twentieth century saw the entry of authors likeJoão do Rio, who addressed sexual diversity in some of his stories and who were known to be homosexual, and the publication of such works asPílades e Orestes, ahomoerotic work byJoaquim Machado de Assis, andO menino do Gouveia (1914), an anonymous story considered the first LGBTQpornographic work of Brazil. The novelVertigem (1926), byLaura Villares, is notorious for being the first work written by a Brazilian woman to addresslesbianism, although it also gives a moralistic and condemnatory view of the protagonist.[8][9]
During the post-Estado Novo era, several texts continued to present LGBTQ themes in subtle forms. The paradigmatic work of this trend wasFrederico Paciência (1947), a story byMário de Andrade about a male friendship with homoerotic undertones that, despite not turning thesexual orientation of the characters explicit, was one of the first to show this attraction in a positive way.[10] The 1950s were characterized by the publication of two classic novels of Brazilian literature that included LGBTQ subplots:Gran Sertón: Veredas (1956), byJoão Guimarães Rosa, andCrônica da casa assassinada (1959), byLúcio Cardoso.[11]These novels dealt with sexual diversity in a markedly different way from previous works, with plots that explored concepts such asspirituality,transvestism, metaphysics, and forbidden desire.[12]
Until the second half of the twentieth century, Brazilian male homosexual literature had a common characteristic of strict roles in the relationships portrayed, with one strong, with one traditionally masculine man and another a weak and submissive man, analogous to the socialgender roles present in heterosexual relationships at the time, as can be seen fromBom-Crioulo.[13] Additionally, it was common for both male and female homosexual characters to be portrayed ascaricatures or exoticized.[14] TheBrazilian Carnival was portrayed by several authors as a time when people could hide their identities and enjoy greater sexual freedom while performing acts usually considered unlawful.[15]
The period during themilitary dictatorship in Brazil was characterized by strong censorship by the regime, although events such as theStonewall riots and the birth of the modern internationalLGBTQ movement helped initiate a boom in the publication of LGBTQ works.[7][16]
Lima Braga, Luiz Fernando (2006).Caio Fernando Abreu: narrativa e homoerotismo(PDF) (PhD thesis) (in Portuguese). Belo Horizonte: Universidade Federal de Minas Gerais. Archived fromthe original on 2022-06-24. Retrieved2023-08-12.
