This magnetized song

Abstract

The article seeks to identify in Hilda Hilst’s poetry, from the 1970s, a movement of sublimation of loving singing, sometimes found in the field of immanence and sometimes deified by negative interpolations, such as Cara Negra, Aquele Outro, Nothing, Sombrio unnamed. , Big Face, etc. He argues that there is a method of transcendence in Hilda Hilst’s love poetry, both for the lyrical subject, who suffers from love, and for the beloved who causes this suffering. This chant is organized from two pendular movements: asceticism, understood as a movement of detachment; and excess, understood as an absolute investment in loving passion and a privileged method of knowing God.