As Intermitências da morte: José Saramago In the Tanatography he Loves

José Saramago na Tanatografia que ama

Abstract

We analyzed the work As intermitências da morte (2005), by José Saramago, articulating two structural prose arenas: the collectivity, explored in the first part of the book, and the human and amorous dramas lived by the cellist and by the “womanized” death. The death writing – thanatography (SILVA JUNIOR, 2014) – enables the verification of such elements as engines of a debate that crosses politics and philosophy, systems and human conditions. As is revealed in public arenas and in Saramaguian alcoves, discussions about the human, art and love move in this deep consciousness that no one has said the last word. In interaction with alterity and incompleteness categories (BAKHTIN, 2006), Saramago's engagement comprehends the “disalienating” character instigated by the amorous and thoughtful impulses of this philosophical novel of passions as essential activities (MARX, 2005). From marxist reverberations, the objective character of human history was claimed and transformed. As intermitências da morte [Death at intervals] are marked and demarcated by the expression “the next day no one died” (SARAMA, 2005): in it the lack that someone feels that leads to the other and the character of the story gains dialogic and philosophical layers. If society is the sum of all its relationships and all senses find it meaning, in the encounter with the other, the metamorphosis consciousness is constituted. Consequently, José Saramago finds in thanatography that he loves the real other area of knowledge – love.