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A literatura contemporânea brasileira tem se configurado como territorio que congrega disputas e jogos de poder, espaco de producao de contradicoes e desconstrucoes constantes. Assim, destaca-se o fato de que o monopolio da producao artistica nao se encontra mais estritamente ligado a grandes padroes economicos – se, por um lado, a literatura, em sua maioria, ainda e produzida pelos mesmos rostos/experiencias, por outro, a nova literatura procura ser democratica e “aposta na instituicao de um sistema literario partilhado, que reconhece novas subjetividades e novos atores no mundo da cultura, e na reconfiguracao do proprio termo literatura” (RESENDE, 2014). O presente artigo, entretanto, objetiva andar a margem do tapete vermelho do cânone para esquadrinhar identidades silenciadas: a mulher negra, enquanto produtora de arte, e as sexualidades nao hegemonicas, enquanto representacao literaria. Para tanto, parte-se da analise de dois contos contidos no livro Olhos d’agua (2014), da escritora Conceicao Evaristo. Pode-se observar, ao final, que ha uma producao de resistencias discursivas e corporais a nocao de campo literario brasileiro ainda como um lugar reservado a branquitude, ao falocentrismo e a heterossexualidade, – e que essa resistencia literaria se presta, nesse sentido, como forca politica que coloca em cheque a manutencao de um poder estabelecido. *** Experience and re(existence) outside the canon: Olhos d’agua, from Conceicao Evaristo *** The contemporary Brazilian literature has been configured as a territory that congregates disputes and games ofpower, space for the production of contradictions and constant deconstructions. Thus, the fact that the monopoly of artistic production is no longer strictly linked to high economic standards – if, literature, on the other hand, is still produced by the same faces/experiences, on the other hand, the new literature seeks to be democratic and “focuses on the institution of a shared literary system that recognizes new subjectivities and new actors in the world of culture, and in the reconfiguration of the term literature itself” (RESENDE, 2014). The present article, however, aims at walking away from the red carpet of the canon to search for silenced identities: the black woman as an art producer, and non-hegemonic sexualities, as a literary representation. To do so, we start with the analysis of two short stories contained in the book Olhos d’agua (2014), by Conceicao Evaristo. In the end, it can be observed that there is a production of discursive and corporal resistances to the notion of the Brazilian literary fieldas a place still reserved for whiteness, phallocentrism and heterosexuality – and that this literary resistance provides itself, in this sense, as a political force that puts in check the maintenance of an established power. Keywords: Afro-Brazilian literature; female authorship; contemporary literature.

Vivência e (re)existência à margem do cânone: Olhos d’água, de Conceição Evaristo