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Beyond the understanding of the word and its strictly immanent or engaged links, one observes, nowadays, a new sewing of the literary criticism as it has elected the body as the matrix of artistic expression as a base for the artistic phenomena arising from the body. The present essay aims to evince in Mia Couto’s Um rio chamado tempo, uma casa chamada terra (2003), an Africa that derives from a time when the letter is manifested on the body: coreographed performance of the African narrative-homes. A stylized dance of cyclical movements and gestures from the ancestors, all translated, in Mia Couto’s voice, as Sheherazadian arabesques of the big house, which Africa inhabits.

Alguma crítica: a dança do corpo poético em Um rio chamado tempo, uma casa chamada terra