“dramaturgy of the world” & “portuguese lesson”

dramaturgy of the world

so much depends on how many

steps you are able to take

after crossing

imaginary lines


portuguese lesson

my language wants to speak in the feminine

she¹ wants the plural feminine², my language 

wants to say Muitas³ without meaning

Elas⁴ she wants to be able to say elas and include

Todas⁵which in turn includes Todos

without having to make use of the

O at the end of todos she wants to put an X my

language wants to put an E an A in the

place of the marker O she wants to unmark the

O of the homem⁷ at the core of the language

my language will be entire feminine

my language will be entire infinite

get ready⁸


Translator’s Notes

  1. The word língua (language) is feminine in Portuguese.

  2. Like Spanish, French, and Italian, Portuguese conventionally uses masculine plural nouns, pronouns, and adjectives to refer to mixed gender groups.

  3. Muitas: many (feminine plural declension)

  4. Elas: the third-​person plural feminine pronoun

  5. Todas: all/everyone (feminine plural declension)

  6. Todos: all/everyone (masculine plural declension)

  7. Homem: man. The h being silent, the initial sound is an /o/.

  8. The closing sentence in the original text (estejam preparadas), in addition to using only the vowels a and e, declines the adjective in the feminine plural.

Francisco Mallmann (Tr. Robert Smith)

Francisco Mallmann is an interdisciplinary artist and researcher who works in the intersection between poetry, dramaturgy, visual arts, performance, and criticism. He holds a Master’s in Philosophy from the Pontifical Catholic University of Paraná. He is author of the award-​winning poetry collection haverá festa com o que restar (Urutau, 2018) and the chapbook língua pele áspera (7Letras, 2019). Mallmann is artist-​in-​residence at Casa Selvática, editor of Bocas Malditas, member of the International Association of Theatre Critics, and coordinator of the Department of Temporary and Itinerary Exhibitions at the Curitiba Holocaust Museum.

Robert Smith’s translations have appeared in Anomaly, Asymptote, InTranslation, Journal of Italian Translation, New Poetry in Translation, and Two Lines.

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