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This article presents a reading of the poetic work of Virgílio de Lemos, orthonym, considering the representative cycles of the writing of this Mozambican author especially what was produced between 1944 and 1963. For this purpose, the transits and diasporas of this poet and his poetry through the Mozambican islands and the waters of the Indian Ocean are considered. Other transits of Virgílio de Lemos are also analyzed, such as the option for Baroque Aesthetics. These transits reveal a rebellious and transgressive lyric in relation to the prevailing literary model in Mozambique, strengthening an aesthetic attitude that echoes subversion and resistance to colonialist repression. [ABSTRACT FROM AUTHOR]

An analysis of the poetic work Sangue Negro (2001) is proposed from discussions on ethics and aesthetics, based on propositions by Schiller (2002), Valcárcel (2005), Fanon (2005), and Walty (2018) to analyze political-ideological pretensions that echo in the plural voice of Noémia de Sousa. This writer is one of the pioneer voices of modern Mozambican poetry, which, in the mid-20th century, echoes resistance: her poems question social structures, repression against women, and, above all, the process of independence and political liberation of this Portuguese colony. In the context of the "new Mozambican poetry", the writer inaugurated her own diction, profoundly influencing her contemporaries. Noémia de Sousa's literary gesture presupposes the collective voice of Mozambique, whose sound echoes in the violent scenario split by colonization. [ABSTRACT FROM AUTHOR]

Sónia Sultuane is a writer and artist who has been occupying a prominent place in the cultural scene of Mozambique. The collection of poems No colo da Lua (2009) reveals a poetic voice in the feminine that relates to nature in the perspective signaled by ecofeminist studies regarding the endorsement of a humanistic exercise to protect the world and the most diverse manifestations of nature. To support this epistemological location, we will anchor in the positions of Angélica Soares (1999) on eroticism and ecology, by Carmen Tindó Secco (2014) on the reflections around affection and poetry, by Greta Gaard (2017) on the direction of ecofeminism, and by Izabel Brandão (2003) on the critical frontiers of ecofeminism and literature. [ABSTRACT FROM AUTHOR]

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