~RANSLATORS\" ~]RE FACE Appeanng in i~83, M~hBr nO Espelho [Woman between Mirrors] by Helena Parente Cunha quickly attracted notice as one of the most thoroughly literary novelistic responses to the current discussion of woman s role and status R had already won a Cntz e Snusa award in part tor its ability to communicate a woman s perception and understanding of what she experiences. Ant6niu Houaiss, as spokesman for the selection panel, recalls that iurnrs were immediately struck by this \"solid psychological synthesis of woman/ women without precedent in Brazilian literature, not merely for its possibly confessional aspect, but also above all its pro- Mundly revelatory qualities, in language intensely suited to its aims\" At the same time, the panelists recognized the au- thor s achievement in elaborating an esthetic text out of this intimate raw material, honoring her successful \"quest for transformation\" of experience into art No doubt the English version of the novel will also exer- cise its most immediate appeal as the rendering of a woman s experiences not a generalized ffgule ot woman, but a helo- ine grounded in a particular set of condltluns This nameless but well-specified woman is the product of an upper-middle- class family in Salvador~ Bahia (a city whose name evokes an enduring pamarehal order and the residual forms of a slaver y-based soeiet yI As recently as thirty years ago, mem- bers of many families were burn or married into a limited repertory of roles: the all-powerful father, the indulgent mother, mediator between father and offspring, the daughter with her artificially prulonged innocence, and the young I
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