The literature with scissors in hands: about Brandão, Burroughs and Gysin

abstract Zero, by Ignácio de Loyola Brandão, is a novel that generates discomfort and estrangement in its readers. Violence and chaos, both thematic and aesthetic, and its manner of composition: a collage of fragments and scraps, are elements that cause this estrangement. In this article, we propose that the experimental narrative voice that prevails in Zero text not only struggles against the Brazilian Military Dictatorship (the text’s historical context), but is also part of a lineage of works that, historically and in principle, are positioned against an oppressive discourse. Our critical dialogue focuses on the aesthetic and structural composition of Zero and its critical-political consequences. Therefore, we establish a correlation between this work and the experimental and libertarian literary technique developed by Burroughs and Gysin, proposing to read Zero as a type of cut-up novel.

伊格纳西奥·德·洛约拉·布兰当（Ignácio de Loyola Brandão）所著小说《零》（*Zero*），是一部能令读者产生不适感与疏离感的作品。作品在主题与美学层面的暴力与混沌，加之其采用的碎片化文本拼接式创作手法，正是催生这种疏离感的核心要素。本文认为，《零》中占据主导地位的实验性叙事语态，不仅反抗了作为该文本历史语境的巴西军事独裁政权，同时也隶属于一批在历史维度与理念层面均持反压迫话语立场的作品谱系。本文的批判性论述聚焦于《零》的美学与结构构成及其批判政治层面的影响。据此，本文将该作品与巴勒斯（Burroughs）和吉恩（Gysin）所开创的实验性自由文学技法建立关联，并主张将《零》解读为一种剪切拼接（cut-up）式小说。