CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior / This work speaks of the narrative. Focuses on this speech, on the what it can say and on the ways in which it operates this diction. This research is absent from the place it deserves to go out looking for another, another place where there is no place, but only a possibility, where we settled in less as researchers than listeners speech mysterious to narrate. We circulate in this. Taken by the regime of signs of fragments of sentences and the words of the AntÃnio Lobo Antunesâ speech (1942), we entered the bersgoniana duration of the flow of time that continues, not ending the event, which becomes infinite, open to the potential of the happening, dying infinitely without dying. It is the place of origin benjaminiana, pure vortex of a ceaseless becoming, which encompasses everything in a whirlwind that confuses memories, places, subjects, language. It is the voice of disorganized subject, disorganism-subject, who can only speak in the voice of the narrativeâs unrepresentative without own language. It is the memory that can not represent the past, fails, change it in a speech desiring, stammering, impossible to mean. This listening, reading this (which is the research) appropriates of a thinking speech became of the voices of Friedrich Nietzsche, Martin Heidegger, Deleuze, Baruch Spinoza, Maurice Blanchot, Michel Foucault, Jacques Derrida, Walter Benjamin, Georges Bataille, Giorgio Agamben. Easily identifies this polyphony, among other considerations, the central issues on which these authors have addressed: language, memory and subject (or experience). The ideas offered by these thinkers reverberated in other propositions on writing, the writer, the dimensions and the art politics, also present in the voices of other theorists, artists, writers who take part here as well. It is a work about the (im)possibility of meaning of this speech in which creep Simone, Celina, Mimi, Fatima Cristina, her father, Alice, subjectivity in becoming the deed that is established in ExortaÃÃo aos crocodilos (1999), in ComissÃo das LÃgrimas (2013), and Caminho como uma casa em chamas (2014). There is a babble that makes the language vibrate in these novels; a almost-speech that happens to promote the inconsistency of the subjects of the narrative as organisms, and of the language as a structure, both happenning as the movement of the opening of the being of the language, where it arises and speaks the thing itself, the being of the language happening in speech without voice to say infinitely. This is almost to say that he speaks in the narrative he wishes to narrate; it is the one we are seeking to hear. / Este trabalho fala da narrativa. Concentra-se nessa fala, no que ela pode dizer e nos modos em que se opera. A presente pesquisa se ausenta do lugar que lhe cabe para sair à procura de outro, do outro do lugar, onde nÃo hà lugar, mas apenas sua possibilidade, onde nos instalamos menos como pesquisadores do que ouvintes da fala misteriosa do narrar. Circulamos neste. Levados pelo regime de signos dos pedaÃos de frases e das palavras da fala de AntÃnio Lobo Antunes (1942), entramos no fluxo da duraÃÃo bersgoniana de um tempo que continua, inacabando o acontecimento, que se torna infinito, aberto Ãs potencialidades do acontecer, morrendo infinitamente sem morrer. à o lugar da origem benjaminiana, puro vÃrtice de um devir incessante, que tudo engloba em um redemoinho que confunde as memÃrias, os lugares, os sujeitos, a linguagem. à a voz do sujeito desorganizado, desorganismo-sujeito, que sà pode falar na voz do irrepresentÃvel da narrativa sem lÃngua prÃpria. à a memÃria que nÃo consegue representar o passado, fracassa, muda-o na fala desejante, gaguejante, impossÃvel de significar. Essa escuta, essa leitura (que à a pesquisa) se apropria de uma fala pensante vinda das vozes de Friedrich Nietzsche, Martin Heidegger, Gilles Deleuze, Baruch Spinoza, Maurice Blanchot, Michel Foucault, Jacques Derrida, Walter Benjamin, Georges Bataille, Giorgio Agamben. Facilmente se identifica nessa polifonia, entre outras reflexÃes, as questÃes centrais sobre as quais esses autores se debruÃaram: linguagem, memÃria e sujeito (ou experiÃncia). As ideias trazidas por esses pensadores reverberaram em outras proposiÃÃes sobre a escrita, o escritor, as dimensÃes e as polÃticas da arte, tambÃm presentes nas vozes de outros teÃricos, artistas, escritores que aqui tomarÃo parte tambÃm. à um trabalho sobre a (im)possibilidade de significar dessa fala em que se insinuam Simone, Celina, Mimi, FÃtima, Cristina, o pai, Alice, o do Segundo esquerdo, o do Terceiro direito, subjetividades em devir na escritura que se estabelece em ExortaÃÃo aos crocodilos (1999), em ComissÃo das LÃgrimas (2013) e em Caminho como uma casa em chamas (2014). Hà um balbucio que faz vibrar a linguagem nesses romances; um quase falar que acontece a promover a inconsistÃncia dos sujeitos da narrativa enquanto organismos, e da linguagem enquanto estrutura, acontecendo ambos como movimento de abertura do ser da linguagem, onde surge e fala a coisa mesma, o ser da linguagem acontecendo numa fala sem voz a dizer infinitamente. à esse quase dizer que fala na narrativa que deseja narrar; à ele que estamos a procurar ouvir.

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