Soneto Pergunto aqui se sou louca Quem quer saberá dizer Pergunto mais, se sou sã E ainda mais, se sou eu Que uso o viés pra amar E finjo fingir que finjo Adorar o fingimento Fingindo que sou fingida Pergunto aqui meus senhores quem é a loura donzela que se chama Ana Cristina E que se diz ser alguém É um fenômeno mor Ou é um lapso sutil? — Ana Cristina Cesar, em “A teus pés”. São Paulo: Brasiliense, 1982. Poetry – from the Greek poíesis  – was defined as an impulse by Aristotle, a force by Schiller, and a language by Suassuna. Its creation has been crafted on papyrus, with pen, and on computers. Like a mysterious entity, an integral dweller of the poet's subconscious, it traverses generations in its multiplicity of forms, wandering between the elite and the common folk, between the idealized and the real, between what is deemed right and what is called wrong. Perhaps because, amid all its ambiguities, certainties, and definitions, poetry is nothing more than human. The first movement to explicitly recount poetry was Troubadourism, which began in the 11th century during the Middle Ages. Who would have thought that humanity would find time to be poetic amid the toil of feudal labor? From songs of friendship, love, and mockery; the poet began to name what they created, from the beautiful to the ugly, even if these names are merely illustrative. Friendship and love have not maintained their meanings through the centuries. Mockery and slander, on the other hand, have preserved their essence. Meter and lyricism traversed Troubadourism and wandered through many literary schools for years. Parnassianism warmly embraced the ideas of meticulously planned metrics, even while rejecting the emotions expressed in other schools. Extremely rational and attached to aesthetics, the Parnassians resembled wealthy, pompous cousins who inspire insecurity in their less perfectionist relatives. The cousins who came into the world to break stigmas and live for art are clearly the modernists. Modernism arrived as a prelude to what would become a breaking of standards, preparing the ground by creating new ways to express oneself artistically, seeking the true meaning in subjectivity. The Brazilian literary Five Club – Mário de Andrade, Oswald de Andrade, Menotti Del Picchia, Tarsila do Amaral, and Anita Malfatti – envisioned the Week of Modern Art, where they questioned what it means to be Brazilian through various art forms, including poetry. Poetry as resistance did not find space, but it gained it nonetheless. Nothing was received on a silver platter; everything was likely seized by force. Art, and poetry in particular, became ““o espaço de expressão e sublimação daquilo que a sociedade burguesa considera ilegal” (Pimenta, 1984). This in no way prevented the bourgeoisie from appropriating it once again and transforming it into a commodity.  “... uma coisa é certa: a liberdade da obra de arte literária implica, em certo grau, a sua inaceitabilidade da parte do poder estabelecido, ou da parte do público, ou, frequentemente ainda, da parte de ambos” (Pimenta, 1976) So, as done before in other schools, the poet blended his blood and tears, creating art once more. Even amid the urban backdrop of racism, machismo, LGBTphobia, and xenophobia, the poet found himself in the chaos. Postmodernists exist and resist, in various forms and thoughts, in the present. Poetic freedom flourished in Marginal poetry, during the mimeograph generation, where a subversive identity was forged, embracing the diversity and creativity of the poet. In the 70s, publishers exerted strong pressure on the artistic community, dictating the rules and standards of the time's writing. However, the marginal poets broke away from these impositions, publishing their texts independently, using mimeographs to reproduce their works, leading to the term "mimeograph generation." Today, marginal and marginalized, poetry emerges in countless places and forms. In the battle of slam, in the dog-eared notebook of a seventh grader, in the smile a mother gives her child who has just spoken their first words, in recognizing an unexplored story in every gaze. Poetry is resistance, but it is also rest. Poetry is the trembling sigh the poet takes amid the chaos that is life. Luisa Corloud Ana Carolina Sant’Anna Referências Bibliográficas AJZENBERG, Elza. A Semana de Arte Moderna de 1922. Revista de Cultura e Extensão USP: 25–29, 2012. BANDEIRA, Manuel. De Poetas e de Poesia. Rio de Janeiro: MEC, 1954. COUTINHO, Afrânio dos Santos. Notas de teoria literária. Petrópolis, RJ: Vozes, 2015. LUNA, Fernanda. Escolas Literárias. 26 jul. 2019. Disponível em: https://www.educamaisbrasil.com.br/enem/lingua-portuguesa/escolas-literarias . Acesso em: 14 set. 2024. MARTELO, Rosa Maria. Devagar, a poesia. Documenta, 2022. SOUZA, Warley. Poesia Marginal. 23 abr. 2024. Disponível em: https://mundoeducacao.uol.com.br/amp/literatura/poesia-marginal.htm . Acesso em: 14 set. 2024.