A piece of the whole world

from Bach to Hirondina Joshua

Abstract

This study investigates the presence of Johann Sebastian Bach in the poem “Fuga em Ré Menor” (2016) by Hirondina Joshua, considering Mozambique as a plural country and as part of a world that dialogues, through its artistic and cultural production, with diverse forms of art created in other spaces and times. This investigation is based on the premise that the poem directly relates to Bach’s “Toccata and Fugue in D Minor” (1703–1709) and proposes a reading that articulates both works. To this end, it takes into account the idea, expressed by Biller, that Bach represents “the beginning and the end of all music” (Biller, 2010, s.p.). This notion is further supported by the book Bach (2014), written by the Portuguese writer Pedro Eiras, in which Bach, though not a narrative voice, is perceptible throughout each chapter, revealing his presence across different parts of the world through works created by artists from various artistic genres. This brief article demonstrates that Bach is present in Mozambique through the poetry of Hirondina Joshua. By invoking the composer’s work in the title, the poet imbues her poem with the sense of mystery and anguish characteristic of Bach’s toccata. Contributing to critical discussions surrounding the concept of World Literature, and understanding Mozambique as a country that encompasses cultures from across the world and throughout history, this study seeks to outline an interartistic reading that focuses on the relationship between music and literature, from Bach to Hirondina Joshua.