Funeral will take place on Wednesday from 18:00 in the Mouse Chapel, following the funeral Thursday to the Cemitério dos Prazeres.
Adília Lopes is the literary pseudonym of the poet, chronicler, translator and documentalist Maria José da Silva Viana Fidalgo de Oliveira, born in Lisbon on April 20, 1960, according to the biography published by the Centro de Documentação de Autores Portugueses, of the General Directorate of Book, Archives and Libraries (DGLAB).
According to a source from the publisher Assírio & Alvim, the wake will take place from 6pm at Capela do Rato, in Lisbon, and the following day the “urn will close at 12pm”, a mass at 1pm with Cardinal José Tolentino Mendonça, and the burial continues at 2pm at the Prazeres Cemetery, in the parish of Estrela.
In a statement, Assírio & Alvim lamented the death of Adília Lopes, “one of the most unique voices in Portuguese poetry”who died late Monday afternoon, at the Hospital de São José, in Lisbon, “victim of prolonged illness”.
“Adília came up with a poem I wrote in my diary when one of my cats, Faruk, disappeared”said the writer in an interview with journalist Carlos Vaz Marques, cited on the DGLAB website.
Her career began as a Physics student at the Faculty of Sciences of the University of Lisbon, a course she left behind after being diagnosed “a schizo-affective psychosis, an illness of which he has always spoken openly, whether in his poetry, in chronicles, conferences or interviews”reads the biography of the Portuguese Authors Documentation Center (CDAP).
In the early 1980s, he exchanged it for the Portuguese and French Literature and Linguistics course at the Faculty of Arts. He sent his first poems to the publisher Assírio & Alvim, which selected two of them for the “Yearbook of Poetry by Unpublished Authors”, in 1984.
Shortly afterwards, he would launch his first book published by author, “A Very Dangerous Game” (1985)a work in which he begins by evoking Esther Greenwood, the narrator of “Glass Bell”, a reflection on the deep depression of the American Sylvia Plath.
In the following years, Adília Lopes published “The Poet of Pondichéry” (1986), one of her most translated works, based on a character from Diderot’s “Jacques, the fatalist”, which would be followed by “The Decollete of the Queen of Spades ” (1988), collection of poems from 1983 to 1987.
In 2000, he brought together his literary production for the first time in a single volume, “Obra”, with illustrations by Paula Rego (1935-2022) and the unpublished “The Return of Chamilly”, published by Mariposa Azual, confirming his place in literature Portuguese.
During the first decade of the new millennium, the poet’s work expanded with a privileged edition of &etc: “A Mulher a Dias”, “César a César”, “Poemas novo”, “Le vitrail la nuit”, “Notebook” .
In 2009, she brought her books together again in a single volume, this time “Dobra”, a project that took her back to her starting point, to the publisher Assírio & Alvim, to which she remained linked until the end.
These last 15 years date back to titles such as “Apanhar ar”, with drawings by the author, “Café e caracol”, “Andar a pé”, “Morning”, Capilé”, “Bandolim”, “Estar em casa”, “Dias e Dias “, to which were added three more editions of the collected poetry, “Dobra”, in 2014, in 2021 and the final one this year, when it completed 40 years of literary life.
The influences assumed by Adília Lopes include Sophia de Mello Breyner Andresen, Nuno Bragança, Ruy Belo, Roland Barthes, without leaving out Emily Brönte, Countess de Ségur and Enid Blyton.
His work has been translated into German, Castilian, French, English, Italian, Dutch, among other languages, and is represented in several Portuguese and foreign anthologies.
