Herberto Helder, in the book Doze nós numa corda, publishes Edgar Allan Poe's poem as well as Mallarmé's and Artaud's translations, adding, finally, his own. We will try to evaluate the meaning of this gesture of inscribing his own name next to those of other poets with whom the task of translating is shared, observing some points of contact between his poetics and Artaud's. The search for a renovation of language will also be, for both, the area for a release from the linguistic automatisms, which implies the conception of poetry as a living, transgressive force, able to act upon the crystallized structures of the discourse.
translation; language; transgression; Herberto Helder; Antonin Artaud