Mia Couto

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Publisher: Gale, a Cengage Company
Series: Dictionary of Literary Biography
Document Type: Biography; Critical essay
Length: 2,388 words

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About this Person
Born: July 05, 1955 in Beira, Mozambique
Nationality: Mozambican
Occupation: Writer
Other Names: Couto, António Emílio Leite



  • Raiz de orvalho: Poemas (Maputo: Cadernos Tempo, 1983); republished as Raiz de orvalho e outros poemas (Lisbon: Caminho, 1999).
  • Vozes anoitecidas (Lisbon: Caminho, 1986); translated by David Brookshaw as Voices Made Night: A Landmark in Mozambican Prose Fiction (Oxford & Portsmouth, N.H.: Heinemann, 1990).
  • Cronicando (Maputo: Notícias, 1988; Lisbon: Caminho, 1991).
  • Cada homem é uma raça: Estórias (Lisbon: Caminho, 1990); translated by Brookshaw as Every Man Is a Race (Oxford: Heinemann, 1994).
  • Terra sonâmbula (Lisbon: Caminho, 1992); translated by Brookshaw as Sleepwalking Land (London: Serpent's Tail, 2006).
  • Estórias abensonhadas (Lisbon: Caminho, 1994).
  • A varanda do frangipani (Lisbon: Caminho, 1996); translated by Brookshaw as Under the Frangipani (London: Serpent's Tail, 2001).
  • Contos do nascer da Terra (Lisbon: Caminho, 1997).
  • Vinte e zinco (Lisbon: Caminho, 1999).
  • Mar me quer (Lisbon: Caminho, 2000).
  • Pensatempos e improvérbios (Lisbon: Mar Além, 2000).
  • O último voo do flamingo: Romance (Lisbon: Caminho, 2000); translated by Brookshaw as The Last Flight of the Flamingo (London: Serpent's Tail, 2004).
  • Um rio chamado tempo, uma casa me quer (Maputo: Ndjira, 2000).
  • O gato e o escuro (Lisbon: Caminho, 2001).
  • Na berma de nenhuma estrada e outros contos (Lisbon: Caminho, 2001).
  • Mamíferos de Moçambique, by Couto and Augusto Cabral (Maputo: Ndjira, 2002).
  • Um rio chamado tempo, uma casa chamada terra (Lisbon: Caminho, 2002); translated by Brookshaw as A River Called Time (London: Serpent's Tail, 2008).
  • O fio das missangas: Contos (Maputo: Ndjira, 2003).
  • O país do queixa-andar: Crónicas jornalísticas (Maputo: Ndjira, 2003).
  • A chuva pasmada (Lisbon: Caminho, 2004).
  • Pensatempos: Textos de opinião (Lisbon: Caminho, 2005).
  • Pensando igual, by Couto, Moacyr Scliar, and Alberto da Costa e Silva, edited by Célia Rodrigues (Maputo: Moçambique Editora, 2005).
  • O outro pé da sereia: Romance (Lisbon: Caminho, 2006).
  • Idades, cidades, divindades: Poesia (Lisbon: Caminho, 2007).
  • Pensageiro Frequente (Lisbon: Caminho, 2007).
  • Venenos de Deus, remédios do diabo: As incuráveis de vila Cacimba: Romance (Lisbon: Caminho, 2008).
  • O beijo da palavrinha (Lisbon: Caminho, 2008).
  • Jerusalém: Romance (Lisbon: Caminho, 2009).
  • Antes de nascer o mundo (Lisbon: Caminho, 2007).
  • E se Obama fosse africano? e outras interinvenções (Lisbon: Caminho, 2009).
  • Editions in English: "The Birds of God," in The Heinemann Book of Contemporary African Short Stories, edited by Chinua Achebe and C. L. Innes (Oxford & Portsmouth, N.H.: Heinemann, 1992), pp. 67-71.
  • "Grandma's Blood Is Staining the Carpet," Literary Review, 38 (Summer 1995): 604-605.


  • Laurinda Alves, Um dia atrás do outro: Crónicas da vida real, preface by Couto (Lisbon: Oficina do Livro, 2001).
  • Heliodora Baptista, Nos joelhos do silêncio: Poesia, preface by Couto (Lisbon: Caminho, 2005).
  • Leila M. G. Hernandez, A Africa na sala de aula: Visita à história contemporânea, preface by Couto (São Paulo: Selo Negro Edições, 2005).
  • Celina Martins, O entrelaçar das vozes mestiças: Análise das poéticas da alteridade na ficção de Édouard Glissant e Mia Couto, preface by Couto (Estoril: Principia, 2006).


Mia Couto is a white Mozambican author of novels, short stories, poems, and chronicles; he is also a biologist and ecologist, an environmental consultant, a political activist, and an art lover. The many neologisms that he has created have had the effect of differentiating Mozambican Portuguese from the language as spoken and written in Portugal, Brazil, East Timor, and Macau and in other Lusophone African countries.

António Emílio Leite Couto was born in Beira in the province of Sofala in south-central Mozambique on 5 July 1955. His parents--Fernando Couto, a poet, translator, journalist, and political dissident, and Maria de Jesus Couto--were immigrants from northern Portugal. He has two brothers: Fernando Amado, born in 1953, and Armando Jorge, born in 1962. Since his early childhood Couto has been fond of cats; his pen name, Mia (He, She, or It Meows), is the third-person singular, present-tense form of the Portuguese miar (to meow). Playing with Mozambican children, he learned the Sena language; he developed an interest in oral literature by listening to local storytellers' recitations of folktales and legends.

Couto went to school in Beira from 1961 to 1971. In 1969 he published his first poems in the newspaper Notícias da Beira (Beira News). He enrolled in the Curso de Medicina (School of Medicine) in the Mozambican capital, Lourenço Marques (renamed Maputo in 1976), in 1971. There he witnessed student revolts against the Portuguese colonial regime by such groups as the pro-Soviet Associação Académica (Academic Association) and the clandestine LEMA (Liga dos Estudantes Moçambicanos [League of Mozambican Students]). In 1972 he joined Frelimo (Frente de Libertação de Moçambique [Mozambican Liberation Front]), the anticolonial guerrilla movement formed in 1964. In April 1974 he received a letter from the Frelimo leadership asking him to abandon the study of medicine and become a journalist to publicize the political agenda of the movement. He started writing for A Tribuna (The Tribune), a newspaper that was sympathetic to the Frelimo cause. Mozambique gained its independence on 25 July 1975, and Samora Machel, who had led Frelimo since 1969, became the country's first president.

Couto was the director of the Agência de Informação Nacional (National Information Agency) from 1976 to 1979. From 1979 to 1981 he worked for the weekly periodicals Tempo (Time) and Domingo (Sunday). While working for the newspaper Jornal de Notícias (News) from 1981 to 1985 he published his first book, the poetry collection Raiz de orvalho (1983, Root of Dew). In 1985 Couto and Ungulani Ba Ka Khosa (pen name of Francisco Esaú Cossa) were corecipients of the National Fiction Award, conferred by the Association of Mozambican Writers.

In 1986 Couto's Vozes anoitecidas (Sleepy Voices; translated as Voices Made Night: A Landmark in Mozambican Prose Fiction, 1990), a collection of fourteen short stories, was published to wide critical praise. In 1987 Couto received the Areosa Pena Annual Journalism Award from the National Journalist Organization. That same year he returned to the Curso de Medicina to complete his studies. Cronicando (Chronicling), a collection of Couto's columns of the same title in the Jornal de Notícias, appeared in 1988. The forty-nine pieces deal with people's daily lives, where, as the author says, "Mozambiqueness is forged."

Couto graduated from the Curso de Medicina in 1989 with a degree in biology and became a professor of ecology at the Universidade Eduardo Mondlane in Maputo. His "Cronicando" column received the 1989 Annual Journalism Award. The following year Vozes anoitecidas was awarded the Grand Prize of Narrative. After leaving full-time journalism, Couto continued to write the weekly Queixatório (his neologism for "Complaint Column") for Domingo.

Nearly 80 percent of Mozambicans speak Portuguese as a second language; as they learn the tongue they also remodel and re-create it so that it can better express their reality. Couto's short-story collection Cada homem é uma raça (1990; translated as Every Man Is a Race, 1994) is written in this hybrid Portuguese to make his readers aware of the greatness of their linguistic heritage, even if it violates the norms imposed by European and Brazilian Portuguese. The eighteen stories deal with Portuguese colonial rule, the 1975 to 1991 civil war, and the themes of racial, national, class, and ethnic identity. "Princesa Russa" is set during the nineteenth-century gold rush in Manica, the province bordering Zimbabwe. The protagonist works in a mine that belongs to a Russian immigrant family; his humble origins do not allow him to court their daughter, "the princess."

Couto's first novel, Terra sonâmbula (1992; translated as Sleepwalking Land, 2006), is set during the civil war, and the characters' lives are portrayed with a strong and brutal realism. Tuahir, an old man, and Muidinga, a boy, are running away from the fighting. On the road they find a burned-out bus and take shelter in it. In an old suitcase Muidinga discovers eleven notebooks in which another boy, Kindzu, has written about his life. Terra sonâmbula now becomes the story of Kindzu as read by Muidinga. The story-within-the-story ends with the death of Kindzu: "Therefore, the letters, one by one, are gradually transforming themselves into grains of sand and, slowly, my writings are transforming themselves into pages of land."

Vozes anoitecidas won the 1993 National Prize for Literature. In 1996 Couto published A varanda do frangipani (The Balcony of the Frangipani; translated as Under the Frangipani, 2001), a novel about arms smuggling during the civil war in which various characters narrate their own stories. The work was well received by critics as well as by the reading public.

In 1998 Couto was unanimously inducted into the Academia Brasileira de Letras (Brazilian Academy of Letters); he was the first African writer to receive this honor. In 1999 he won the Consagração Award from the Fundaç ão Nacional da Cultura (National Foundation of Culture, Mozambique), or FUNDAC, in Maputo and the Prémio Virgílio Ferreira (Virgílio Ferreira Prize) from the University of Évora in Portugal. Later that year he published Vinte e zinco (Twenty and Zinc), a pun on the Portuguese words vinte e cinco (twenty-five) and zinco (zinc), to celebrate the twenty-fifth anniversary of the Revolução dos Cravos (Carnation Revolution), which restored democracy in Portugal after forty-six years of military dictatorship. The Lisbon-based publisher Editorial Caminho had asked a select group of its authors to write works of fiction dealing directly or indirectly with the revolution. Couto's novel takes place in Mozambique between 19 and 30 April 1974. Death, poverty, and ancient traditions are constants; the zinc is part of the tin that, together with wood, makes up the huts in the poor neighborhoods in most Mozambican towns and cities. Vinte e zinco shows that the Revolução dos Cravos might have brought freedom and hope to the Portuguese in Portugal, but it did little for the Africans in Mozambique.

Couto's novel O último voo do flamingo (2000; translated as The Last Flight of the Flamingo, 2004) is set in the first years of postwar Mozambique and centers around the mysterious disappearance of five blue berets--United Nations soldiers--who were part of a mission sent to maintain peace and security and assist in the transition to a stable country. The blue berets, in their naive arrogance, thought that they knew best, particularly when it came to border issues, internal as well as external. One day, though, they simply vanished, leaving no trace of their former existence. Were they killed? If so, how? The investigation begins. The novel won Couto the first Prémio Mário António (Mário António Award) from the Calouste Gulbenkian Foundation in Lisbon. Later in 2000, Terra sonâmbula received the Danish ALOA Prize from the Centre for Literature from Africa, Asia, Latin America, and Oceania as the best Third World novel. Later that year, the Teatro Meridional group at the Teatro Taborda in Lisbon performed the play Mar me quer. Moçambique. Portugal, an adaptation of Couto's novel Mar me quer (2000, The Sea Wants Me); the title is another of Couto's neologisms, since malmequer is Portuguese for the pot marigold flower. Against the backdrop of a small Mozambican coastal town, the novel tells the story of Zeca Perpétuo, an ailing and elderly fisherman, in love with Luarmina, a not-so-pretty, overweight, and elderly woman. Despite her feelings of strong affection toward him, Luarmina considers Zeca only as a very good friend. In the end, Zeca succumbs to illness. However, as the story unfolds, Zeca discovers that Luarmina is his father's presumed dead lover; he had promised to his dying father that he would pay daily homage to her soul by the sea.

In October 2001 Couto published his first children's book, O gato e o escuro (The Cat and Darkness), with illustrations by Danua Wojciechowska. In 2002 the novel was chosen by the jury for the Zimbabwe International Book Fair in Harare as one of the twelve best African books of the twentieth century and received the Noma Award for Publishing in Africa.

In 2002 Couto received the prestigious Africa Today Award from the magazine Africa Today in Maputo and the Procopius Prize of Literature in Lisbon. In 2003 he received the the José Craveirinha National Literature Award from the Association of Mozambican Writers for his novel Um rio chamado tempo, uma casa chamada terra (2002, A River Called Time, a House Called Earth; translated as A River Called Time, 2008). Also in 2003 Couto received the Rádio Leiria Award in Leiria, Portugal. That same year, Couto was decorated with the Order of St. James of the Sword by the president of Portugal, Dr. Jorge Sampaio, and the Order of Rio Branco by the then-president of Brazil, Dr. Luiz Inácio Lula da Silva.

Couto published Pensatempos: Textos de opinião (Thoughts Lost in Time: Texts of Opinion)--Pensatempos is a neologism--in April 2005. It is a collection of eighteen articles, letters, and papers that Couto published or delivered orally between November 2000 and March 2005 in Mozambique and abroad. In 2007 Terra sonâmbula was adapted for the screen by Ebano Multimedia, Filmes de Fundo, and Instituto do Cinema, Audiovisual e Multimédia in Mozambique and Portugal.

On more than one occasion Couto has asserted that he is not aware of the existence of a true Mozambican literature. His idea of a national literature is one that encompasses not only authors but also people reading and discussing literature in libraries and cafés; it is a literature that it is studied and critiqued. Such a literature is lacking in Mozambique. Instead, Couto sees several literatures in Mozambique, including those written in the Shona, Makonde, and Macua languages, as well as in Mozambican Portuguese, the tradition to which he belongs.

As an ecologist, Couto shows families who live in the forests along the Mozambican coastline how to use the natural resources around them rather than waiting for help from the government or other institution. He lives in Maputo with his wife, Patricia, and their children Dawany, Luciana, and Rita, but spends the majority of his time in the forest. There he collects myths, legends, and beliefs that are intertwined with nature.

Mia Couto is considered one of the most important of the new generation of Lusophone African writers because of his inventive intermarriage of standard Portuguese and the local registers introduced by Mozambicans who speak Portuguese as a second or third language. This new language is imbued with ancient oral traditions and lore. Couto's works have been translated into Afrikaans, Bulgarian, Croat, Czech, Danish, Dutch, English, French, German, Greek, Finnish, Hebrew, Icelandic, Italian, Norwegian, Slovenian, Spanish, and Swedish, and have been distributed in more than twenty-five countries.




  • António Loja Neves, "Entrevista a Mia Cuoto," Expresso (12 December 1992): 67-69.
  • Enilce do Carmo Albergaria Rocha and Michel Laban, "Entretien avec Mia Couto," Notre Librairie: Revue du Livre Afrique, Caraïbe, Océan Indien, 113 (April-June 1993): 69-72.
  • Bernard Magnier and Laban, "Entretien avec Mia Couto," Notre Librairie: Revue du Livre Afrique, Caraïbe, Océan Indien, 113 (April-June 1993): 72-76.


  • Fernanda Angius, "Uma leitura de Vozes anoitecidas," Tempo, no. 878 (9 August 1987): 25-34.
  • Angius and Matteo Angius, Mia Couto: O desanoitecer da palavra. Estudo, selecção de textos inéditos e bibliografia anotada de um autor moçambicano (Praia-Mindelo: Embaixada de Portugal, Centro Cultural Português, 1998).
  • Laura Areias, "Heroínas da ficção africana: Entre a guerra da cultura e a cultura da Guerra," Estudos Portugueses e Africanos, 30 (July-December 1997): 27-32.
  • David Brookshaw, "Four Mozambican Writers," Wasafiri: Journal of Caribbean, African, and Asian and Associated Literatures and Film, 10 (Summer 1989): 2-4.
  • Brookshaw, "Frontiers Crossed and Frontiers Lost: Some Thoughts on the Fiction of Mia Couto and José Eduardo Agualusa," in A Primavera Toda para Ti: Homenagem a Hélder Macedo / A Tribute to Hélder Macedo, edited by Hélder Macedo, Margarida Calafate Ribeiro, Teresa Cristina Cerdeira, Juliet Perkins, and Phillip Rothwell (Lisbon: Presença, 2004), pp. 250-254.
  • Brookshaw, "Mia Couto: A New Voice from Mozambique," Portuguese Studies, 5 (1989): 188-217.
  • Filomena Cabral, "Xipalapala: Cada homem é uma raça," Notícias, 6 July 1992, p. 7.
  • Alberto Carvalho, "Representação conotativa, escuta e escrita da vida em Mia Couto (Cada homem é uma raça)," Quaderni Ibero-Americani: Attualità Culturali della Penisola Iberica e America Latina, 90 (December 2001): 104-108.
  • Fernanda Cavacas, Mia Couto: Acrediteismos (Lisbon: Mar Além, 2001).
  • Cavacas, Mia Couto: Brincação vocabular (Lisbon: Mar Além, Ministério dos Negócios Estrangeiros, Instituto Camões, 1999).
  • Cavacas, Mia Couto: Pensamentos e improvérbios (Lisbon: Mar Além, 2000).
  • Patrick Chabal, "Karingana wa Karingana: Mia Couto as Story Teller," in A Primavera Toda para Ti: Homenagem a Hélder Macedo / A Tribute to Hélder Macedo, pp. 256-261.
  • Chabal, "Mia Couto or the Art of Storytelling," Portuguese Literary and Cultural Studies, 19 (Spring 2003): 105-129.
  • Chabal, The Postcolonial Literature of Lusophone Africa (Johannesburg: Witwatersrand University Press, 1996), pp. 71-72, 77-85, 99-102.
  • Joanna Corteau, "D'A varanda do frangipani à morte dos heterónimos," Lusorama: Zeitschrift für Lusitanistik / Revista de Estudos sobre os Países de Língua Portuguesa, 50 (June 2002): 73-84.
  • Pietro Deandrea, "'History Never Walks Here, It Runs in Any Direction': Carnival and Magic in the Fiction of Kojo Laing and Mia Couto," in Coterminous Worlds: Magical Realism and Contemporary Post-Colonial Literature in English, edited by Francesco Casotti and Carmen Concilio (Amsterdam & Atlanta: Rodopi, 1999), pp. 209-225.
  • Fionna Gonçalves, "Narrative Strategies in Mia Couto's Terra sonâmbula," Current Writing, 7, no. 1 (1995): 60-69.
  • Perpétua Gonçalves, "Linguagem literária e linguagem corrente no português de Moçambique," Estudos Portugueses e Africanos, 33-34 (January-December 1999): 113-121.
  • Gonçalves, "Situação linguística em Moçambique: Opções de escrita," Colóquio/Letras, 110-111 (July-October 1989): 88-93.
  • Michel Laban, Moçambique: Encontro com escritores, volume 3 (Porto: Fundação Engenheiro António de Almeida, 1998), pp. 995-1040.
  • José Pires Laranjeira, "Mia Cuoto e as literaturas africanas de língua portuguesa," in María Josefa Aldeamil Postigo and José S. Ares Montes, eds., Revista de Filología Románica Anejos. La narrativa en lengua portuguesa de los últimos cincuenta años: Estudios dedicados a José S. Ares Montes (Madrid: Universidad Complutense, Servicio de Publicaciones, 2001), pp. 185-205.
  • Laranjeira, Inocência Mata, and Elsa Rodrigues dos Santos, Literaturas africanas de expressão portuguesa (Lisbon: Universidade Aberta, 1995), pp. 309-319.
  • Ana Mafalda Leite, "Oralidade, Vozes, língua: Vozes anoitecidas, Mia Couto" and "Oralidades, escritas: Ilhas, mares, rios e confluências: Rio Seco, Manuel Rui; Terra sonâmbula e A Varanda do Frangipani, Mia Couto," in her Oralidades & escritas nas literaturas africanas (Lisbon: Colibri, 1998), pp. 39-52, 67-80.
  • Leite, "A sagração do profano: Reflexões sobre a escrita de três autores moçambicanos. Mia Couto, Rui Knopfli e José Craveirinha," Vértice: Revista de Cultura e Arte, 55 (July-August 1993): 37-41.
  • Maria Lúcia Lepecki, "Mia Couto, Vozes anoitecidas, o acordar," in Sobreimpressões. Estudos de literatura portuguesa e africana (Lisbon: Caminho, 1988), pp. 175-178.
  • Maria Manuel Lisboa, "Colonial Crosswords: (In)voicing the Gap in Mia Couto," in Postcolonial Perspectives on the Cultures of Latin America and Lusophone Africa, edited by Robin Fiddian (Liverpool: Liverpool University Press, 2000), pp. 191-212.
  • Chesca Long-Innes, "The Psychopathology of Post-Colonial Mozambique: Mia Couto's Voices Made Night," American Imago: Studies in Psychoanalysis and Culture, 55 (Spring 1998): 155-184.
  • Goretti López Heredia, "African Literature in Colonial Languages: Challenges Posed by 'Minor Literatures' for the Theory and Practice of Translation," in Less Translated Languages, edited by Albert Branchadell, and Lovell Margaret West (Amsterdam: Benjamins, 2004), pp. 165-176.
  • João Louro, "Mia Couto: O mito e a realidade," Jornal de Letras, Artes & Ideias, 11 (11 February 1992): 6.
  • Luís Madureira, "The Surplus Historicity of a Discarded Army Boot: Mia Couto, Political Violence, and the 'Withering Away' of the Postcolonial Nation-State," Ellipsis, 3 (2005): 87-118.
  • Adewale Maja-Pearce, "Mia Couto: Lack of Access Makes the Press More Bureaucratic," Index on Censorship, 19 (May 1990): 28.
  • Lázaro Manhiça, "Lília Momplé e Mia Couto ganham prémio Caine para África," Notícias, 4 July 2001), pp. 1, 3.
  • Teresa Manjate, "Uma Leitura de Vozes anoitecidas," Tempo, no. 907 (28 February 1988): 22-36.
  • Gilberto Matusse, A construção da imagem de moçambicanidade em José Craveirinha, Mia Couto e Ungulani Ba Ka Khosa (Maputo: Universidade Eduardo Mondlane, Livraria Universitária, 1998).
  • Hélder Muteia, "Questões e considerações sobre Vozes Anoitecidas," Tempo, no. 856 (8 March 1987): 40-41.
  • José N. Ornelas, "Mia Couto no Contexto da Literatura Pós-colonial de Moçambique," Luso-Brazilian Review, 33 (Winter 1996): 37-52.
  • Laura Cavalcante Padilha, "Por terras de África com Hélder Macedo e Mia Couto," in her Novos pactos, Outras ficções (Lisbon: Novo Imbondeiro, 2002), pp. 104-119.
  • Marcelo Panguana, "Vozes anoitecidas--a outra leitura possível," Tempo, no. 857 (15 March 1987): 43-44.
  • Lisângela Daniele Peruzzo, "Veredas desanoitecidas: Um estudo comparado das relações de poder e submissão em Sagarana e Vozes anoitecidas," dissertation, Universidade de São Paulo, 2002.
  • Margarida Calafate Ribeiro, "Empire, Colonial War, and Post-Colonialism in Portuguese Contemporary Imagination," Portuguese Studies, 18 (2002): 3-54.
  • Enilce do Carmo Albergaria Rocha, "A utopia do diverso: O pensamento glissantiano nas escritas de Éduard Glissant e Mia Couto," dissertation, Universidade de São Paulo, 2001.
  • Ilídio Rocha and Laban, "Mia Couto, premier et dernier (?) chroniqueur mozambicain," Notre Librairie: Revue du Livre: Afrique, Caraïbes, Océan Indien, 113 (April-June 1993): 69-72.
  • Phillip Rothwell, "Frontier Deliquescence in the Texts of Mia Couto," dissertation, University of Cambridge, 2000.
  • Rothwell, "Fuzzy Frontiers, Mozambique: False Borders--Mia Couto: False Margins," Portuguese Studies Literary and Cultural Studies, 1 (Fall 1998): 55-65.
  • Rothwell, "Mirroring Imperial Endings: Recognizing the Unknown in Nationalized Lusophone Texts," Hispania, 85 (September 2002): 486-493.
  • Rothwell, A Postmodern Nationalist: Truth, Orality, and Gender in the Work of Mia Couto (Lewisburg, Pa.: Bucknell University Press, 2004).
  • Andrés Xosé Salter Iglesias, "Translating Mia Couto: A Particular View of Portuguese in Mozambique," in Less Translated Languages, pp. 177-187.
  • Nelson Saúte, "A reinvenção da língua portuguesa," Vértice, 55 (1993): 75-76.
  • Maria Alzira Seixo, "Mia Couto: Olhares sobre o Mundo," Jornal de Letras, Artes & Ideias, 19 June (1996): 22.
  • Ana Cláudia da Silva, "A infância da palavra: Um estudo comparado das personagens infantis em Mia Couto e Guimarães Rosa," dissertation, Universidade de São Paulo, 2000.
  • Calane da Silva, "Vozes Anoitecidas: O cantor ou a canção?" Tempo, no. 855 (8 February 1997): 15-23.
  • Rodrigues da Silva, "Um escritor abensonhado," Jornal de Letras, Artes & Ideias, no. 622 (17 August 1994): 14-16.
  • Leonor Simas-Almeida, "A redenção pela palavra em Terra sonâmbula de Mia Couto," Revista da Faculdade de Letras, 19-20 (1996): 159-168.
  • Francis Utéza, "Mia Couto: A Lenda da Noiva e do Forasteiro ou la quête de la 'Mozambicanité,'" Quadrant, 12 (1995): 177-188.
  • Utéza, "Mia Couto: 'A Princesa Russa' ou au nom da la mère," Quadrant, 11 (1994): 129-148.
  • Utéza, "'Mulher de mim' ou da dialética do eu e do inconsciente," in Contatos e ressonâncias: Literaturas africanas de língua portuguesa, edited by Ângela Vaz Leão (Belo Horizonte: Editora PUC Minas, 2003), pp. 247-263.
  • Yara Frateschi Vieira, "A pá e a chuva: Sobre cultura e natureza num Conto de Mia Couto," Estudos Portugueses e Africanos, 10 (1987): 65-68.


Source Citation

Source Citation   

Gale Document Number: GALE|H1200014198