Patrícia Lino (1990) is a poet, an essayist, and Assistant Professor at UCLA, where she teaches Afro-Luso-Brazilian literatures and visual arts. Lino is the author of Reciclagem do Poder (2022), Aula de Música (2022), O Kit de Sobrevivência do Descobridor Português no Mundo Anticolonial (2020), No es esto un libro (trad.: Jerónimo Pizarro, 2020), and Manoel de Barros e a Poesia Cínica (2019). She recently directed DAEDALUS 22/1 (BRA 2021), Anticorpo. A Parody of the Laughable Empire (US-POR 2019) and Vibrant Hands (US-POR 2019). She is also the author of the mixed poetry album I Who Cannot Sing (2020) and has translated authors such as Gertrude Stein (A Barriga no Ar, 2023) to Portuguese. Her current research focuses on contemporary poetry, visual and audiovisual culture, parody and anticolonialism, ​and Afro-Luso-Brazilian film. She works as a researcher member at the UCLA Latin American Institute, a collaborator at Instituto de Literatura Comparada Margarida Losa, and is the co-coordinator of A Colecção, an editorial collection of Portuguese contemporary poetry published in Brazil by Edições Macondo. Lino was also one of the invited authors of the 20th edition of FLIP — Festa Literária Internacional de Paraty (2023) and is currently teaching at Yale University as a Visiting Assistant Professor (Spring 23).


  • Ph.D. (2018) Hispanic Languages and Literatures, University of California, Santa Barbara.
  • M.A.(2013) Literary, Cultural, and Inter-artistic Studies, Faculdade de Letras da Universidade do Porto.
  • B.A. (2011) Classics, Faculdade de Letras da Universidade do Porto.


  • Afro-Luso-Brazilian contemporary poetry
  • Poetry and intermidiality
  • Afro-Luso-Brazilian literatures and visual arts
  • Afro-Luso-Brazilian film
  • Anticolonialism and post-colonial studies
  • Literary parody
  • Creative and uncreative writing
  • Poetry and illustration


Updated CV at


Based on the interdisciplinary and intermedial analysis of several Brazilian authors, such as Luís Aranha, Oswald de Andrade, Pagu, Julieta Barbara, Augusto de Campos, Ferreira Gullar, Álvaro or Neide de Sá, EXPANDED BRAZILIAN POETRY proposes three central ideas: a) the creation of “infraleituras”, a new type of expanded, performative, and anticolonial essay that unfolds in the expansion of the essayist’s own bodily faculties; b) the coincidence between intermediality and the anthropophagic practice in the development of the Brazilian avantgarde literary work; c) and, finally, the rehabilitation of the hybrid status of both canonical and forgotten literary works.

Afro-Luso-Brazilian Cinema and Short Film-Making introduces different key aspects of Afro-Luso-Brazilian decolonial, feminist, queer, black and indigenous political resistance through a variety of cinematographic objects. We will engage with significant authors, concepts, and theories of Afro-Luso-Brazilian cinema, and learn the necessary technical tools to analyze the selected films (camera angles, cuts, focus and movements, mise-en-scéne, lighting, and editing). Students will also be asked to make their own short film using these same techniques in order to better understand the difficulty, deepness, and quality of the objects studied.

Drawing on a postcolonial and Amerindian conception of empathy — which centers the move to dehierarchize all bodies — this course aims to discuss the mechanisms permitting the naturalization of the traditional literary canon. In addition, it will also explore the connection between the new and decolonized thematic centers of Afro-Luso-Brazilian contemporary poetry. There is no way of separating the growing interest of poets in plants and animals from the appearance of a poetry increasingly invested in representing, both in Brazil and Portugal, the Afro-descendant, feminine, and queer experience and its relation to visuality, non-originality, and performance. Among the authors to be studied, are Oswald de Andrade, Fernando Pessoa, Vicente do Rego Monteiro, Patrícia Galvão, Maria Esther Maciel, Ana Martins Marques, Eliane Marques, Adília Lopes, Judith Teixeira, and various other vanguardist poets and artists (Augusto de Campos, Ana Hatherly, Lygia Clark, Wlademir Dias-Pino, Neide de Sá, or Moacy Cirne).

PRACTICES OF ACADEMIC AND CREATIVE WRITINGThis seminar will focus on academic writing, creative writing, and uncreative writing. It will be based on the discussion of concepts such as essay, poem, and appropriation as well as exercises enabling students to practice, test, and experience the particularities of each one of these genres of communication. Students will also present what they produced in writing and learn more about various forms of academic presentation (conference, class, book, and job talk). In addition to all these exercises, this seminar will also feature lectures by invited speakers from the Afro-Luso-Brazilian world who will offer examples of types of presentations common in academia.

The Obsessions of Modern Luso-Brazilian Poets focuses, from a postcolonial perspective, on some of the obsessions nurtured by Brazilian and Portuguese poets of the 20th and 21st centuries — and on the variation of these differences between each respective country. Some of these obsessions focus on the question of uselessness (or, rather, of drawing pleasure from being useless), identity, the problems posed by the interdisciplinary or monodisciplinary poem, the expansion of Greco-Latin culture in the modern world, the political or aesthetic resistance, or humor. While these problems are not particular to the Portuguese-Brazilian world, they remain fundamental to understanding the most recent interests driving the central themes and problems of their poetic universes.