Ana Hatherly


Ana Hatherly (1929-2015) was born in Porto, but moved to Lisbon at an early age. Following formal musical studies in Portugal, France and Germany, she took a degree in Germanic Philology at the Universidade Clássica, Lisbon. Her intense and varied academic career took her to London (1971-74) to pursue studies at the London International Film School, and to the University of California, Berkeley, where she was awarded a doctorate in Hispanic Literature of the Golden Age. Between 1975 and 1976 she lectured at the Centro de Arte e Comunicação Visual (AR.CO), Lisbon, and from 1976 to 1978 at the Escola Superior de Cinema do Conservatório Nacional, Lisbon.  In 1984, she joined the Portuguese Department at the Universidade Nova de Lisboa, where she established the Institute of Portuguese Studies in 1994. Over the years she undertook multiple roles in literary associations, magazines and other literature-related institutions: she was a member of the Associação Portuguesa de Escritores (APE) and one of the co-founders of the PEN Club Português, over which she presided from 1992 to1994 and which awarded her a prize in 1999 for her book Rilkeana

Spanning artworks, films, poems, novels, essays, translations, Hatherly’s production is deeply multidimensional and defies labels and boundaries. Her work is not only transdisciplinary (Pinharanda in Hatherly, 2003: 11), ranging from literature (within which she dedicated herself to fiction, poetry and translation) to visual art and cinema, but it is also frequently interdisciplinary and thus contributes to some of the most important trends and avant-garde movements of the 20th century. A visible thread in her œuvre is the relationship between word and image, drawing and writing, often shaping the creation of a meta-referential literary space in which writing exhibits plastic and gestural dimensions. On the occasion of a retrospective of her work at the Centro de Arte Moderna, Fundação Calouste Gulbenkian, in 1992, Hatherly wittily commented: ‘My work begins with writing: I am a writer who evolves with the visual arts by experimenting with the word […]; my work also begins with painting – I am a painter who evolves to literature by a process of awareness of the ties that unite all arts, particularly in our society’ (Note 1); neither purely literary nor artistic, her œuvre embraces a dialogic aesthetic of both/and.

Hatherly’s experimental and highly original approach to visual and literary representations is linked to her research on concrete, experimental poetry, which begins in 1959, and she soon becomes one of the leading figures in the Portuguese Experimental Poetry group (Po.Ex), collaborating with writers such as E.M. de Melo e Castro, António Aragão and Alberto Pimenta and co-writing some of the movement’s programmatic texts (compiled in Po.Ex: Textos Teóricos e Documentos da Poesia Experimental Portuguesa). The experimental vein visible in both her writing practice and its theoretical articulation guided Hatherly through her exploration of the possibilities of poetic language and was very much influenced by her interest in and research of baroque visual poetry, as well as by structuralist and semiotic approaches to language, Chinese calligraphy and the Japanese haiku (very much incorporated into Hatherly’s Tisanas: mini prose poems published regularly since 1969) and techniques imported from musical composition (namely the idea of a theme and its variations, most successfully explored in the poetry volume Eros Frenético [1968]). As a result, she often subverts the lyrical canon through a ludic game where the poet is also an alchemist (Hatherly, 2001: 11). Nevertheless, there are reverberations of the poetic tradition in her work, visible in the influence of poets such as Pessoa and Camões, and in more recent works, such as Rilkeana (1999) and O Pavão Negro (2003; awarded the Prémio Consagração by the Associação Portuguesa de Críticos Literários), the experimental dimension is subsumed under the emergence of a discrete lyrical voice (Manuel Portela in Publico, 5.8.2015). 

Hatherly’s artistic voice was always socially committed as well as distinctly feminine, in what is a clear contrast to the gender divide characteristic of the social, cultural and literary milieu into which she was born. Hence her experimental processes were deeply subversive and consequently inherently revolutionary, constituting a threat to the conventions of the established order and the conformity pervasive in a dictatorial society. Indeed, in a cultural and social atmosphere smothered and restrained by the totalitarian, isolationist principles defended by Estado Novo, her practice revealed a disruptive openness to the world and a feeling of freedom that only became socially materialised in 1974 with the Carnation Revolution; in fact, Hatherly was one of the first artists to explore the plastic dimension of this decisive moment through the film Revolução (1976) and her series of collages Ruas de Lisboa (1977), in which colourful political and circus posters are juxtaposed. Her subversive spirit is often permeated by a Carnivalesque principle, through which humour (recognised by all who knew her well), transgression, perpetual movement and regeneration are successfully evoked as in the notorious Anagramático, (1970) or in the reworking of the prose-poem in the Tisanas. These Tisanas also illustrate the meandering, labyrinthine nature of Hatherly’s aesthetic production in their articulation of poetry, micro-narrative and the essay.

Traversed by that radical, experimental spirit, Hatherly’s artwork cannot be separated from her activity as a writer. Her questioning of the creative act merges with specific aspects of her visual exploration of the text and develops into the creation of the visual poem, in which writing engenders images. Through these visual-literary objects she researches the manual process of writing and the visual possibilities of words, calligraphy, and textual collages. An ‘intelligent hand’ (Hatherly, 2003) repeats words, creates the contours of shapes and volumetric forms and expresses thought and gesture, message and image, drawing and writing. As a result, it shatters the traditional boundaries separating poetry, drawing and painting, celebrating experimentation, re-contextualization, re-construction and re-signification. These are processes that traverse her entire œuvre, from the appropriation of the posters the artist found in post-revolutionary Lisbon to the more recent experiments in graffiti, reworking this urban subculture (Pinharanda in Hatherly, 2003).

First exhibiting in 1969, in the Galeria Quadrante, Lisbon, Hatherly was a pioneer and a crucial artist in the introduction of innovative and radical art forms in the Portuguese art scene. She was associated with some of the most radical literary and artistic movements of the second half of the 20th century (she exchanged letters, for example, with Dick Higgins, one of the early exponents of the Fluxus movement) and regularly contributed to avant-garde journals, edited collections and group exhibitions. Her visual experimentation led her to create performances and site-specific artworks, practices that share permeable borders and through which she successfully explored her inventiveness and offered conceptual and sensorial experiences. In 1977 she participated in the exhibition ‘Alternativa Zero’ with her installation Poema D’Entro: both are landmarks in the Portuguese cultural panorama of the period, opening it up to new and radical aesthetic media. That same year she presented her performance Rotura at the Galeria Quadrum. As in Poema D’Entro, Rotura encouraged participation by the audience (no longer a passive interlocutor), whilst the artist literally embodied and en-acted the recurrent themes of her work.

In 1976 Hatherly presented the film Revolução at the Venice Biennale.  In this short film she registers the excitement and spirit of freedom experienced on the streets of Lisbon after the Carnation Revolution, offering a plastic, sensorial and emotionally charged experience of this important moment in Portuguese history through the representation of streets, murals and graffiti. She developed other cinematic experiences throughout the 1970s, some of them documentary whilst others used animation, in which she again consistently collapses the boundaries between message and gesture, figuration and abstraction, as well as exhibiting a spirit of transgression and rupture (‘rupture’ being the title also given to the film that documents her performance at Galeria Quadrum, in 1977).

Hatherly also developed an intense scholarly production, researching oriental writing and calligraphic poetry, and in particular baroque poetry and the history of visual poetry, which further expanded her erudition and fuelled her interest in ludic and intellectual games, ultimately feeding into her literary and visual work. She was an acknowledged academic in this field, having published several books on the subject (for example, A Experiência do Prodígio: Bases Teóricas e Antologia de Textos-Visuais Portugueses dos Séculos XVII e XVIII, in 1983, and O Ladrão Cristalino, in 1997, for which she was awarded the Grande Prémio do Ensaio Literário by APE). In 1988 she founded the journal Claro-Escuro, dedicated to the study of baroque literature, and in 1991 the journal Incidências. In parallel, she also dedicated herself to translation, having translated the work of authors as diverse as Nicolau Berdiaeff, Cesare Pavese and Malcolm Lowry, as well as to the promotion of avant-garde art forms in newspapers, radio and TV programmes (such as Obrigatório Não Ver, broadcast by RTP between 1978 and 1979).

Part of Ana Hatherly’s estate is currently held at the Arquivo de Cultura Portuguesa Contemporânea, Biblioteca Nacional, Lisbon, the Fundação Calouste Gulbenkian, Lisbon, the Fundação de Serralves, Porto. The Fundação Luso-Americana para o Desenvolvimento, Lisbon, also holds relevant collections. Some of her works are available online at the Po.Ex website:

Note 1:  ‘O meu trabalho começa com a escrita - sou um escritor que deriva para as artes visuais através da experimentação com a palavra [...]; O meu trabalho também começa com a pintura - sou um pintor que deriva para a literatura através de um processo de consciencialização dos laços que unem todas as artes, particularmente na nossa sociedade.’ (Obra Visual 1960-1990, Fundação Calouste Gulbenkian, 1992, my translation).

Compiled by Maria Luísa Coelho (University of Oxford)



Literary and Visual Texts

Um Ritmo Perdido (Lisbon: Author Edition, 1958)

As Aparências: Sombra, Claro-escuro, Luz (Lisbon: Sociedade de Expansão Cultural, 1959)

A Dama e o Cavaleiro: Romance (Lisbon: Guimarães Editores ,1960)

O Mestre (Lisbon: Arcádia, 1963)

Sigma (Lisbon: Author Edition, 1965)

Estruturas Poéticas – Operação 2 (Lisbon: Author Edition, 1967)

‘No Restaurante’, in Antologia do Conto Fantástico Português ed. Fernando Ribeiro de Melo (Lisboa: Edições Afrodite, 1967)

Eros Frenético (Lisbon: Moraes Editores, 1968)

Anagramas (Lisbon: Galeria Quadrante, 1969) (catalogue)

39 Tisanas (Porto: Colecção Gémeos, 2, 1969)

Anagramático (1965-70) (Lisbon: Moraes Editores, 1970)

63 Tisanas (40-102) (Lisbon: Moraes Editores, 1973)

Mapas da Imaginação e da Memória (Lisbon: Moraes Editores, 1973)

O Escritor: 1967-1972 (Lisbon: Moraes Editores, 1975)

A Reinvenção da Leitura: Breve Ensaio Crítico Seguido de 19 Textos Visuais (Lisbon: Futura, 1975)

Crónicas, Anacrónicas Quase-tisanas e outras Neo-prosas (Lisbon: Iniciativas Editoriais, 1977).

‘O Tacto’ in Poética dos Cinco Sentidos: La Dame à la Licorne ed. Ana Hatherly et al. (Lisbon: Livraria Bertrand, 1979)

Poesia: 1958-1978 (Lisbon: Moraes Editores, 1980)

‘Ana Viva e Plurilida’ in Joyciana ed. Ana Hatherly et al. (Lisbon: & Etc, 1982)

O Cisne Intacto: Outras Metáforas, Notas para uma Teoria do Poema-Ensaio (Porto: Limiar 1983)

Anacrusa: 68 Sonhos (Lisbon: & Etc, 1983)

Escrita Natural (Lisbon: Galeria Diferença, 1989)

A Cidade das Palavras (Lisbon: Quetzal, 1988)

Volúpsia (Lisbon:  Quimera, 1994)

351 Tisanas (Lisbon: Quimera 1997)

A Idade da Escrita (Lisbon: Edições Tema, 1998)

Rilkeana (Lisbon: Assírio & Alvim, 1999)

Elles: Um Epistolado (with Alberto Pimenta) (Lisbon: Editorial Escritor, 1999)

Um Calculador de Improbabilidades (Lisboa: Quimera 2001)

Itinerários (Vila Nova de Famalicão: Edições Quasi, 2003)

O Pavão Negro (Lisbon: Assírio & Alvim, 2003)

‘O Neo-Ali Babá’ (Mea Libra: Revista do Centro Cultural do Alto Minho 14, 2004)

Fibrilações (Lisbon: Quimera, 2005) (bilingual edition; translated by Perfecto E. Cuadrado)

A Idade da Escrita: E Outros Poemas (São Paulo: Escrituras , 2005)

463 Tisanas (Lisbon: Quimera, 2006)

A Neo-Penélope (Lisbon: & Etc, 2007)

Critical Essays and Edited Texts

Nove Incursões (Lisbon: Sociedade de Expansão Cultural, 1962)

‘O Todo Sucessivamente’ (Nova: Magazine de Poesia e Desenho 1, 1975/76)

O Espaço Crítico: Do Simbolismo à Vanguarda (Lisbon: Editorial Caminho, 1979)

PO.EX: Textos Teóricos e Documentos da Poesia Experimental Portuguesa [with E. M. de Melo e Castro] (Lisbon: Moraes Editores, 1981) [parts of this text are available online at Po.Ex archive: poexttdpep_mesaredonda_1977.pdf; poexttdpep_p213-234_correspondenciainternacional.pdf]

A Experiência do Prodígio: Bases Teóricas e Antologia de Textos-Visuais Portugueses dos séculos XVII e XVIII (Lisbon: Imprensa Nacional-Casa da Moeda, 1983)

Defesa e Condenação da Manice (Lisbon: Quimera, 1989)

Poemas em Língua de Preto dos Séculos XVII e XVIII (Lisbon: Quimera, 1990)

A Preciosa de Sóror Maria do Céu: Edição Actualizada do Códice 3773 da Biblioteca Nacional Precedida dum Estudo Histórico (Lisbon: Instituto Nacional de Investigação Científica, 1990)

Lampadário de Cristal, Frei Jerónimo Baía (Lisbon: Universidade Nova de Lisboa, Faculdade de Ciências Sociais e Humanas, 1990)

Elogio da Pintura, Luís Nunes Tinoco [with Luís de Moura Sobral] (Lisbon: Instituto Português do Património Cultural, 1991)

Desafio Venturoso, António Barbosa Bacelar (Lisbon: Assírio & Alvim, 1991)

‘New Assertion, Old Negation’ (Pen International 42, 1992, pp. 58-60)

Triunfo do Rosário: Repartido em Cinco Autos , Sóror Maria do Céu (Lisbon: Quimera, 1992)

A Casa das Musas: Uma Releitura Crítica da Tradição (Lisbon: Editorial Estampa, 1995)

‘Tomar a Palavra: Aspectos de Vida da Mulher na Sociedade Barroca’ (Revista da Faculdade de Ciências Sociais e Humanas: Identidade, Tradição e Memória 9, 1996, pp. 69-80)

O Ladrão Cristalino: Aspectos do Imaginário Barroco (Lisbon: Edições Cosmos, 1997)

‘A Escrita como Arte de (Re)conhecer’ in A Escrita das Escritas ed. Luís Manuel de Araújo (Lisbon: Fundação Portuguesa das Comunicações, 2001, pp. 167-74).

Frutas do Brasil: Numa Nova, e Ascetica Monarchia, Consagrada à Santíssima Senhora do Rosário, António do Rosário (Lisbon: Biblioteca Nacional, 2002)

Poesia Incurável: Aspectos da Sensibilidade Barroca (Lisbon: Editorial Estampa, 2003)

Ana Hatherly: A Mão Inteligente (Quimera, 2003)

Interfaces do Olhar: Uma Antologia Crítica / Uma Antologia Poética (with Ana Gabriela Macedo) (Lisbon: Roma Editora, 2004)

Obrigatório não Ver: E Outros Textos de Comunicação Social (Anos 1960-1980) (Lisbon: Quimera, 2009)


The Thought Fox (London, 1972)

Spaghetti Time (London, 1972)

C.S.S. (Cut-Outs, Silk, Sand) (London, 1974)

Revolução (Lisbon, 1975)

O Que É A Ciência (Lisbon, 1976)

Música Negativa (Lisbon, 1977)

Rotura (Lisbon, 1977)



Ana Hatherly: Obra Visual 1960-1990 (Lisbon: Centro de Arte Moderna Fundação Calouste Gulbenkian, 1992)

Almeida, Catarina Nunes de: ‘Ana Hatherly e a Lição Oriental’ (Desassossego 10: Dezembro 2013, pp. 4-19). Available online at:

Barroso, E. Paz: ‘Pintura e Poesia Experimental: Ambientes e Contextos na Segunda Metade do Século XX Português in Poesia Experimental Portuguesa: Contextos, Ensaios, Entrevistas, Metodologias ed. R. Torres (Porto: Edições UFP: 2014, pp. 32-47). Available online at: POEX_ebook2014_epbarroso_32-47.pdf

Bastazin, Vera: ‘Poéticas em «Ferozes Transparências»’ (Colóquio/Letras 180, May 2012, pp. 52-62)

Bernardino, Lígia: ‘A Matéria Poética de Ana Hatherly’ (Elyra 7, June 2016, pp. 117-138). Available online at:

Bordini, Maria da Glória: ‘Política e Experimentalismo em Ana Hatherly’ (Via Atlântica 11, 2007). Available online at:

Branco, Maria do Carmo Castelo: ‘Ana Hatherly: A Força da Inovação, O Poder da Memória (Reinterpretação da Figura de Mnemosine)’ in Narrativas do Poder Feminino, ed. M. J. F. Lopes, A. P. Pinto, A. Melo, A. Gonçalves, J. A. Silva, M. Gonçalves (ALETHEIA, Associação Científica e Cultural, Faculdade de Filosofia da Universidade Católica Portuguesa, 2012)

—: ‘O Mestre, os Mestres, a Mestria (a propósito de O Mestre de Ana Hatherly): Inmutabilidade/Mutabilidade’ (Impossibilia: Revista Internacional de Estudios Literarios, Universidade de Granada: Formatos y Palabras: Crear, Leer, Transmitir 1, April 2011, pp. 14-24). Available online at:

Castro, E.M. de Melo e: ‘(H)a ver Ana Hatherly: Notas sobre a Poesia Visual’ in Vôos da Fénix Crítica (Lisbon: Edições Cosmos, 1995, pp. 223-38). Available online at:

Ceccucci, Piero: ‘Ikon como Logos: A Poesia Visual de Ana Hatherly’ (Portuguese Cultural Studies 2, 2009, pp. 31-51).

Coelho, Nelly Novaes: ‘Linguagem e Ambiguidade na Ficção Portuguesa Contemporânea’ (Colóquio/Letras 12, March 1973, pp. 68-74). Available online at:

Coimbra, Prudência: A Palavra na Pintura Portuguesa no Séc. XX: Do início da República ao fim do Estado Novo ([PhD Thesis] Universidade de Lisboa, Faculdade de Belas-Artes, 2013). Available online at:

Daniel, Cláudio: ‘A Escrita em Metamorfose: Uma Leitura das Tisanas’ (Via Atlântica 11, 2007). Available online at:

—:  ‘Sonho, Mito e Escritura em Ana Hatherly’ (Desassossego 1, 2009). Available online at:

: A Estética do Labirinto: Barroco e Modernidade em Ana Hatherly (São Paulo: Lumme, 2011)

Dias, Sandra Guerreiro: O Corpo como Texto: Poesia, Performance e Experimentalismo nos Anos 80 em Portugal ([PhD thesis] Universidade de Coimbra: 2016). Available online at:

França, José-Augusto: ‘Para que o Barroco depois Viesse’ in Ana Hatherly: Obra Visual (1960-1990) (Lisboa: Centro de Arte Moderna Fundação Calouste Gulbenkian, 1992)

Garcia, José Martins: ‘Enigmas da Circularidade (sobre Tisanas, de Ana Hatherly)’ in A Cidade das Palavras (Lisboa: Quetzal Editores, 1988)

Gastão, Ana Marques: ‘O Mestre: Uma Novela Filosófica’ (Colóquio/Letras, September 2011)

—:  Ana Plurímica (Lisbon: Academia das Ciências de Lisboa, 2015)

Gomes, Maria dos Prazeres: ‘Barroco e Poesia Experimental’ (Poligrafías: Revista de Teoría Literaria y Literatura comparada 2, 1997). Available online at:

Lambert, Maria de Fátima: ‘Entre Frisos, História Verde e Invenção do Dia Claro de Almada Negreiros: Aproximações às Tisanas de Ana Hatherly’ (RCL: Revista Convergência Lusíada 34 [Special issue: Literatura e Interdisciplinaridade], July-December 2015.

—:  ‘Ana Hatherly: 1 Poética, 1 Imagética’ (Espacio/ Espaço Escrito: Revista de literatura en Dos Lenguas 25-26, 2005-06, pp. 75-91)

Lopes, Silvina Rodrigues: ‘O Espírito e a Letra’ in O Mestre [3rd edition] (Lisbon: Quimera Editores, 1995)

Macedo, Helder: "Recensão Crítica a O Mestre, de Ana Hatherly’ (Colóquio/Letras 48, March 1979, pp. 81-82). Available online at:

Madeira, Cláudia Maria Guerra:  O Hibridismo nas Artes Performativas em Portugal ([PhD Thesis] Universidade de Lisboa, Instituto de Ciências Sociais, 2007). Available online at:

Magalhães, Isabel Allegro de: ‘Os Véus de Artémis: Alguns Traços da Ficção Narrativa de Autoria Feminina’ (Colóquio/Letras 125-126, July 1992, pp. 151-168). Available online at:

Martinho, Ana Marin: Quando o Desenho Encontra a Escrita: Território Contaminado a partir da Obra de Ana Hatherly. ([Master’s Thesis] Universidade de Lisboa, Faculdade de Belas-Artes, 2007)

Martinho, Fernando J. B.: ‘Notas sobre Ana Hatherly e Fernando Pessoa’ (Via Atlântica 11, 2007). Available online at:

Monteiro, Maria do Rosário and Maria do Rosário Pimentel: Leonorama: Volume de Homenagem a Ana Hatherly (Lisbon: Edições Colibri, 2010)

Morão, Paula: ‘Recensão Crítica a O Espaço Crítico, de Ana Hatherly’ (Colóquio/Letras 65, January 1982, pp. 90-91). Available online at:

Oliveira, Silvana Maria Pessôa de: ‘Palavra - Imagem: a Poesia Portuguesa Contemporânea’ (Revista do Centro de Estudos Portugueses, 17: 21, 1997, pp. 241-252). Available online at:

Portela, M.: ‘Uma Reinvenção Visual da Leitura: A Poesia Gráfica de Ana Hatherly’ in Poesia Experimental Portuguesa: Contextos, Ensaios, Entrevistas, Metodologias ed. R. Torres (Porto: Edições UFP, 2014, pp. 48-55). Available online at: >.

Seixo, Maria Alzira Seixo: ‘Amor e Pedagogia: Prefácio a O Mestre de Ana Hatherly’ in O Mestre [2nd edition] (Lisbon: Moraes Editores, 1976)

Silva, Raquel Henriques da: ‘Ana Hatherly: Os Campos Abertos do (In)dizível’ in Ana Hatherly: A Mão Inteligente (Lisbon: Quimera Editores, 2003)

Silva, Rogério Barbosa da: ‘Escrita e Morte: Labirintos da Poesia de Ana Hatherly e Alberto Pimenta’ (SCRIPTA 10: 19, 2006, pp. 228-238)

Sousa, Carlos Mendes and Eunice Ribeiro: Antologia da Poesia Experimental Portuguesa: Anos 60 – Anos 80 (Coimbra: Angelus Novus, 2004)

Tavares, Otávio Guimarães: A Interatividade na Poesia Digital ([Master’s Thesis] Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, 2010). Available online at:

Teixeira, Cláudio: A Estética do Labirinto: Barroco e Modernidade em Ana Hatherly ([Master’s Thesis] Faculdade de Filosofia, Letras e Ciências Humanas, Universidade de São Paulo, 2009). Available online at:

—: ‘Barroco e Visualidade em Ana Hatherly’ (Cadernos de Letras da UFF, Dossiê: Difusão da Língua Portuguesa 39, 2009, pp 235-52)

—: ‘O Jogo do Mestre e da Discípula segundo Ana Hatherly (e-scrita: Revista do Curso de Letras da UNIABEU 3: 1A, April 2012, pp.1-9)

Torres, Rui: ‘Concrete Poetry in Portugal: Experimentalism and Intermediality’ (Poetica: An International Journal of Linguistic-Literary Studies [special issue Concrete Poetry: An International Debate] 74, 2010, pp. 31-45). Available online at

—: Poesia Experimental Portuguesa: Contextos, Ensaios, Entrevistas, Metodologias (Porto: Edições Universidade Fernando Pessoa, 2014). Available online at: POEX_Contextos-Ensaios-Entrevistas-Metodologias.pdf

—: ‘Visualidade e Expressividade Material na Poesia Experimental Portuguesa’ in Poesia Experimental Portuguesa: Contextos, Ensaios, Entrevistas, Metodologias ed. R. Torres (Porto: Edições UFP, 2014, pp. 9-31). Available online at:

—: ‘Visuality and Material Expressiveness in Portuguese Experimental Poetry’ (Journal of Artists' Books 32, Fall 2012, pp. 9-20)

Vasconcelos, Maurício Salles de: ‘Hatherlyana’ (Via Atlântica 11, 2007). Available online at



Costa, Horácio: ‘Entrevista com Ana Hatherly’ (Via Atlântica 11, 2007). Available online at:

Fernandes, Maria João: ‘Entrevista a Ana Hatherly’ (Arte Teoria 1, 2000)

Ferreira, Nadiá Paulo: ‘Ana Hatherly: Sou a Gata’ (O Marrare: Revista da Pós –Graduação em Literatura Portuguesa 9, 2008). Available online at:

Martinho, Fernando J. B.: ‘Entrevista com Ana Hatherly’ (Revista Hispano/Portuguesa de Poesia: Hablar/Falar de Poesia 4, 2001)

‘Entre Nós: Entrevista a Ana Hatherly’ (Universidade Aberta). Available online at:

Compiled by Maria Luísa Coelho (University of Oxford)