The Posthumous Memoirs Of Br S Cubas

"Be aware that frankness is the prime virtue of a dead man," writes the narrator of The Posthumous Memoirs of Brás Cubas. But while he may be dead, he is surely one of the liveliest characters in fiction, a product of one of the most remarkable imaginations in all of literature, Brazil's greatest novelist of the nineteenth century, Joaquim Maria Machado de Assis. By turns flippant and profound, The Posthumous Memoirs of Brás Cubas is the story of an unheroic man with half-hearted political ambitions, a harebrained idea for curing the world of melancholy, and a thousand quixotic theories unleashed from beyond the grave. It is a novel that has influenced generations of Latin American writers but remains refreshingly and unforgettably unlike anything written before or after it. Newly translated by Gregory Rabassa and superbly edited by Enylton de Sá Rego and Gilberto Pinheiro Passos, this Library of Latin America edition brings to English-speaking readers a literary delight of the highest order.

Novelist, poet, playwright, and short story writer Joaquim Maria Machado de Assis (1839–1908) is widely regarded as Brazil's greatest writer, although his work is still too little read outside his native country. In this first comprehensive English-language examination of Machado since Helen Caldwell's seminal 1970 study, K. David Jackson reveals Machado de Assis as an important world author, one of the inventors of literary modernism whose writings profoundly influenced some of the most celebrated authors of the twentieth century, including José Saramago, Carlos Fuentes, and Donald Barthelme. Jackson introduces a hitherto unknown Machado de Assis to readers, illuminating the remarkable life, work, and legacy of the genius whom Susan Sontag called “the greatest writer ever produced in Latin America” and whom Allen Ginsberg hailed as “another Kafka.” Philip Roth has said of him that “like Beckett, he is ironic about suffering.” And Harold Bloom has remarked of Machado that “he's funny as hell.”

The Black Butterfly focuses on the slavery writings of three of Brazil's literary giants--Machado de Assis, Castro Alves, and Euclides da Cunha. These authors wrote in the late nineteenth and early twentieth centuries, as Brazil moved into and then through the 1888 abolition of slavery. Assis was Brazil's most experimental novelist; Alves was a Romantic poet with passionate liberationist politics, popularly known as "the poet of the slaves"; and da Cunha is known for the masterpiece Os Sertões (The Backlands), a work of genius that remains strangely neglected in the scholarship of transatlantic slavery. Wood finds that all three writers responded to the memory of slavery in ways that departed from their counterparts in Europe and North America, where emancipation has typically been depicted as a moment of closure. He ends by setting up a wider literary context for his core authors by introducing a comparative study of their great literary abolitionist predecessors Luís Gonzaga Pinto da Gama and Joaquim Nabuco. The Black Butterfly is a revolutionary text that insists Brazilian culture has always refused a clean break between slavery and its aftermath. Brazilian slavery thus emerges as a living legacy subject to continual renegotiation and reinvention.

Few things endure like fear and fungus.In a city forever shrouded in darkness, Kalan braves the heights of the lichen covered buildings to scrub the invading fungi from the walls. What will be discovered when the secrets of The City Below the Cloud come for them? A dystopian cyberpunk novella that will leave you questioning everything you thought you knew.

“Is it possible that the most modern, most startlingly avant-garde novel to appear this year was originally published in 1881?”—Parul Sehgal, New York Times Now considered a progenitor of South American fiction, Machado de Assis’s highly experimental novel is finally rendered as a stunningly contemporary work. Narrating from beyond the grave, Brás Cubas—an enigmatic, amusing and frequently insufferable antihero—describes his childhood spent tormenting household slaves, his bachelor years of torrid affairs, and his final days obsessing over nonsensical poultices. “Rejuvenated” (Pradeep Niroula, Chicago Review of Books) by Margaret Jull Costa and Robin Patterson’s fresh new translation, Posthumous Memoirs of Brás Cubas is a work of acerbic mockery and deep pathos that offers a bird’s-eye view of how Machado de Assis launched the canon of modernist fiction.“Sprinkled with epigrams, dreams, gags and asides, the story teases, dances and delights.”—Economist

Joaquim Maria Machado de Assis (1839 – 1908) was a writer considered by many critics, scholars, writers, and readers to be the greatest name in Brazilian literature. Machado de Assis left a very extensive body of work, the result of half a century of literary labor, which includes plays, poetry, prologues, critiques, speeches, more than two hundred short stories, and several novels. "The Posthumous Memoirs of Brás Cubas" (1881) is a first-person narrative considered Machado de Assis's masterpiece. The novel, extremely daring for its time, is framed as the memoirs of a character, Brás Cubas, who writes after his death. The dedication at the beginning of the book already anticipates the humor and fine irony present throughout: "To the worm that first gnawed at the cold flesh of my corpse, I dedicate with fond remembrance these posthumous memoirs."

" A very great novel indeed."--The Nation "In superbly funny books, [Machado] described the abnormalities of alienation, perversion, domination, cruelty and madness. He deconstructed empire with a thoroughness and an esthetic equilibrium that place him in a class by himself."--The New York Times Book Review "Machado de Assis wrote some of the most deliriously adventurous fiction of the last century."--Lingua Franca "A tour de force of surprising modernity compared with the grim realism of the time. The Posthumous Memoirs of Bras Cubas displays a distinct voice--quiet, friendly, even cozy, yet full of wit and inventiveness. Cervantes comes to mind as a comparison,though the voice of Laurence Sterne (whom Machado acknowledges) can also be heard.... This is the language of visions spoken by a rogue who is trying to bedazzle and deceive the reader."--The Wall Street Journal "A 19th-century classic of Brazilian literature."--Library Journal