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The great Brazilian writer Joaquim Maria Machado de Assis (1839-1908) published five of his nine novels as feuilletons in daily newspapers or fortnightly women's magazines. How were the structure and themes of those novels entangled with this serial-publication form? In da Silva's important new study, textual scholarship, critical theory and the history of the book are combined in order to trace this relationship. The most important case study is an extended consideration of Philosopher or Dog? (1891), the novel after which he abandoned the feuilleton. Through a comparison of the serial and book versions of Philosopher or Dog? and a thorough study of the periodical in which it appeared, the international women's magazine The Season , da Silva analyses the changes which the genre novel was undergoing at the end of the nineteenth century: the decline of the serial, and the standardisation of female press. Ana Claudia Suriani da Silva is Tutor of Portuguese at the University of Birmingham and Honorary Research Fellow at Birkbeck College, University of London.
The great Brazilian writer Joaquim Maria Machado de Assis (1839-1908) published five of his nine novels as feuilletons in daily newspapers or fortnightly women's magazines. How were the structure and themes of those novels entangled with this serial-publication form? In da Silva's important new study, textual scholarship, critical theory and the history of the book are combined in order to trace this relationship. The most important case study is an extended consideration of Philosopher or Dog? (1891), the novel after which he abandoned the feuilleton. Through a comparison of the serial and book versions of Philosopher or Dog? and a thorough study of the periodical in which it appeared, the international women's magazine The Season , da Silva analyses the changes which the genre novel was undergoing at the end of the nineteenth century: the decline of the serial, and the standardisation of female press. Ana Claudia Suriani da Silva is Tutor of Portuguese at the University of Birmingham and Honorary Research Fellow at Birkbeck College, University of London.
"The intellectual invention here, the worldly perception, the ultimate resignation- all give this its special interest for a special market which the earlier book will have indicated." - Kirkus Reviews
New York Times Critics’ Best of the Year A landmark event, the complete stories of Machado de Assis finally appear in English for the first time in this extraordinary new translation. Widely acclaimed as the progenitor of twentieth-century Latin American fiction, Machado de Assis (1839–1908)—the son of a mulatto father and a washerwoman, and the grandson of freed slaves—was hailed in his lifetime as Brazil’s greatest writer. His prodigious output of novels, plays, and stories rivaled contemporaries like Chekhov, Flaubert, and Maupassant, but, shockingly, he was barely translated into English until 1963 and still lacks proper recognition today. Drawn to the master’s psychologically probing tales of fin-de-siècle Rio de Janeiro, a world populated with dissolute plutocrats, grasping parvenus, and struggling spinsters, acclaimed translators Margaret Jull Costa and Robin Patterson have now combined Machado’s seven short-story collections into one volume, featuring seventy-six stories, a dozen appearing in English for the first time. Born in the outskirts of Rio, Machado displayed a precocious interest in books and languages and, despite his impoverished background, miraculously became a well-known intellectual figure in Brazil’s capital by his early twenties. His daring narrative techniques and coolly ironic voice resemble those of Thomas Hardy and Henry James, but more than either of these writers, Machado engages in an open playfulness with his reader—as when his narrator toys with readers’ expectations of what makes a female heroine in “Miss Dollar,” or questions the sincerity of a slave’s concern for his dying master in “The Tale of the Cabriolet.” Predominantly set in the late nineteenth-century aspiring world of Rio de Janeiro—a city in the midst of an intense transformation from colonial backwater to imperial metropolis—the postcolonial realism of Machado’s stories anticipates a dominant theme of twentieth-century literature. Readers witness the bourgeoisie of Rio both at play, and, occasionally, attempting to be serious, as depicted by the chief character of “The Alienist,” who makes naively grandiose claims for his Brazilian hometown at the expense of the cultural capitals of Europe. Signifiers of new wealth and social status abound through the landmarks that populate Machado’s stories, enlivening a world in the throes of transformation: from the elegant gardens of Passeio Público and the vibrant Rua do Ouvidor—the long, narrow street of fashionable shops, theaters and cafés, “the Via Dolorosa of long-suffering husbands”—to the port areas of Saúde and Gamboa, and the former Valongo slave market. One of the greatest masters of the twentieth century, Machado reveals himself to be an obsessive collector of other people’s lives, who writes: “There are no mysteries for an author who can scrutinize every nook and cranny of the human heart.” Now, The Collected Stories of Machado de Assis brings together, for the first time in English, all of the stories contained in the seven collections published in his lifetime, from 1870 to 1906. A landmark literary event, this majestic translation reintroduces a literary giant who must finally be integrated into the world literary canon.
In "The Devil's Church", by Machado de Assis, the Devil, tired of his usual role as tempter, decides to create his own church to lead mankind astray. He promises men power and pleasure, but without the fear of eternal hell, offering a religion of debauchery and hedonism. The satire deals with the corruption and hypocrisy of religious institutions, revealing human nature and its contradictions.
"In Shimon Adaf's Lost Detective Trilogy, what begins as conventional mystery becomes by degrees a brilliant deconstruction not just of genre but of our own search for meaning. Both profound and compulsively readable, these books demand to be devoured." —Lavie Tidhar, author of By Force Alone In A Detective's Complaint, the sequel to One Mile and Two Days Before Sunset, Elish Ben Zaken has traded working as a private investigator for writing detective novels based on unsolved cases from the past. He appears to live an ordinary writer’s life: meeting with his agent, attending literary conferences. But all is not quite right with Elish, who cannot escape his past so easily, especially when his sister’s daughter, Tahel, a teenager and an aspiring sleuth herself, calls on him for help. Tahel has uncovered a mystery: a young woman boarded a bus in Beersheva on a Thursday evening and stepped off in Sderot, close to the Gaza border, on Sunday evening. A bus ride that should have lasted an hour instead took three days, and the young woman remembers none of it. To assist Tahel—and, he tells himself, to conduct research for his next novel—Elish moves back to Sderot, where he grew up. His sister, Yaffa, has moved her family from Tel Aviv to a new lakeside development there; the property came cheap, despite the attractive setting, and there are murmurs that the developer fled the country before it was completed. Some of the houses still stand empty, and Tahel keeps waking up at night to find her mother staring out at the lake, convinced she is being watched. Now, in the summer of 2014, Sderot lies near the center of the Gaza–Israel conflict, and sirens and missile strikes are part of the town’s daily reality—as are violent clashes between anti-war protestors and those who oppose them. In this pressurized environment, Elish must grapple with the deep wounds of history, both personal and political, and the human need for answers in a world that offers few.
For those who study literature, Machado de Assis, the Brazilian Pyrrhonian provides a foundation for understanding one of the most important writers of the Americas. For philosophers, the book reveals a fascinating worldview, thoroughly rooted in the traditions of ancient skepticism.