In the late 1970s, Brazil was experiencing the return to democracy through a gradual political opening and the re-birth of its civil society. Writing Identity examines the intricate connections between artistic production and political action. It centers on the politics of the black movement and the literary production of a Sao Paulo-based group of Afro-Brazilian writers, the Quilombhoje. Using Pierre Bourdieu's theory of the field of cultural production, the manuscript explores the relationship between black writers and the Brazilian dominant canon, studying the reception and criticism of contemporary Afro-Brazilian literature. After the 1940s, the Brazilian literary field underwent several transformations. Literary criticism's displacement from the newspapers to the universities placed a growing emphasis on aesthetics and style. Academic critics denounced the focus on a political and racial agenda as major weaknesses of Afro-Brazilian writing, and stressed, the need for aesthetic experimentation within the literary field. Writing Identity investigates how Afro-Brazilian writers maintained strong connections to the black movement in Brazil, and yet sought to fuse a social and racial agenda with more sophisticated literary practices. As active militants in the black movement, Quilombhoje authors strove to strengthen a collective sense of black identity for Afro-Brazilians.

"Appearing for the first time in English, these stories express the anguish and courage of women from their different classes and regions as they recognize their common restlessness and forge a new consciousness." —Booklist " . . . provocative . . . Although not all the pieces are outwardly political, there is a political edge to the book; the tone of the stories is bleak as they tell of Brazilian women's struggles with government, society, men and their own private demons. Sadlier's able translations retain a distinctive voice and style for each writer." —Publishers Weekly "Sadlier . . . has done a service to students of Comparative Literature and Women's Studies as well as to general readers who sincerely want to know what literature of quality is being written in that all-too-rarely studied Portuguese language of Brazil." —Revista de Estudios Hispanicos "The pieces . . . convey . . . the evolution in the consciousness of the writers, their sense of themselves, and their place in society as well as the changes affecting Brazil's political climate and society at large during this century." —Review of Contemporary Fiction "A superb addition to the increasing number of anthologies dedicated to Brazilian literature." —Choice "A must for any modern literary collection." —WLW Journal Women writers have revolutionized Brazilian literature, and this impressive collection will provide English readers with a window on this revolution. These twenty previously untranslated selections by some of Brazil's most important writers illustrate the remarkable power of women's voices and the important contributions they have made to twentieth-century literature.

The End centers on five friends in Rio de Janeiro who, nearing the end of their lives, are left with memories—of parties, marriages, divorces, fixations, inhibitions, bad decisions—and the physical indignities of aging. Alvaro lives alone and spends his time going from doctor to doctor and bemoaning the evils of his ex-wife. Silvio is a junkie who can’t give up the excesses of sex and drugs even in his old age. Ribeiro is an athletic beach bum enjoying a prolonged sex life thanks to Viagra. Neto is the square member of the group, a faithful husband until his last days. And Ciro is the Don Juan envied by all—but the first to die, struck down by cancer. For all of them, successful careers, personal revelations, and Zen serenity are out of the question, blocked by a seemingly insurmountable wall of frustrations. Orbiting around them are a priest questioning his vocation and a cast of complicated women, neglected and embattled by these self-involved men. Edgy and wise, this tragicomic debut delves into taboo subjects—death, infidelity, impotence, the difficulties of marriage—with unsentimental honesty, and brings Rio and these characters to life in full color.

Hilda Hilst (1930–2004) was one of the greatest Brazilian writers of the twentieth century, but her books have languished untranslated, in part because of their formally radical nature. This translation of With My Dog-Eyes brings a crucial work from her oeuvre into English for the first time. With My Dog-Eyes is an account of an unraveling—of sanity, of language . . . After experiencing a vision of what he calls “a clear-cut unhoped-for,” college professor Amós Keres struggles to reconcile himself with his life as a father, a husband, and a member of the university with its “meetings, asskissers, pointless rivalries, gratuitous resentments, jealous talk, megalomanias.” A stunning book by a master of the avant-garde.

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.

Two women take a road trip through Brazil in an exploration of identity, desire, and the limitations and possibilities of female sexuality.

A bestselling literary sensation in Brazil, a powerful debut short-story collection about favela life in Rio de Janeiro In The Sun on My Head, Geovani Martins recounts the experiences of boys growing up in the favelas of Rio de Janeiro in the early years of the twenty-first century. Drawing on his childhood and adolescence, Martins uses the rhythms and slang of his neighborhood dialect to capture the texture of life in the slums, where every day is shadowed by a ubiquitous drug culture, the constant threat of the police, and the confines of poverty, violence, and racial oppression. And yet these are also stories of friendship, romance, and momentary relief, as in “Rolézim,” where a group of teenagers head to the beach. Other stories, all uncompromising in their realism and yet diverse in narrative form, explore the changes that occur when militarized police occupy the favelas in the lead-up to the World Cup, the cycles of violence in the narcotics trade, and the feelings of invisibility that define the realities of so many in Rio’s underclass. The Sun on My Head is a work of great talent and sensitivity, a daring evocation of life in the favelas by a rising star rooted in the community he portrays.