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Oxford Anthology of the
Brazilian Short Story

K. David Jackson,
Editor

OXFORD UNIVERSITY PRESS

Oxford Anthology of the
Brazilian Short Story
This page intentionally left blank
 Oxford Anthology
of the
Brazilian Short Story

Edited by
gk
K. David Jackson

1 2006
 1
Oxford University Press, Inc., publishes works that further
Oxford University’s objective of excellence
in research, scholarship, and education.
Oxford New York
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With offices in
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Copyright 䉷 2006 by Oxford University Press, Inc.

Published by Oxford University Press, Inc.

198 Madison Avenue, New York, New York 10016
www.oup.com
Oxford is a registered trademark of Oxford University Press
All rights reserved. No part of this publication may be reproduced,
stored in a retrieval system, or transmitted, in any form or by any means,
electronic, mechanical, photocopying, recording, or otherwise,
without the prior permission of Oxford University Press.

Library of Congress Cataloging-in-Publication Data

Oxford anthology of the Brazilian short story / edited by K. David Jackson.
p. cm.
ISBN-13 978-0-19-516759-7; 978-0-19-530964-5 (pbk.)
ISBN 0-19-516759-7; 0-19-530964-2 (pbk.)
1. Short stories, Brazilian. I. Jackson, K. David (Kenneth David)
PQ9676.O94 2006
869.3'0108981—dc22 2005028860

1 3 5 7 9 8 6 4 2
Printed in the United States of America
on acid-free paper
 To my Brazilianists, Elizabeth, Sophia,
Katharina, and Kenneth, and to all those who
discover and come to love Brazilian literature
This page intentionally left blank
 Preface

The invitation to compile an anthology of the Brazilian short story for Oxford
University Press has led me to more than two years of unexpected and gratifying
adventures. The labor of locating and selecting short stories in translation presented
me initially with a complex literary puzzle, while the long process of contacting
writers and their heirs, literary agents, and publishers added an unexpected human
and legal dimension to the construction of this anthology. Even for someone fa-
miliar with the authors and their works, the few bibliographies of Brazilian short
stories in English translation that exist are incomplete and fragmentary, thus my
first task was to survey all of the published works in English that could be located.
The sixteen floors of densely packed books in Yale’s Sterling Memorial Library
added a certain sense of mystery to my search, not to mention months of good
exercise in hot, humid weather. Copying hundreds of stories and compiling new
bibliographies occupied month after month. Were it not for Yale’s immense library,
where I spent a summer in the stacks, the task of locating rare published stories
would have been much more difficult. One thing led to another, until I held in my
hands, for example, the single issue of Inter-American Magazine from 1918 or the
London journal Life & Letters from 1943. The interlibrary loan department was
an essential resource, which was called upon to produce copies from even rarer
titles, such as the anthology Love Stories published in São Paulo in English. I am
grateful to librarian Cesar Rodrı́guez of the Latin American Collection, who gave
valuable assistance in locating bibliographies of published stories in translation, and
I would especially like to thank Lawrence Hallewell for a copy of his own compi-
lation of Brazilian stories in English translation, which he sent to me from England.
The number of Brazilian stories located was naturally much greater than could be
included in a single anthology, and it was often difficult to choose.
In selecting stories for the anthology, my goal was always to include the classic
stories that qualify to join the best of world literature. In doing so, the anthology
seeks to familiarize its audience with the work of several dozen of Brazil’s best short
story writers, covering the period when its modern literature developed dynamically,
with stories dating from 1882 to 1996. Too many of Brazil’s major writers are
underrepresented in English translation and therefore not widely known or appre-
ciated, whether in university courses or on the shelves of readers. With the exception
of several unpublished translations, the stories to be chosen for the anthology should
have been previously translated and published, according to my charge from Ox-
ford. Therefore, my objective needed to be, on the one hand, to avoid duplicating
viii Preface

stories that had been frequently anthologized within the past fifteen years and, on
the other, to include a large number of stories by the recognized masters of the
short story, particularly Machado de Assis and Guimarães Rosa, that are no longer
in print or difficult to obtain. Some well-known stories were irresistible because
they deserve to be read by as wide an audience as possible.
Another high point of this adventure has been personal contact with many of
Brazil’s greatest writers, as I sought permission to include their work. It was espe-
cially exciting to contact authors whom I had read for many years but never met,
as in an unexpected telephone call from Lygia Fagundes Telles, or letters and
e-mails from Carlos Heitor Cony, Rubem Fonseca, Moacyr Scliar, and Dalton Trev-
isan. In other cases, I knew the writers well: Nélida Piñón and Edla Van Steen had
given lectures for the Yale Portuguese program; Milton Hatoum was a visiting
writer under a program from the Ministry of Culture; and Autran Dourado had
been introduced to me many years ago by the writer and critic Silviano Santiago. I
am grateful for their generous cooperation. I was privileged to contact relatives or
representatives of writers in the anthology. During a visit to Salvador, Bahia,
through the introduction of a close friend, I met Elizabeth Ramos, granddaughter
of Graciliano Ramos, from whom I learned much about his personality and char-
acter. I am grateful to Luı́sa Ramos Amado, Graciliano’s daughter, for her permis-
sion to print the stories. Telê Porto Ancona Lopez, my colleague from the Institute
of Brazilian Studies at the University of São Paulo, once again generously provided
contacts with the family of Mário de Andrade, and I would like to thank Carlos
Augusto de Andrade Camargo for his cooperation. Heitor Martins helped me to
contact the family of João Alphonsus, and I wish to thank Fernão Baeta Vianna de
Guimaraens and Liliana Viana de Guimarães. In the same fashion, Ana Luiza An-
drade introduced me to Lauro Oliveira, who handed my letter to the sisters of
Osman Lins in Recife. I wish to thank Sı́lvia Rubião Resende for the story by Murilo
Rubião and Renata del Giudice for the story by her late father, Victor Giudice.
I have likewise corresponded with many literary agents who represent Brazilian
authors. Very special thanks go to Ray-Güde Mertin, literary agent for Brazilian
literature in Germany, for making it possible to include stories by João Guimarães
Rosa in the anthology, as well as for her delightful and generous correspondence.
I am grateful to Agnes Guimarães Rosa do Amaral and to Vilma Guimarães Rosa
for their cooperation. Bella Campillo provided advice about the works of Clarice
Lispector and others. Literary agents in Brazil, among them Ana Luisa Chafir, Ál-
varo Gomes, Lucia Riff, and Patrı́cia Seibel, have been consistently generous and
cooperative. Glória Bordini searched for original manuscripts by Érico Verı́ssimo in
his archive and suggested that he wrote directly in English. From all of these sources,
I have learned more about copyright law than I ever thought necessary, as well as
the intricacies of markets and agents. I also wish to thank the many professional
publishers and journals for their advice and permissions, which are listed in the
acknowledgments of this book.
The Brazilian short story has attracted many talented translators over the years.
Early journals, however, often did not even include their names, and therefore much
good work remains anonymous. Where I have received rights directly from an au-
thor, I have also sought the translator’s, and I would like to recognize the fine work
 Preface ix

and generous cooperation of Ana Luiza Andrade, Thomas Colchie, Fred Ellison,
Earl Fitz, Adria Frizzi, Eloah F. Giacomelli, Elizabeth Jackson, Alexis Levitin, Eliz-
abeth Lowe, Daphne Patai, Gregory Rabassa, Darlene Sadlier, David Treece, Nelson
Vieira, Ellen Watson, and Richard Zenith.
At Oxford University Press in New York, my editors Elissa Morris, Eve Bach-
rach, Abby Russell, and Shannon McLachlan have been consistently encouraging,
tempering enthusiasm with patience. Other debts are more long-standing, for the
anthology could not have been conceived without the professors with whom I stud-
ied Brazilian literature and its masters of the short story, especially the notable
author and critic Jorge de Sena at the University of Wisconsin, Madison. In Brazil,
I learned much about the story from leading critics and professors, among whom
are Antonio Candido, Walnice Nogueira Galvão, Luiz Costa Lima, Benedito Nunes,
Fábio Lucas, and others who have written on the short story. I would like to thank
my Yale colleague Claude Rawson of the Department of English for recommending
and supporting this project and for his continuing interest in Brazilian literature.
The introductory essays owe much to Elizabeth Jackson’s careful proofreading and
pertinent suggestions. Putting the anthology together has been a solitary labor, yet
always full of enthusiasm, new discoveries, and fruitful personal contacts. I alone
am responsible for it, yet all of the work has been done in pursuit of the goal of
expanding knowledge of, interest in, and readership of Brazilian literature.
This page intentionally left blank
 Contents

Introduction: World World Vast World of the Brazilian Short Story 3

gk
Part I

Tropical Belle Époque (1880s–1921)

Machado de Assis (1839–1908)
Wedding Song 38
The Siamese Academies 42
The Fortune-Teller 48
Life 55
The Nurse 61
The Secret Heart 68
A Woman’s Arms 75
Dona Paula 82
Father versus Mother 89
Wallow, Swine! 97
José Verı́ssimo (1857–1916)
Going after Rubber 101
Returning from Rubber Gathering 106
Emı́lia Moncorva Bandeira de Mello
(pseud. Carmen Dolores) (1852–1910)
Aunt Zézé’s Tears 111
Paulo Barreto (João Paulo Emı́lio Cristóvão dos Santos
Coelho Barreto; pseud. João do Rio) (1881–1921)
The Baby in Rose Tarlatan 116
An Episode in a Hotel 121
Lima Barreto (1881–1922)
The Man Who Knew Javanese 127
xii Contents

Monteiro Lobato (1882–1948)

The Funnyman Who Repented 135

gk
Part II

Modernism (1922–1945)
Mário de Andrade (1893–1945)
It Can Hurt Plenty 150
The Christmas Turkey 160
Anı́bal Machado (1895–1964)
The Death of the Standard-Bearer 164
The First Corpse 172
Alcântara Machado (1901–1935)
The Beauty Contest 181
Gaetaninho 186
João Alphonsus (1901–1944)
Sardanapalo 189
Breno Accioly (1922–1966)
João Urso 194
Graciliano Ramos (1892–1953)
The Thief 203
Whale 211
Jorge Amado (1912–2001)
How Porciúncula the Mulatto Got the Corpse off His Back 215
Rachel de Queiroz (1910–2003)
Metonymy, or The Husband’s Revenge (Drama in Three Scenes) 223
Marquês Rebelo (1907–1973)
Down Our Street 228
E´rico Verı́ssimo (1905–1975)
Fandango: The Life and Death of a Gaúcho 235
The Guerrilla 242
The House of the Melancholy Angel 244
 Contents xiii

gk
Part III

Modernism at Mid-Century (1945–1980)

Clarice Lispector (1920–1977)
The Buffalo 262
The Chicken 268
The Smallest Woman in the World 270
The Breaking of the Bread 274
The Fifth Story 276
Miss Algrave 278
The Body 283
Plaza Mauá 288
Beauty and the Beast, or, The Wound Too Great 291
João Guimarães Rosa (1908–1967)
The Girl from Beyond 299
Much Ado 302
Sorôco, His Mother, His Daughter 312
The Third Bank of the River 315
Treetops 319
Those Lopes 325
The Jaguar 328
Osman Lins (1924–1978)
Baroque Tale or Tripartite Unity 355
Easter Sunday 366
Dalton Trevisan (b. 1925)
The Corpse in the Parlor 378
The Vampire of Curitiba 383
Paulo Emı́lio Salles Gomes (1916–1977)
Her Times Two 386
Carlos Drummond de Andrade (1902–1987)
Miguel’s Theft 404
xiv Contents

gk
Part IV

Contemporary Visions (after 1980)

Nélida Piñón (b. 1936)
Big-Bellied Cow 414
Brief Flower 419
Lygia Fagundes Telles (b. 1923)
Just a Saxophone 424
Murilo Rubião (1916–1981)
Zacarias, the Pyrotechnist 431
J. J. Veiga (1915–1999)
The Misplaced Machine 437
Moacyr Scliar (b. 1937)
The Cow 440
The Last Poor Man 443
Autran Dourado (b. 1926)
Bald Island 447
Orı́genes Lessa (1903–1986)
Marta: A Souvenir of New York 456
Rubem Fonseca (b. 1925)
Large Intestine 460
Carlos Heitor Cony (b. 1926)
Order of the Day 468
Samuel Rawet (1929–1984)
The Prophet 481
Hilda Hilst (1930–2004)
Agda 486
Victor Giudice (1934–1997)
The File Cabinet 493
Edla Van Steen (b. 1936)
Carol head Lina heart 496
 Contents xv

Caio Fernando Abreu (1948–1996)

Dragons . . . 502
Milton Hatoum (b. 1952)
The Truth Is a Seven-Headed Animal 510

Selected Bibliography 515

Acknowledgments 519
This page intentionally left blank
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