anja saile literary agency

Transcrição

ANJA SAILE LITERARY AGENCY
2013
Rights List
In the Nordic countries contact Vikings of Brazil | [email protected]
Anja Saile Literary Agency
Schönhauser Allee 72E
D-10437 Berlin
Germany
Mail [email protected]
Phone +49-(0)30-44733136
Mobil +49-(0)175 5065782
Ronaldo Correia de Brito
Brazil
São Paulo Prize for Literature 2009
Ronaldo Correia de Brito was born in Ceará in northeast Brazil in
1951 and now resides in Recife. A practising doctor, he has published the highly acclaimed collections of stories Faca (2003) and Livro dos Homens (2005). He is also the author of theatre plays and
works for various magazines. Ronaldo Correia de Brito was awarded a scholarship as writer in residence at the University of Berkeley, California, in 2007. Galiléia is his debut novel, for which he
was awarded the prestigious São Paulo Prize for Literature in 2009.
Galiléia (Galilee)
The cousins Ismael, Davi and Adonias are cutting across the Sertão in the Northeast
of Brazil on their way to visit their grandfather Raimundo Caetano, the fatally ill patriarch of the fazenda Galiléia. All three have spent parts of their childhood on the
fazenda, yet later did all they possibly could to break ties with the abundant members
of the family. Having spent a few years in Europe and in the United States they have
set up their lives in São Paulo, Recife and Norway respectively. Back on the old and
decaying fazenda of the once wealthy family, they are caught up by the past and its
tales of betrayal, adultery and vengeance. It soon becomes painfully clear, that they
never truly escaped the violence and family secrets they had struggled to forget and
suppress for all these years.
Grabbed by suspense, the reader’s heart will take delight in the prophecies, the half-dead, the quiet of
the Caatinga vegetation. The narrative is as dense and as tough as the rocky soil of the Sertão.
O Globo
In his debut novel … he cuts out the bible and as with a conundrum, reassembles all the parts with great
aptness and above all sensitivity.
Folha de S.Paulo
Like the famous collection of stories by Borges, the novel by Ronaldo Correia de Brito is a book of sand.
Once read through to the end, it leaves our hands dusty.
O Globo
His method of construction is cinematographic. In a lean, sparing and reduced manner, he combines the
fragments of traditional oral storytelling and with the rubble of the ruins in the Sertão and of the classic
tragedy he erects a literary cathedral.
O Estado de S.Paulo
Schönhauser Allee 72E D-10437 Berlin Germany
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Ronaldo Correia de Brito
Brazil
Estive lá fora (I Was Out There)
Estive lá fora is set in Recife in North-Eastern Brazil in the late 60s and early 70s.
Cirilo, a young student of medicine who finances his studies as well as supporting his
parents, experiences the bleak years after the military coup in 1964 like a sleepwalker who roams the streets of Recife, continually plagued by feelings of fear, guilt and
helplessness. His relationship with young Paula, whom he had to share with his friend
Leonardo, is over. His parents, who live on a remote large estate, reproach him for
distancing himself from his older brother who went underground as a militant communist. The father, who disapproves of his eldest sons’ political convictions, nonetheless
collects all the news he can find about him. Cirilo rebels against his professors loyal to
the regime, however, opposes any kind of political activity and gravitates towards the
hippie culture and the alternative art scene. He sees the poverty in the dirty slum areas
of Recife, the churches and former prisons, remnants of a past coined by suppression
and arbitrariness. The older brother could be betrayed and killed at any point in time,
a thought that drives his father to insanity and equally pains Cirilo, who feels love and
hate for his brother at the same time.
It is with great empathy that Estive lá fora tells of Cirilos daily battle, his suppressed
anger and the feeling of being excluded and without orientation and his growing interest in literature and art, which lend him the strength to survive.
A post card sent straight from 1970s Recife that has only been delivered to us now…
Ronaldo Correa de Brito is more than a writer. He is an architect of worlds that are being demolished.
Pernambuco
Rights sold:
Galiléia, Rio de Janeiro: Objetiva/Alfaguara 2008, 236 p.
Sample translation in English
Argentina:
Adriana Hidalgo 2010
France:
Liana Levi 2010
Israel:
Babel
Estive lá fora, Rio de Janeiro: Objetiva/Alfaguara 2012, 184 p.
Stories:
Faca, São Paulo: Cosac Naify 2003
France:
Chandeigne 2013
Mail
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Eliane Brum
Brazil
Eliane Brum was born in Ijuí, in the south of Brazil in 1966. She has worked as
a journalist, writer and documentary filmmaker. In two decades of reporting she
has won over 40 national and international awards in journalism, among them the
Premio Rey de España and the Inter American Associated Press Award. In 2008,
she received the United Nations Special Press Trophy. In the field of documentary
film, she was co-director and co-writer of Severina's Story (2005), winner of over
20 national and international awards. Eliane Brum currently works as a freelance
journalist. She is a regular columnist for Época news magazine.
Uma Duas (One Two)
In her debut novel, Eliane Brum delves into a mother-daughter relationship. It is
a psychological thriller that begins with the mother’s near-death and charges on
towards the final page at a breath-taking pace.
Laura, a forty-something journalist with a fertile imagination tries to escape her
mother’s influence and shuns all contact with her. She receives a call one morning
from a spiritual centre that her mother had regularly frequented. She had not
called in for days. As Laura enters her mother’s apartment she finds her lying on
the floor, completely famished. In hospital she is diagnosed with a fatal cancer.
With great reluctance Laura is now forced to take care of her mother.
In order to distance herself Laura had begun to write down her personal story,
thereby reinventing her own persona. The boundaries between the real and fictive
Laura, between reality and fiction become blurred. The mother too is given the
opportunity to voice her own version. Everyday life is depicted with a dreamlike
focus. Reality is punctured by fantastic elements and leaves behind a nightmarish
aftertaste. With great insight and dark humour Laura reveals the dishonesty of her
fellow people as well as the abysses in a seemingly ideal world.
It is not every day one comes across an author such as Eliane, for whom writing is an act of crossing
borders, an existential transgression rather than a virtuoso exercise.
O Globo
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Eliane Brum
Brazil
A Vida que ninguém vê (A Life Nobody Sees)
A Vida que ninguém vê is a collection of reportages that Eliane Brum wrote
for the newspaper Zero Hora and for which she was awarded the Jabuti Prize in 2007. Eliane Brum exercises a type of literary journalism, that centres
around seemingly unimportant stories about anonymous people, whom she
encounters at eye level. Her reportages about the real life on the periphery of
important events therefore tell so much the more about the current history
and society of Brazil.
O Olho da rua (The Eye of the Road)
O Olho da rua unites 10 reportages that Eliane Brum composed for the
newspaper Época. They take the reader to the peripheries of large cities as
well as the Amazon region of Brazil. Empathetically and with a great sense for
what is important but not told, Eliane Brum describes the remarkable in the
ordinary lives of the people she encounters.
… without claiming to write literature, she exercises a journalism capable of lifting its readers up into the
universe of dreams.
Correio Braziliense
Rights available
Uma Duas, São Paulo: Leya 2011, 178 p.
Reportages:
A Vida que ninguém vê, Porto Alegre: Arquipélago 2007, 196 p.
O Olho da rua, São Paulo: Globo 2008, 420 p.
Sample translation in German
Mail
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José Castello
Brazil
Born in Rio de Janeiro in 1951, José Castello is a Master of Communication and writes for various Brazilian newspapers. He has won numerous awards for his essays and studies on Brazilian literature. For Ribamar he won the renowned Jabuti Prize in 2011. Castello lives in Curitiba.
Ribamar
Ribamar tells the story of the first person narrator José and his attempt to reconcile with his deceased father, who to him seemed overpowering and standoffish. The feeble and overanxious son identifies with Kafka’s “Letter to My Father”
to which he frequently refers. Curious about his father’s origin, he travels to the
latter's birthplace Parnaíba. Yet even here his questions remain unanswered.
The conflict with his father, whom the narrator visits at the nursing home in
the beginning of the book, the disturbing incidents and dreams that he describes in a highly poetic and precise language, reveal the ambivalence between
power and powerlessness, between strength and weakness. Ribamar is therefore above all an impressive reflection on failure, frailty and transitoriness.
Rights sold:
Fantasma, Rio de Janeiro: Record 2001, 384 p.
Ribamar, Rio de Janeiro: Bertrand Brasil, 2010, 280 p.
Sample translations in English and German
Italy: Portugal: Urogallo
Dom Quixote 2012
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Marcus Freitas
Brazil
Marcus Freitas was born in Belo Horizonte (Minas Gerais/Brazil) in 1959 and
studied Portuguese Language and Literature as well as Literary Theory. His first
novel, Peixe Morto was awarded the Petrobras Cultural Prize (2007) and he
was a finalist for the prestigious São Paulo Literary Prize (2009). Marcus Freitas lives in Belo Horizonte and teaches Literary Theory at the University UFMG.
© Diogo Droschi
Peixe morto (Dead Fish)
On his early morning run around the lake of Pampulha in Belo Horizonte the
first-person narrator of Peixe morto comes across the disfigured corpse of
a familiar entrepreneur floating in the water. Instantly struck by the fear of
being accused of murder, he believes that the half a dozen Acará fish hanging from the dead man’s mouth only serve the purpose of slandering him
and his scientific investigation on foreign natural scientists who researched
Brazilian fish species around 150 years ago. His affair with the young and
extremely seductive wife of the entrepreneur may have played a part too.
The primary setting for the plot of this highly gripping crime novel is the
visionary building complex of Pampulha designed by Oscar Niemeyer with
its artificial lake, by now completely contaminated. Property speculators,
environmental activists, art dealers, mercenary businessmen and corrupt
politicians fight for their area of influence and everything seems to circle
around the greediness that is awakened in them by the Acará fish and its
congeners. With great skill and an ironic twinkle in his the eye, the author interweaves the various trails the main character follows on his quest
for the real murderer with short, partly fictive reports by followers of the
creationism of the mid-19th century, who on their quest to find counter
evidence to Darwin’s Theory often failed due to the inhospitality of Brazil.
Without disappointing fans of entertaining and unpretentious literature, Peixe morto equally attracts readers who are prepared to contemplate a little.
Folha de S. Paulo
Rights available:
Peixe Morto, Belo Horizonte: Autêntica, 2008. 208 p.
Mail
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Aida Gomes
Angola
Aida Gomes was born in Lundimbale, Huambo in Angola in 1967. She has lived in
Portugal as well as the Netherlands where she studied sociology. Gomes has had
jobs in Cambodia, Mozambique, Suriname, Angola, Liberia, Sudan and in GuineaBissau, where she currently works for the UN peacekeeping mission. Os Pretos de
Pousaflores is her debut novel.
Os Pretos de Pousaflores (The Blacks of Pousaflores)
Os Pretos de Pousaflores tells the story of the family of Silvério Prata, who flees
from the Angolan civil war after the country’s independence in the mid-1970s and
returns to his home village in Portugal. His three children Justino, Belmira and
Ercília, born by three different Angolan mothers, accompany him to the backward
Pousaflores, where they are met with rejection and prejudice. In her moving, empathetic and poetic novel, the author lends each character an own voice. Against
the backdrop of the 1970s and 1980s, it is a presentation of dreams, hopes and
disappointments which traces the partly tragic lives of the individual family members. Among them are also Silvério’s sister and his wife Deodata, who was left
behind in Angola and solely heads off to Portugal on the search for her daughter
Ercília. Os pretos de Pousaflores describes the very complex interaction between
the individual characters, who are portrayed with all their weaknesses, inconsistencies and prejudices. Little by little, the family whose fate is closely tied to the
relation between Angola and the former colonial power Portugal breaks apart. The
novel is therefore also a reflection on the painful process of decolonisation and the
return of the Portuguese emigrants to their home country.
This inventive and well-written novel full of humour and irony is characterised by
a polyphony of voices that are all interrelated by Aida Gomes’ powerful and highly
poetic manner of writing. They range between the real and the imaginary and flow
with the rhythm of a vast African river.
Expresso
Rights sold:
Os Pretos de Pousaflores, Lisbon: Dom Quixote 2011, 302 p.
Brazil:
Língua Geral
Mail
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André de Leones
Brazil
André de Leones was born in Goiânia in 1980 and grew up in the
small town of Silvânia. After graduating in film studies and spending time in Brasília and Jerusalem he is now based in São Paulo.
His debut novel Hoje está um dia morto was awarded the Prémio
SESC for literature in 2008.
Dentes negros (Black Teeth)
Dentes negros takes place in the near future and is set in a post-apocalyptic Brazil,
where a mysterious disease has wiped out large parts of the population within only
a few hours. Whole families have been extinguished. Left behind are ghost towns
where looting youth gangs terrorise the few survivors. Shortly after the catastrophe
the screenwriter Hugo meets a young woman named Renata in a bar in São Paulo.
Alexandre, a young soldier who has been moved to the province encounters Ana
Maria. Being the only survivor of her family she has retreated into complete isolation.
With plenty of omissions, narrational leaps and interweaving this short allegoric novel tells of an existence after the apocalypse, the seemingly banal everyday life and
omnipresent violence. Everything seems stuck in a state of uncertainty, somewhere
in between the past and the future. The characters of this most remarkable novel
are ridden by feelings of forlornness and anxiety, sentiments so typical of our times.
Mail
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André de Leones
Brazil
Terra de casas vazias (Country of Vacant Houses)
Terra de casas vazias is set in the years of 1986, 2007 and 2009 in various Brazilian
cities, such as the capital Brasília and São Paulo, as well as Jerusalem. Arthur, a parliamentary advisor to a senator involved in a corruption scandal, and his wife Teresa
have recently lost their little son. Arthurs’ cousin Aureliano is a police investigator who
cannot overlook the violence he is faced with daily. His wife Camila is terminally ill.
In order to gain some distance from their grief, Arthur and Teresa are planning a holiday to Jerusalem, where they encounter individuals from other countries that seem
equally as lost. Marcela, a cousin of Arthur, also spends a few months in Jerusalem together with her friend Nathalie, whom she had met at a rehab centre. The characters
in Terra de casas vazias are around 30 and are unified by their common melancholy
and loneliness. They are foreigners wherever they go and estranged from their own
selves. The people around them, even their partners remain out of reach. The world
and its landscapes disappear in this multi-layered metaphorical novel. Places are interchangeable, a mere façade, behind which lies a gaping void. Terra de casas vazias
is a book about an aimless generation that undertakes nothing to counter the violence
and corruption in its country; that in a shrinking world feels it cannot escape the crises
and tries to switch off reality with drugs and entertainment; a generation that doesn’t
believe in political solutions and already fails at interpersonal relationships.
Rights available
Hoje está um dia morto, Rio de Janeiro: Record 2006, 157 p.
Como desaparecer completamente, Rio de Janeiro: Rocco 2010, 192 p
Dentes negros, Rio de Janeiro, Rocco, 2011, 144 p.
Sample translation in German and Spanish
Terra de casas vazias, Rio de Janeiro: Rocco 2013, 278 p.
stories:
Paz na terra entre monstros, Rio de Janeiro Record 2008, 176
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Adriana Lunardi
Brazil
Adriana Lunardi was born in Xaxim, in the Brazilian state of Santa Catarina, in
1964. She studied Communications and literature and worked as a journalist
and in the advertising industry. She currently writes texts and screenplays for
Brazilian television.
Her literary career began with the well-received volume of short stories As meninas da Torre Helsinque (1996), which won two Brazilian literary awards. The
author lives in Rio de Janeiro.
Corpo estranho (Strange Body)
Mariana lives in the solitude of the mountains surrounding Rio de Janeiro. When
her brother José died she became nearly resilient to emotions and since has
dedicated herself wholly to the drawing of tropical flora. Now only Paulo, her late
brothers’ friend manages to bother her from time to time by reconstructing the
brothers’ weekend home nearby. The tense relationship between Mariana and
Paulo that has already been marked by aversion, jealousy and accusation long
before José died a sudden death twenty years ago proposes numerous riddles.
Yet one day, Mariana, well over 70 by now, asks Paulo to bring her a special shade of colour from Rio de Janeiro which she urgently needs to capture the imminent blossom of a rare bromeliad – an event she has been waiting for excitedly
for weeks. Paulo, a successful gallery owner from Rio de Janeiro in turn sends off
young Manu, who divides her time between roaming the dreary quarters of Rio
de Janeiro photographing graffiti and working in his gallery. Since her childhood
Paulo has been a caring friend in the life of Manu, a sufferer of a severe form of
diabetes. With great tension Mariana awaits the arrival of Manu and Paulo, who
comes to pick up Manu the following day bearing bad news.
In a language as rich as the Atlantic rain forest, Corpo estranho tells about a
subliminal, never exploding tension between the characters, the finite nature of
life and the significance of a single moment on which everything can depend and
which can bring fortune to one and great woe to the other.
It is ultimately a reflexion on the urgency and brevity of life; written in the authors’ uniquely precise style,
enriched by images and metaphors and linguistically refined artistry.
Zero Hora
Simple? You’re mistaken. Perhaps it would be simple if we weren’t dealing with a novel by one of our
greatest writers.
O Globo online
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Adriana Lunardi
Brazil
A vendedora de fósforos (The Little Match Girl)
After years of separation the narrator of A vendedora de fósforos who lives as a
writer in Rio de Janeiro receives the news of her sisters suicide attempt. Long suppressed memories are promptly revived. The journey to her sisters in a small town
in Southern Brazil, where her father had finally settled down with his wife and three
children after numerous relocations, also becomes a voyage back to childhood. The
nomadic life of the father who cannot establish himself as a bookkeeper and who
is always on the run from debts, makes it impossible for his children to develop a
bond to other family members, friends or even places. The mother lives in her own
phantasy world and accepts a subordinate role to her husband, the older brother
jumps at the first chance to escape his family.
Adriana Lunardi portrays the conflict between a never-ending childhood and the
borders experienced by the characters who struggle for an identity as they come
of age. It remains unclear which of the two sisters is the first-person narrator or
whether they take turns in an artful game of reflection. A vendedora de fósforos
is a gripping, poetic and dense mosaic of a relationship between two sisters, who
share the dream of being a writer, rival each other but also share numerous secrets.
In her novel Adriana Lunardi intricately deals with the clash between reality and imagination. The fight for
an identity becomes a soundless struggle with death.
Valor Econômico
With A vendedora de fósforos Adriana Lunardi once again pursues a literary project, which not only stands
out due to the undeniable skill of her prose, but moreover investigates the borders of what literature is
able to relate.
O Globo
The reading is furthermore made more agreeable and arresting due to the authors’ precision in creating
beautiful and perfect images. (…) thereby lending her novel with its short and piercing sentences and its
waltz-like rhythm a certain magnitude. (Adriana Lunardi) is about to begin one of the most brilliant literary
careers in our day.
Rascunho
I have always been an impulsive and anxious reader and have often interrupted (…) not so with this beautiful novel by Adriana Lunardi. The ending, no matter from which point of view, causes bafflement and makes you think for days about what life can harbour. That’s how it is. Here is a book that deserves attention.
Zero Hora
Mail
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Adriana Lunardi
Brazil
Rights sold:
Corpo estranho, Rio de Janeiro: Record 2006, 272 p.
A vendedora de fósforos, Rio de Janeiro: Rocco 2011, 192 p.
stories:
Vésperas, Rio de Janeiro: Rocco 2002, 130 p
Argentina: Bajo la luna 2008
Croatia: Alfa 2006
France: Joëlle Losfeld/Gallimard 2005
Portugal: Bico de Pena 2006
US & Canada:
Tagus Press
Mail
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David Machado
Portugal
David Machado was born in Lisbon in 1978. Having studied Economics, he published his debut novel O fabuloso teatro do gigante in
2006 as well as collected stories and childrens’ books, for which he
was awarded numerous prizes. His second novel Deixem falar as pedras was published in 2011.
Deixem falar as pedras (Let the Stones Talk)
Young Valdemar is fascinated by the stories of his grandfather, Nicolau Manuel, who has
recently moved into his family home. Valdemar is keen on heavy metal music, never
laughs and beats his classmates. His best friend is the anorexic Alice. Despite Valdemar’s
father’s disapproval, the bitter grandfather won’t refrain from telling his grandson about
his tragic life. He recounts how as a young man he was arrested on his wedding day
and only returned to his home village many years later. Though innocent, he repeatedly
falls into the hands of the Portuguese intelligence service PIDE during the Salazar dictatorship and is gruesomely tortured by his tormentors. The person whom he accuses of
denouncing him, a young tailor, married his fiancée shortly after. When Valdemar reads
the obituary of this same tailor in the newspaper, he believes it is time to organise a
meeting between his grandfather and his true love. However, soon it emerges the tailor
is still alive after all. Had his grandfather been lying to him? Valdemar’s father had long
doubted the verity of his adventurous tales.
Deixem falar as pedras is a novel full of suspense and depth, irony and black humour. It
portrays the urge of an adolescent to find out the truth about the past and to look beyond the smooth surface, which obscures the memories and the questions about the true
victims and culprits. After the sudden death of his grandfather, Valdemar must choose
which truth to live with in the future.
There is something deeply humane about this story of the Pide and fascism, love and strokes of fate; about
how to lose a life where the goats graze and how to influence the future of a grandchild many years later.
Público
We sincerely believe that Deixem falar es pedras will be talked about for a very long time.
Jornal de Letras
Read this novel and be swept away by a mercilessly ironic story penned by an exceptional writer. As only
great literature is capable of, this story first seduces its reader then leaves him behind, bewildered and
Sol
enriched.
Rights sold:
O fabuloso teatro do gigante, Lisbon: Presença 2006, 212 p.
Italy:
Cavallo di Ferro 2009
Deixem falar as pedras, Lisbon: Dom Quixote 2011, 334 p.
Brazil:
Leya
France:
de l‘Aube
Italy:
Cavallo di Ferro
Stories:
Histórias possíveis, Lisbon: Presença 2008, 99 p.
Morroco: Racines Editions
Mail
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Ana Paula Maia
Brazil
Ana Paula Maia was born in Rio de Janeiro in 1977. She has published numerous
collections of stories. Her second novel A guerra dos bastardos was published in
2007. The novellas Entre rinhas de cachorros e porcos abatidos and O trabalho sujo
dos outros (2009) along with her third novel, Carvão animal (2011) make up the
Saga dos brutos (Saga of Brutes).
© Marcelo Correa
A guerra dos bastardos (The War of Bastards)
A guerra dos bastardos tells the story of forlorn and failed individuals. There are
murderers, drug dealers and porn actors who always choose the worst solutions to
save their skins. It all begins when the seedy porn actor Amadeu comes across a
bag of cocaine in his influential boss’s office. He tries to sell it and comes across a
range of strange people, such as the impoverished Horácio, who works in the film
industry, Edwiges D’Lambert, a limping mafia-style movie producer and Gina Trevisan, a debt-ridden boxer.
A guerra dos bastardos tells of the wars in gangland intelligently, ironically and with
plenty of dark humour. Maia reveals the absurd element of violence. The characters
that live at the shabby bottom of society aren’t evil, they are psychopathic, schizophrenic and have a different set of values. There is no way out for them.
A woman one can’t get away from. She reads Dostoevsky and spits out Tarantino.
Rolling Stone Brasil
Ana Paula Maia’s characters are not troubled by their souls, nor their hearts, but by their livers.
O Estado de São Paulo
Maia, whose style draws on pulp literature, is one of the most interesting writers to emerge in recent times.
Folha de São Paulo
One has to understand a great deal about fiction, reality and the representation of reality in order to be
able to write like that.
O Globo
What makes her style so fascinating is her ability to create images of a cinematic quality by the medium
of text.
O Globo
Ana Paula Maia writes like a veteran, but with the force of a debutante.
Cult
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Ana Paula Maia
Brazil
Carvão animal (Animal Carbon)
Carvão animal is the story about the fireman Ernesto Wesley and his brother Ronivon, who works at the crematorium in the fictive city of Abalurdes, which always
seems to be aflame. The brothers lead a simple life. One of them fights the fire, the
other depends on it to dispose of the bodily remains of human existences.
Carvão animal confronts the reader with a shocking reality that is all too often
pushed aside. Maia uses an unadorned style to describe how these peoples’ lives
on the edge of society are very much coined by their work. Not wanting to raise
attention, the brothers search for a way to make their lives a little more bearable
without losing their dignity.
Despite its straightforwardness Carvão animal is also a poetic novel that deals with
the physical universe and material, rather than metaphysical death.
Rights sold:
O habitante das falhas subterrâneas, Rio de Janeiro: 7 Letras 2003, 192 p.
A guerra dos bastardos, Rio de Janeiro: Língua Geral 2007, 300 p.
Germany:
A1
Serbia:
Rende 2011
Carvão animal, Rio de Janeiro: Record 2011, 160 p.
France: Anacaona
stories:
Entre rinhas de cachorros e porcos abatidos, Rio de Janeiro: Record 2009, 160 p.
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Altair Martins
Brazil
Altair Martins was born in Porto Alegre in 1975. He studied Literature and works as a teacher in Porto Alegre. His collections of
stories have been awarded numerous prizes. A Parede no escuro
(The Wall in Darkness) is his debut novel and has won him in 2009
the renowned São Paulo Prize for Literature in the debut category.
A Parede no escuro (The Wall in Darkness)
It is pouring down with rain and Adorno the baker is delivering his bread with an estate in the early hours
of the morning. Mathematics teacher Emanuel is also on the road on the way to his fatally ill father, who
needs accompanying to the doctors. In the darkness Emanuel is not aware of the baker, runs him over in
a hit and run accident.
In a most skilful manner Altair Martins interweaves the stories of both Adorno´s and Emanuel´s families
to create a metaphorically dense novel. While Adornos wife Onira and his daughter Maria do Céu are both
unaware of who killed their husband and father and too afraid of searching for the culprit, Emanuel is not
sure whether his father who witnessed the accident from his window was able to recognise him. A Parede
no escuro is a gripping account of inner conflicts and touches on the topics of guilt and responsibility, escape and abandonment. It portrays the difficult relationships of Maria do Céu who studies veterinary medicine and Emanuel who has an affair with one of his pupils to their fathers. The role of the father, of both
the authoritarian and absent kind, is illuminated from all sides. In short chapters, the characters speak for
themselves and from their own perspective, lending the novel an impressive complexity.
He is one of the very few writers with the ability to capture the meaning of the inner voices of his characters and to weave them into a literary text, a beautiful literary text.
Zero Hora
After quite some time without publishing, we are now presented with his first novel A Parede no escuro. Its
opening pages already reveal the combination of captivating story line and powerful language which is so
rare in Brazilian fiction, and which despite being forged with utmost care flows naturally without acrobatics
or needless concoctions. The qualities of A Parede no escuro are of an infinite number.(…)and the final product is a dense universe, made up only of the most necessary elements, a universe where everything falls
into place harmoniously. On top of this lies an almost hallucinatory rhythm which pushes along the story.
Aplauso
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Altair Martins
Brazil
It can be claimed without fear that with this debut novel he (Altair Martins) has become one of the most
qualified contemporary authors and that his novel rates among the best of those published in Brazil in
2008.
Aplauso
He raises the minimal to become sublime, transforms coincidence into fatality and increases suspense by
simultaneity of actions reminding of a crime thriller.
Zero Hora
Rights sold:
A Parede no escuro, Rio de Janeiro : Record 2008, 253 p.
Argentina:
Adriana Hidalgo 2012
Stories:
Como se moesse ferro, Porto Alegre: WS Editor 1999
Dentro do olho dentro, Porto Alegre: WS Editor 2001
Se choverem pássaros, Porto Alegre: WS editor 2002
Enquanto água, Rio de Janeiro: Record 2011, 151 p.
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Mario Prata
Brazil
Mario Prata was born in Uberaba in the Brazilian state of Minas Gerais in
1946. He studied economic science at the USP in São Paulo, has worked
for television and written numerous highly successful theatre plays. For
many years he wrote “Crônicas” for the newspapers Estado de S. Paulo,
IstoÉ and Época. Os Viúvos is his fifth novel and third crime story, which
topped the bestseller lists for weeks and has already sold 10,000 copies.
Mario Prata now lives in Florianópolis in Southern Brazil.
Sete de Paus (The Seven of Spades)
In the southern Brazilian city of Florianópolis the police agent Ugo Fioravanti and his young assistant Darwin Matarazzo are called to investigate
the case of the murderer of the Seven of Spades. Within short time two
equally wealthy as corpulent men were killed by a single shot to the head.
The assassin cut off their dicks and placed the seven of spades card on
their bodies. One can only suspect how many more murders are to follow.
The investigations lead Fioravanti to northern Brazil, the Cape Verde Islands and Portugal. It soon emerges that the victims had become friends
years ago at a spa clinic. Along with five other overweight and humorous
men they had pulled a little prank which would later cost them their lives.
Despite his long time experience and exceptional talent, Fioravanti, who
easily succumbs to a woman’s charm only realises very late that all that
time he could have hardly been closer to the perverse serial killer.
From page one to the very last, Sete de Paus is a gripping and outrageous crime novel, moreover it pays hommage to the great authors of this
genre.
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Mario Prata
Brazil
Os Viúvos (The Widowers)
In the suspenseful and extremely humourous crime novel Os Viúvos detective and ex policeman Fioravanti is hired by a prince from Dubai to
track down a prostitute whose behind is somewhat of a legend in the
southern Brazilian city of Florianópolis. His partner Matarazzo is to take
over the case, leading to substantial marital trouble. Another mystery
which increasingly occupies ageing Fioravanti is the case of a psychopath
also at retiring age who writes him frequent emails about his sad life and
moreover claims to know him. So what would drive a conscientious former
bank employee, who set up his own business as a pensioner to earn a little
money with the sale of patent-registered corkscrews, to take revenge on
his accountant in such a gruesome manner?
Fioravanti finally locates the psychopath who is just as big a fan of crime
fiction as he is and whose life, though in many aspects completely in contrast, shows quite a few commonalities. The daughter of his long-standing
friend and ex lover also manages to find the missing prostitute. She falls
in love with her and follows her to Dubai.
Imaginative and fast-paced, the novel Os Viúvos tells us about the trouble
with Brazilian tax authorities, of criminal accountants and bank employees, who impose unprofitable investments on their customers. And it
tells of the revenge of a pensioner who innocently turned criminal.
Os Viúvos is the authors second jaunt towards a kind of book that is laden with crime, suspense, complicated dramas and always creates an equally old-fashioned as entertaining atmosphere.
Estado de S. Paulo
Rights available
Purgatório, São Paulo: Planeta 2007, 272 p
Sete de Paus, São Paulo: Planeta, 2008, 264 p
Os Viúvos, São Paulo: Leya, 2010, 285 p
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Luiz Ruffato
Brazil
Luiz Ruffato hails from Cataguases which lies in the state of
Minas Gerais in south-eastern Brazil. Born to a poor immigrant family in 1961 he initially trained as a salesman. He
soon moved to Juiz de Fora working as a mechanic by day
and studying journalism at the Universidade Federal de Juiz
de Fora at night. His first collection of short stories Histórias
de remorsos e rancores (Stories of Remorse and Resentment) was published in 1998 followed by (os sobreviventes)
©Adriana Vichi
(The Surviving) in 2000. The latter collection of narratives
was honoured with a special recommendation by the jury of
the Cuban Premio Literario Casa de las Americas. His debut
novel Eles eram muitos cavalos (There were many horses)
published in 2001 was highly acclaimed by the critics and
won the renowned Prêmio Machado de Assis by the National
Library, as well as the Prêmio Associação Paulista de Críticos de Arte. Luiz Ruffato has published poetry and essays
and is currently working on a cycle of five novels entitled
Infermo Provisório (Provisional Hell) which deals with the
history of the Brazilian proletariat since the 1950s. The author lives in São Paulo. In spring 2012 he was Distinguished
Writer in Residence at the University of Berkeley.
Eles eram muitos cavalos (There Were Many Horses)
Eles eram muitos cavalos portrays a single day in the metropolis of São Paulo in 2000. A chain of numerous
stories tells of the every day lives of the inhabitants of this chaotic, frantic and infinitely large city. Reading
through the mosaic of chapters, each is told very differently. These snapshots of lives are of figures that
all have their very own unique voice.
At a breathtaking pace, mesmerising from the very first page, Eles eram muitos cavalos introduces us to
the super rich, the desolately poor, thieves, prostitutes, gun smugglers, doctors, the jobless, street vendors, taxi drivers and children of the slums of a megapolis, where people are lost in anonymity. Normal
relationships no longer seem to exist as individuals are bound only by violence and fear. They are moving
stories of uprootedness and delusive hope and of those who were drawn to the city in search of a better
life.
Sans doute un de nos plus grands chocs de lecture de ces dernières semaines. Tant et tant de chevaux,
du Brésilien Luiz Ruffato, est une bousculade de micro-récits, de monologues brûlants, d'éclats de vie et
de souffrance. Un enchevêtrement furieux de pensées, d'obsessions, d'espoirs, de plaintes. A travers une
multitude de voix, c'est un extraordinaire portrait de São Paulo, la mégalopole brésilienne, qui se compose
peu à peu. (…) Frénétique, dévorant, le roman présente ainsi la modernité comme un enfer cacophonique.
(…) éblouissant premier roman.
Télérama
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Luiz Ruffato
Brazil
C'est un livre qui bat comme un pouls. Tant et tant de chevaux, de Luiz Ruffato rappelle, en effet, les
mots de Stefan Zweig, exilé, qui dans Brésil terre d'avenir, décrivait São Paulo comme " un rythme fort et
puissant, comme le pouls d'un coureur qui s'enivre de sa propre rapidité ", où " la beauté est remplacée
par l'énergie, qui est plus rare et a plus de prix dans les zones tropicales qu'ailleurs ". C'est d'énergies et
de conquêtes, d'un travail et de trouvailles sur la langue et sur les formes traditionnelles du roman, que
vibre le texte de Luiz Ruffato.
Le Figaro Littéraire
Ce pourrait être artificiel, inaudible, c’est au contraire une partition qui fait entendre les tumultes intérieurs, les cris qui se sont perdus derrière les parois de verre séparant les existances, la voix des regrets et
des fantômes. Un chant d’une tristesse infinie.
Livres Hebdo
(…) cet auteur brésilien né dans le Minas Gerais en 1961 a l’art de n’en faire qu’à sa tête et de pousser
l’audace narrative toujours plus loin. Sans cesse à contre-courant d’un formalisme ordinaire, il bouscule les
mots, crache les phrases, joue avec la ponctuation. Pas pour épater la galerie mais pour dire des choses
fortes, pour aller à l’essentiel, au cœur de la folie humaine.
Lire
Estive em Lisboa e lembrei de você (I Was in Lisbon and Was Reminded of You)
Fast-paced, humorous and with picaresque elements, Estive em Lisboa e lembrei de você renders the story
of Serginho from Cataguases in the south-eastern Brazilian state of Minas Gerais. Serginho, unemployed
and unhappy in marriage sets off for Lisbon in the hope of finding a well-paid job and perhaps even a new
love.
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Luiz Ruffato
Brazil
De mim já nem se lembra (I Am No Longer Remembered)
After his mothers’ death, the narrator of De mim já nem se lembra finds a pile
of letters written by his older brother who was killed in a car crash in the late
1970s. All the parents’ hopes rested on their boy, who after training to be a
mechanic would escape the lack of prospects in the small town of Cataguase
and find work in São Paulo. In the letters addressed to his mother, the son reports of seemingly random events, the loneliness of living in a foreign city, his
first love and the continuous concern for his parents health.
The letters portray life under the military dictatorship in Brazil in the early
1970s and give a moving insight into the history of a family, whose dream of a
better life is ended abruptly by the tragic death of the son.
Rights sold:
Eles eram muitos cavalos, Rio de Janeiro: Record 2007, 158 p.
(first edition - São Paulo: Boitempo, 2001)
Sample translation in English and German
Argentina:
Eterna Cadencia 2010
Croatia:
Alfa
France: Métailié 2005
Germany:
Assoziation A 2012
Italy:
Bevivino 2003
US & Canada:
Tagus Press
De mim já nem se lembra, São Paulo: Moderna 2007, 99 p.
Italy:
La Nuova Frontiera
Portugal:
Tinta da China 2012
Inferno Provisório:
Mamma, son tanto felice, V.I, Rio de Janeiro: Record 2005, 169 p.
Germany:
Assoziation A
Mexico:
Elephas 2011
O mundo inimigo, V.II, Rio de Janeiro: Record 2005, 202 p.
Mexico:
Elephas
Vista parcial da noite, V.III, Rio de Janeiro: Record 2006, 154 p.
O livro das impossibilidades, V.IV, Rio de Janeiro: Record 2008, 155 p.
Domingos sem Deus, Rio de Janeiro: Record 2011, 112 p.
Estive em Lisboa e lembrei de você, São Paulo : Companhia das Letras 2009, 83 p.
Argentina:
Italy:
La Nuova Frontiera 2011
Portugal:
Quetzal 2010
Stories :
Histórias de remorsos e rancores, São Paulo: Boitempo 1998
(os sobreviventes), São Paulo: Boitempo 2000
As máscaras singulars, São Paulo: Boitempo 2002
Participation in the anthologies:
Brasil, Warsaw: Literatura na świecie 2011
Ljud av steg, Stockholm: Tranan 2011
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Manoela Sawitzki
Brazil
Manoela Sawitzki was born in Santo Ângelo in southern Brazil in 1978. The
journalist and theatre critic works for the magazine Bravo! and is the author of
numerous scripts for television and cinema as well as award winning theatre
plays. Her second novel Suíte Dama da Noite was published in 2009.
Suíte Dama da Noite (Suite Lady of the Night)
At the age of ten Júlia Capovilla falls in love with Leon who is slightly older
and has moved to her small provincial home town. Life is not always kind to
Júlia - her mother died early, her father is of ill health and the neighbours un-
© Cristina Lacerda
friendly - and so she creates her own little world in which little white lies add
a little poetry to her existence. For Júlia only secret love stories seem to be of
significance. Soon the small lies develop into complex imaginary worlds and at
times she has difficulties recognising who she is. Júlia holds on to her secret
love for Leon for 15 years until by chance the two meet again. Leon is on the
verge of marrying the sister of her friend Klaus. To be closer to Leon, she decides to marry Klaus, whom she neither loves nor has any kind of interest in.
Yet even as Leon’s mistress he still remains beyond her reach. Nonetheless she
continues to wait and hope for her great love, for he is the chosen one, until
unexpectedly, he dies.
With Júlia Capovilla Manoela Sawitzki has created a lively figure, which in all
her frustration with reality comes across as very likeable. Despite her irrationality and tendency of clinging on to her own opinions, Julia is surprisingly levelheaded and clever. Though fundamentally a tragic figure, to whom waiting for
love is intrinsically a lie to avoid living one’s own life, Suíte Dama da Noite is an
energetically written, humourous and exciting novel.
LER
Nobody will exit this novel the same way as entering it.
Sawitzki’s style is slightly avant-garde, very poetic, yet ruthless in her portrayal of bleak everyday life (…)
“existentialist” is a convenient term, yet it would be suitable to say that we are dealing with a beautiful
story of suffering.
O Público
Writing in standby mode – as if it were nothing more than an exercise and literature were to follow. Yet
literature does not follow, it is the exercise itself.
O Globo
This novel (…) is once more proof that Brazil is generating a new fiction that seems almost too good to be
true. And this is no lie, honestly.
Time Out Lisboa
Rights sold:
Suíte Dama da Noite, Rio de Janeiro: Record 2009, 222 p.
Portugal: Cotovia 2009
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David Soares
Portugal
David Soares was born in Lisbon in 1976. O Evangelho do Enforcado is his third novel.
He is the author of various collections of short stories and graphic novels, which have
also been published in France and Spain. Working as a translator, Soares currently
lives in Lisbon.
O Evangelho do Enforcado (The Gospel of the Hanged
Man)
Nuno Gonçalves, who is born with a supernatural talent for painting, deviates from
the doctrine of the Flemish master Jan van Eyck when a dangerous obsession takes
possession of him. At the same time, after a failed crusade to Tangier, the Infant D.
Henrique leaves his brother D. Fernando behind there – a polemic act, dividing the
aristocracy and prompting the regent D. Pedro to conceive a unique piece of art. And
who would be a more suitable artist to paint it than Nuno Gonçalves, the rising star
among the court artists.
Yet the insane painter has other intentions and the painting, created by his bloodstained hands, is to change the future of Portugal.
O Evangelho do Enforcado intertwines history and imagination – a fantastic novel
about the most enigmatic Portuguese works of art: the panel painting of São Vicente.
Moreover, this novel is a harsh portrait of the greed for power and life in Lisbon towards the end of the Middle Ages. Full of vivid and pictorial rendering and furnished
with an exceptionally plentiful range of characters, it becomes a journey to the luminous world of art and the dark abyss of mental derangement.
An outstanding novel and highly successful exercise of imagination which develops an abundance of ideas.
The fluent, elegant and gripping style, supported by a solid narrative structure, makes out the quality of
this true gem.
Os meus livros
… the author proves himself to be a master at creating an atmosphere of suspense and fantasy…
Ticket Line
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David Soares
Portugal
Batalha (Battle)
Batalha is a story set in medieval Portugal in which the principal characters are
animals. A daring voyage leads the rat Batalha, who doesn’t believe in the Creator
yet wants to understand the meaning of life of humans, to the cloister of Santa
Maria da Vitória, the last project of master Alfonso Domingues.
Batalha is a book written with masterly skill, a dark, fantastical and allegoric novel
that captivates and moves its readers.
Rights available
A Conspiração dos Antepassados, Parede: Saída de Emergência 2007
Lisboa Triunfante, Parede: Saída de Emergência 2008.
O Evangelho do Enforcado, Parede: Saída de Emergência 2010, 358 p.
Batalha, Parede: Saída de Emergência 2011, 200 p.
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Cristovão Tezza
Brazil
Cristovão Tezza was born in the town of Lages, Santa Catarina, in 1952, but moved
to Curitiba when he was still a child. As well as being the author of over a dozen
published works, for which he won several literary awards, Tezza spent many years
teaching at the Federal University of Paraná and writes for leading Brazilian newspapers and magazines.
O Fantasma da Infância (The Phantom of Childhood)
O Fantasma da Infância links the stories of two men who go by the same name and whose true identities
remain unclear until the very end of the novel. One André Devinne works for an important state secretary
and lives in a beautiful house with his attractive wife. When a childhood friend, recently released from jail,
lodges himself into his house, André fears his carefully constructed new identity may give way. The other
André Devinne is a failing author with financial worries who was left by his wife. One day he is kidnapped
by a mysterious entrepreneur and drug dealer and forced to write his glorious biography. After years of
writers’ block he is finally writing a book. But what book? Are we really dealing with two different stories?
O Fantasma da Infância arrestingly and skilfully plays with the motive of the doppelganger and casts an
ironic glance at the supposed social mobility in Curitiba and Florianópolis in Southern Brazil in the early
90s.
Cristovão Tezza has written a small masterpiece full of wisdom and mystery.
Jornal do Brasil
Breve espaço (Short Space)
At the funeral of an artist friend of his, 28-year-old Tato Simmone, an either mediocre or possibly highly
talented painter from Curitiba who’s not sold a single painting to this day, meets an attractive, vampirestyle woman and a shady yet likeable art dealer. If the death of his friend and master to whom he had a
very conflict-laden relation was already upsetting enough, his new acquaintances certainly turn his life
upside down. The mysterious break-ins to his apartment; the letters from an Italian art critic, whom he
met by chance in New York and who now pours her heart out; his mother who resides in New York and
is also involved in the art trade and begs him to steal a Modigliani sculpture from the art dealers’house’
are all further causes of disconcertment. The climax of the story is the reception at the art dealers’ house
where Tato Simmone meets his seductive daughter Ariadne. She enlightens him about the forgeries in her
fathers’ art collection.
As if caught in a labyrinth, Tato Simmone is completely helpless in the face of events, as everything seems
to slip from his hands and the people around him present him with ever more riddles.
Breve espaço is a highly suspenseful novel, which toys with the crime genre and humorously reflects on
the nature of art, the complexity of human relations and the very small gap between truth and falseness.
A further work of great density by Cristovão Tezza, who continues to demonstrate his talent of painting
the world by means of literature.
A Tarde
It seems that with Breve espaço, Tezza has reached perfection in his work as a novelist, by lifting the
character-painting, their psychological density, the narrative plot and the adventures to the intellectual
level of great literature.
O Globo
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Cristovão Tezza
Brazil
O Fotógrafo (The Photographer)
O Fotógrafo renders a day in the lives of five inhabitants of the city of Curitiba on the eve of the presidential elections in the year of 2002. A photographer receives the rather mysterious assignment to secretly
capture a young woman named Íris on camera. He takes a growing interest in the woman and finally introduces himself to her. His own life is marked by a marital crisis since his wife Lídia is indulging in an affair
with her professor. The professor’s wife on the other hand turns out to be the psychologist treating Íris.
O Fotógrafo tells of a single day from five very different perspectives and reveals a middle class that is no
longer so certain of its moral values.
Prize Jabuti – Best Novel 2008
Portugal Telecom Award 2008
Shortlisted for the IMPAC Dublin Award
2012
O Filho eterno (The Eternal Son)
When his son Felipe was born with Downs’ Syndrome in 1980, it came as a great
shock to Cristovão Tezza. For years he concealed the fact that he had a disabled son,
even to his closest friends. In O Filho eterno the author reveals how hard Felipe had to
struggle for a place as his son. With admirable honesty and self-criticism Tezza speaks
of his relationship to Felipe, drawing parallels on his own existence as a writer, which
in his teens was largely coined by ill success. Yet the novel comes across as neither
sentimental nor misty-eyed. O Filho eterno is a book about failure, just as much part
of being human as the relentless willingness to learn and not to give up. Towards the
end of the novel, father and son sit down in front of the television to watch a football
match, and it reads: “… the game continues. Neither of them has the vaguest idea of
how it might end, and that is a good thing.”
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Cristovão Tezza
Brazil
The authenticity of the narrator’s voice in Cristovão Tezza’s The Eternal Son lies not only in the truth behind the experience of the author, a linguistics professor, award-winning novelist and father of Felipe, a
26 year-old man with Down syndrome. The sober voice takes the reader through a host of anxieties, guilt,
hopes, but finds that balance is possible by way of a merciless self-evaluation (…).
Folha de S. Paulo
Imagine you are a 28 year old guy, an ex-hippie, an ex-illegal immigrant in Germany, that is forced to
grow up the hard way because of a son with a disability.
O Estado de S. Paulo
Gazeta do Paraná
A ‘brutally biographic’ novel.
One of the defining features of Tezza’s work is the broken character, who is aware and torn by the distance
Revista Bravo!
between his desires and his reality.
Le Brésilien Cristovão Tezza, dont c’est le premier roman publié en France, livre une analyse sèche et désillusionnée de la paternité, son bonheur possible mais aussi sa liberté endeuillée. Phrases taillées à la serpe,
acidité du récit : Le fils du printemps pourrait bien être la révélation latino-américaine de cette rentrée.
Les Inrockuptibles
Felipe et son père vont vieillir et grandir ensemble. L’un le sait. L’autre pas. L’un finit pas dépasser „le
territoire de la normalité imaginaire“. Leur vie peut alors se résumer et commencer avec le seul dialogue
de ce livre. Dans l’ici et maintenant d’un échange enjoué de pronostics du match de football retransmis à
la télévision. „Aucun des deux ne sait comment ça va finir et c’est très bien comme ça.“
Le Magazine Littéraire
Um erro emocional (An Emotional Mistake)
As Beatriz opens the door to Paulo Donetti, an author she met the night before at a
dinner, his opening words are: „I’ve made an emotional mistake. I’ve fallen in love
with you.” Donetti had rung his admirer straight away in the morning to arrange a
meeting. He wished her to copy edit his latest novel and they decided to discuss the
details of the job in person. However, conversation now seems to drag along. Donetti
is hardly interested in Beatriz’s reaction to his abrupt declaration of love. Both characters seem lost in thought, shy and overcautious in their choice of words. They are
both caught up in their respective past. Never ceasing to analyse their own selves
and imagining how they would tell somebody else about this unusual situation. Um
erro emocional tells of the very first hours these figures who are so used to live in
solitude share together. Carefully and gradually Donetti and Beatriz attune to one
another and reveal a little about themselves. Though nothing much happens, these
hours are charged with fears, desires and hopes and are of a great intensity.
Cristovão Tezza is a master at creating two extremely lively characters within the
shortest time frame, in whose minds past memories and observations fuse with
ideas for the future and thereby unveil their personalities in all their contradiction.
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Kto 351152107
Cristovão Tezza
Brazil
… the novel broadens the premises of realism, forcing it to show its reverse side – in the same way that
firecrackers only prove their splendour once they explode.
Pernambuco
Um erro emocional initially seems to promise an intensive debate on relationships. But in its unique way,
the novel reveals itself as a romantic comedy. Despite all calamities in their past, the characters amuse
themselves at all times in their imaginary thoughts and dialogues. From misery always arises laughter.
Valor Econômico
In this game, Tezza truly demonstrates his literary finesse – with remarkable speed and rhythm the words in the
minds of the characters are followed by those actually spoken, leaving behind a feeling of dizziness and curiosity.
O Estado de S. Paulo
For more information on the author, please check his website:
www.cristovaotezza.com.br
Rights sold:
Selection:
Uma noite em Curitiba, Rio de Janeiro: Rocco 1995, 171 p.
Slovenia:
Goga 2012
O Fantasma da Infância, Rio de Janeiro: Record, 240p. first published in 1994
Breve espaço entre cor e sombra, Rio de Janeiro: Record, 311p., first published in 1998
Prêmio Machado de Assis da Biblioteca Nacional do Rio de Janeiro 1998
O Fotógrafo, Rio de Janeiro: Rocco 2004, 223 p.
Prize of the Academia Brasileira de Letras 2005 – Best Fiction
Prize Bravo! Best Book 2005
O Filho eterno, Rio de Janeiro: Record 2007, 222 p.
Prize Jabuti – Best Novel 2008
Prize APCA - Associação Paulista dos Críticos de Arte – Best Novel 2007
Prêmio Bravo! - Livro do Ano
Prêmio Portugal-Telecom de Literatura em Língua Portuguesa - 1º lugar
Australia (ANZ):
Scribe 2010
China:
People‘s Literature
Denmark:
Vandkunsten
France:
Métailié 2009
Italy:
Sperling & Kupfer 2008
Mexico:
Elephas
Netherlands:
Contact 2009
Portugal:
Gradiva 2008
Serbia:
Plato
Spain (Catalan):
Club Editor 2009
Ukraine:
Grani-T
US:
Tagus Press
Um erro emocional, Rio de Janeiro: Record 2010, 191 p.
Netherlands:
Contact 2011
Mail
[email protected]
Phone +49-(0)30-44733136
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IBAN DE 64 1001 0010 0351 1521 07
Kto 351152107
André Vianco
Brazil
André Vianco was born in Osasco in the state of São Paulo. His debut
novel which he published himself became an instant success. Today
André Vianco is counted among the most successful writers of fantastic literature in Brazil. More than 700,000 copies of his 13 vampire and
horror novels have been sold.
O caso Laura (The Case Laura)
O caso Laura is a dark crime novel laced with supernatural elements.
It tells the story of the private detective Marcel, who is ordered to
find out the particulars of the mysterious man whom a young woman
named Laura meets in her lunch break every day. Laura is ridden by
severe feelings of guilt, her fatally ill father is lying in hospital. Her
new friend appears to be the only person to provide some stability in
her difficult life. As the private detective, by now fallen in love with
Laura, continues to follow the stranger the case becomes increasingly
mysterious. In parallel the novel tells the story of Alan, a police officer who is suspected of the murder of four individuals. Together with
Gabriela, who is assigned to work on his side to observe him and his
work, Alan is ordered to solve the case of a murdered drug addict. By
and by some of the characters of O caso Laura reveal themselves to
be guardian angels. Yet when the mystery already seems solved, the
finale of the novel offers a huge surprise.
With O caso Laura, André Vianco once more proves his talent to be
able to write an intoxicating, dark and melancholic novel about guilt
and the struggle between good and evil, and to create convincing figures the reader can sympathise with.
Mail
[email protected]
Phone +49-(0)30-44733136
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André Vianco
Brazil
A Casa (The House)
Four individuals that have never met are handed a little card by a mysterious stranger. It shows an address and reads: “Alleviation for the agonised heart can be found
here”. Rosana, a single mother, had betrayed her husband who died shortly after.
Ismael, a successful club owner, cannot forgive himself for blaming his father in his
youth for his impoverished life the very day before he died. Hélio regrets not having loved and protected his sickly and feeble daughter who only lived a very short
life. Leonora, who is just about to commit suicide, was abandoned by her father
when he found out she was a lesbian. Her drug habit is destroying the relationship
with her girlfriend. All four are fighting against adverse conditions, money worries,
prejudices, alcohol and drug addictions. They stand on the edge of an abyss. The
characters are easy to identify with and their fates are moving.
There is a long queue in front of the house. A pleasant elderly lady leads them into
a room with numerous doors and hands them a cup filled with a sweetly scented
drink. As they open the doors one after the other, they relive the traumatic moments of their lives and encounter the people they are asking forgiveness from. Is
there a second chance behind these doors?
Rights available:
Selection:
A Casa, São Paulo: Novo Século 2011, 192 p.
O caso Laura, Rio de Janeiro: Rocco 2011, 272 p
Mail
[email protected]
Phone +49-(0)30-44733136
Mobil +49-(0)175 5065782
31
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IBAN DE 64 1001 0010 0351 1521 07
Kto 351152107
Paloma Vidal
Brazil
Paloma Vidal was born in Buenos Aires in 1975. She has lived in
Brazil from the age of two. Working as a translator, she also teaches
literature theory at the Universidade Federal in São Paulo. Vidal has
published two collections of stories A duas mãos and Mais ao sul.
Algum lugar is her debut novel.
© Lucio Ramírez
Algum lugar (Some Place)
Algum lugar tells the almost minimalistic seeming story of a young married couple
who move from Rio de Janeiro to Los Angeles to spend a semester abroad. While
the narrator tries to find her way around the new city and to make new friends, her
husband M. increasingly withdraws himself into isolation. He finally ends his time in
Los Angeles earlier than planned. Back in Rio de Janeiro the narrator gives birth to a
child. Nonetheless, after a few months the couple separates.
Short chapters, often similar to diary entries, in which the narrator describes the
foreign city, tells of her difficulties with her doctoral thesis, her relationship with
M. and her complicated friendship with the Korean Luci, alternate with mysterious
dream sequences.
Algum lugar is a novel about uprooting, about foreignness in the world and estrangement of the self. In a clear and unadorned language, it tells about the attempt to
find ones place in a world that is so hard to decipher.
The beauty, originality and challenge of this book, which demands to be read not just once but many
times, lies in the dry melancholy of its narrator and its unique construction of narration.
O Globo
Ever since her first work, A duas mãos, in 2003, Paloma Vidal has impressed with her sleek style, where
the dramatic and charged elements never erupt in loudness or pomposity.
Folha de S. Paulo
Mail
[email protected]
Phone +49-(0)30-44733136
Mobil +49-(0)175 5065782
32
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IBAN DE 64 1001 0010 0351 1521 07
Kto 351152107
Paloma Vidal
Brazil
Mar azul (Blue Sea)
Following the death her father, an Argentine who went into exile to Brazil during the
dictatorship of the 1950s, the first-person-narrator, who lives in Rio de Janeiro and
is well along in years, begins to read his notebooks and thereby looks back on her
own life. Her body is losing its strength and everyday tasks are becoming increasingly strenuous. She records her memories in a diary and tries to understand what
might have caused her father to leave her with friends in Buenos Aires when she
was only a child and why he later seemed to avoid contact with her. As an engineer
her father had helped with the construction of the new and completely forwardlooking capital of Brasília in the 50s and 60s. After her best friend is arrested in
Buenos Aires in the 70s, the narrator finally flees to Brazil herself.
In Mar azul, Paloma Vidal deals with the question of what consequences exile, immigration and uprooting may bring for her characters and their search for an identity.
The introvert character of the first person narrator, her ageing body, her memories
and thoughts that are so hard to grasp and that threaten to disperse as if in the sea
stand in contrast to the clear political convictions, the male dominance and control
that marked life during the dictatorship in Argentina. Mar azul is a multi-layered
poetic reflection on the recent history of Brazil and Argentina, on human existence
and the endeavor to break with the negative or face one’s memories and the past
in general.
Rights sold:
Algum lugar, Rio de Janeiro: 7Letras 2009, 170 p.
Mar azul, Rio de Janeiro: Rocco 2012, 121 p.
Stories:
A duas mãos, Rio de Janeiro: 7Letras 2003, 68 p.
Mais ao sul, Rio de Janeiro: Língua Geral 2008, 128 p.
Argentina:
Mail
[email protected]
Phone +49-(0)30-44733136
Mobil +49-(0)175 5065782
33
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IBAN DE 64 1001 0010 0351 1521 07
Kto 351152107
Elvira Vigna
Brazil
Elvira Vigna was born in Rio de Janeiro in 1947 and studied literature in Nancy,
France. She holds a diploma in arts from the Fine Arts Institute of Rio de Janeiro, a
masters degree in journalism from the Universidade Federal do Rio de Janeiro, and
attended classes at Parson’s School of Design during a stint in New York in the 1980s.
Besides her work as an author, she is also a journalist and translator and writes about
contemporary art. Vigna has published collected stories and children’s books that
have been awarded numerous prizes. For her novel Nada a dizer she won the Literary
Fiction Award by the Academia Brasileira de Letras in 2011.
© Renato Parado
Nada a dizer (Nothing to Say)
Nada a dizer tells the common tale of adultery, a story that could hardly be more familiar. A man of around 60 betrays his wife with a married woman 20 years his junior.
The deceived spouse and nameless narrator of the novel learns of the affair and tells
of the course of events unsentimentally and with an obsession for detail. However,
rather than a mere chronicle or reflexion on the possibilities of freedom, intimacy and
relationships in our times, Nada a dizer is a novel about self-delusion and lies. The
narrator feels robbed of her identity and leaves nothing unquestioned. By cheating
her husband Paulo has not only betrayed their common ideals of the 1960s but also
destroyed the image she has created of him and herself. Ultimately, the couple stays
together.
However, it may be wise not to put too much trust into the narrator’s words. For lastly
the story told in this unsettling novel full of biting humour reveals itself to be as volatile and impalpable as life itself.
Correio Braziliense
Once again, she has created a powerful book.
Nada a dizer is the title of the latest work by Elvira Vigna, an author most apt at describing our insecurities and our tremendous talent for cynicism. She does this with the sheer brilliance of her creative talent,
Rascunho
irony and acidic humour.
The pleasure of reading Nada a dizer is comparable to the delight felt when admiring a hyper realistic
painting whose appearance misleads.
Mail
[email protected]
Phone +49-(0)30-44733136
Mobil +49-(0)175 5065782
34
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IBAN DE 64 1001 0010 0351 1521 07
Kto 351152107
Elvira Vigna
Brazil
O que deu para fazer em matéria de história de amor
(What Was Possible in Terms of a Love Story)
Rose is married to Arno. Gunther is Arno’s half brother and married to Ingrid. All four
are descendants of German-Jewish immigrants who escaped to Brazil before the Holocaust. Rose is a very modern woman who demands attention. Arno is reserved and
totally immersed in his artistic work. A gathering initiates a side leap, leaving Rose
pregnant with Gunther’s baby. Their son Roger grows up with Arno and Rose and is the
long-term on-and-off partner of the nameless narrator. After Arno’s death, who had
been a significant representative of constructivist art, the narrator prepares the empty
house for sale. She is also on the search for one last unknown work by Arno that Roger
wishes to exhibit in his gallery. The narrator tells herself the story about Rogers’ family in order to understand her own complicated relationship with her partner who was
long married to another woman. At the same time she distrusts her own imagination
and memory. After all, she could have gotten it all wrong and of course there is a story
behind every story.
O que deu para fazer em matéria de história de amor takes an ironic approach to the
major emotions that are passion and jealousy. Here everything seems unspectacular
and emotionless, except for the narrator losing her control at times. Yet behind the façade of indifference major rifts may appear. Did Arno not possibly kill his wife by using
her colourful pills for his final work? What must it have felt like for a modern bourgeois
couple full of confidence and superiority to flee the Nazis from the so-called enlightened
world and build up a new existence in Rio de Janeiro? How will it have affected their
relationship? O que deu para fazer em matéria de história de amor portrays the life of
European immigrants in Rio de Janeiro and São Paulo in the 50s and 60s and traces
the course of a love story that began in the wild 60s and leads us up to the present.
With humour and sharp irony this novel exposes a certain complacency of the Brazilian
middle class, but above all, it tells a gripping tale.
O que deu para fazer em matéria de história de amor is without doubt one of the most provocative works
in Brazilian literature of the past years, not only thanks to the thoroughness with which it addresses the
uncertainty, contradictions and (im)possibilities of human existence, but also its highly aesthetic consciousness that reflects on a place called love and challenges the need for art in a continuously shrinking
world without goals, grievances and drastic dilemmas.
Correio Braziliense
Elvira Vigna is Brazils’ greatest living fiction writer yet of whom only few readers have heard. She has been
writing convincing and inventive novels for over a decade now, without repeating herself once.
Mail
[email protected]
Phone +49-(0)30-44733136
Mobil +49-(0)175 5065782
35
Postbank
IBAN DE 64 1001 0010 0351 1521 07
Kto 351152107
Elvira Vigna
Brazil
Rights sold:
Sete anos e um dia, Rio de Janeiro: José Olympio 1988, 192 p.
O assassinato de Bebê Martê, São Paulo: Companhia das Letras 1997, 128 p.
Às seis em ponto, São Paulo: Companhia das Letras 1998, 128 p.
Coisas que os homens não entendem, São Paulo: Companhia das Letras 2002, 160 p.
Sweden: Tranan 2005
A um passo, Rio de Janeiro: Lamparina 2004, 188 p.
Deixei ele lá e vim, São Paulo: Companhia das Letras 2006, 152 p.
Nada a dizer, São Paulo: Companhia das Letras 2010, 168 p.
Portugal: Quetzal 2013
O que deu para fazer em matéria de história de amor, São Paulo:Companhia das Letras 2012,
203 p.
Sample translation in French
Mail
[email protected]
Phone +49-(0)30-44733136
Mobil +49-(0)175 5065782
36
Postbank
IBAN DE 64 1001 0010 0351 1521 07
Kto 351152107
Grecia Cáceres
Peru
Grecia Cáceres was born in Lima in 1968. She studied Linguistics
and Literary Science. She has published numerous volumes of
poetry as well as three novels, which have all been translated
into French language. The author lives in Paris.
La vida violeta (A Life in Violet)
La vida violeta is set in Peru in the 1960s, a country ridden by military coups
and a time of economic optimism. Violeta, a single mother, works as a secretary
for an engineering office in Lima to earn a living for herself and her 15-year-old
daughter. She is a passionate reader of melodramatic photo novels which provide
a welcome escape from her difficult everyday life and on which she models her
own life. One day a little tea room opens just across from her office where from
now on she chooses to spend her lunch break. Continuing to observe the goingson at the salon from her office window her attention is drawn to the initiating
love story between her boss and the very young and attractive daughter of the
salon´s owner. For her own slightly dark-skinned, maladjusted and inquisitive
daughter, future does not look quite so bright. With a frighting clear-sightedness
she herself realises how small chances are for a happy future. When the son of
the salon owner, who loves her yet decides to marry another woman, she settles
for playing the role of the mistress.
In a precise and poetic language, Grecia Cáceres draws a sensitive portrait of her
characters. The climate of social injustice, racism and machismo, but also of a
certain hope for change that dominated Peru in the 1960s is omnipresent throughout this atmospherically dense novel.
... une auteure péruvienne, Grecia Cáceres, dont il faut lire d'urgence Violeta.
Elle
Rights sold:
L'Attente
France:
Balland 2001
La espera posible, Lima: Estruendomudo 1998, 166 p.
France :
L’éclose 2004
La vida violeta, Lima: Estruendomudo 2007, 166 p.
France :
L’éclose 2003
Mail
[email protected]
Phone +49-(0)30-44733136
Mobil +49-(0)175 5065782
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Kto 351152107
Klester Cavalcanti
Brazil
Born in Recife in 1969, the Journalist Klester Cavalcanti has written for all leading Brazilian newspapers. Between 1998 and 2000 he worked as a correspondent in the Amazon for the magazine Veja. He has won numerous prizes and his
two reportages Viúvas da Terra (Country Widows 2004) and O Nome da Morte
(The Name of Death 2006) were awarded the renowned Prêmio Jabuti. He now
resides in São Paulo and is the editor of the magazine Domingo, a supplement
of the newspaper Jornal do Brasil.
O Nome da Morte (The Name of Death)
Every time Júlio Santana finished a job, he prayed 10 Hail Marys and 20 Our
Fathers. He did so after his first assassination at the age of 17 and also 35
years later, before retiring in 2006. Altogether 492 people were killed by Júlio
Santana, including a 13-year-old boy. Murder was a profession that his uncle
had once introduced him to, when he was still earning a living by fishing and
hunting and lived with his parents in a small village in the Amazon. He fulfilled
his assignments without pity or hate and despised all forms of torture. In a
small notebook with a Donald Duck on the cover, he meticulously recorded all
the names of his victims and employers.
It took 7 years and endless phone calls until Klester Cavalcanti was finally able
to conduct his first interview with Júlio Santana.
O Nome da Morte is a disturbing biography of a quiet and caring father of a
family, who has been married to a deeply religious wife for many years and
has only ever once been in prison for a very short time. family, who has been
married to a deeply religious wife for many years and has only ever once been
in prison for a very short time.
The narrative is packed with action and emotion. The text is rich in detail and flows beautifully. This is a
work of top-class journalism.
Entre Livros
The story of Júlio Santana is wonderfully shaped. The book is an excellent biography.
Carta Capital
Rights sold:
Direto da Selva, São Paulo: Geração Editorial 2002, 256 p.
Viúvas da Terra, São Paulo: Planeta do Brasil 2004, 183 p.
Film rights sold to Vicente Amorim (Director of Good - 2008)
Prize Jabuti 2005
O Nome da Morte, São Paulo: Planeta do Brasil 2006, 245 p.
Film rights sold to Mango Films
Prize Jabuti 2007
Germany:
Transit 2013
Mail
[email protected]
Phone +49-(0)30-44733136
Mobil +49-(0)175 5065782
38
Postbank
IBAN DE 64 1001 0010 0351 1521 07
Kto 351152107

anja saile literary agency

Transcrição

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