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eBook Modern Brazilian Short Stories epub

by William L. Grossman

eBook Modern Brazilian Short Stories epub
  • ISBN: 0520027663
  • Author: William L. Grossman
  • Genre: Fiction
  • Subcategory: History & Criticism
  • Language: Portuguese
  • Publisher: University of California Press; Review Copy edition (December 1974)
  • ePUB size: 1744 kb
  • FB2 size 1422 kb
  • Formats rtf doc txt azw

Modern Brazilian Short Stories book.

Modern Brazilian Short Stories book.

Find all the books, read about the author, and more. With this unbiased though not dispassionate history covering the 1930s to the present, Richard Williams considers Brazilian architecture's modernity within an expanded framework of Brazil's cultural and political movements. Ruth Verde Zein, School of Architecture and Urban Design, Mackenzie University, São Paulo.

New Directions’ The Complete Stories by Clarice Lispector . It was later included in Grossman’s anthology Modern Brazilian Short Stories, published by the University of California Press in 1967.

Each book has a different translator, which suits the multivalent spirit of Clarice’s strange and unsettling oeuvre.

Discover Book Depository's huge selection of William L Grossman books online William L Grossman. Modern Brazilian Short Stories.

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The story was transparently autobiographical in nature – a somewhat . By the summer of 1979 my short-story success rate was looking fairly impressive.

I wrote it specifically for a competition run by the English Literature department of Glasgow University where I had just begun my MA degree. Moving from the post-modern to the commercial I wrote another novel, a thriller about a poet (if that’s not too grotesque an oxymoron) called Truelove at 295, but I never offered it to a publisher as by then I had formulated another plan.

You are welcome to read these short stories so as to enjoy your time. Children enjoy listening to the narration of short stories. WE have to create the opportunities for them to read these short stories when they want these types of short stories.

A collection of short stories written by Brazilian authors and translated into English. Here you will find a new story every 15 days.

America" is a science fiction short story by American writer Orson Scott Card, originally published in the January 1987 issue of Asimov's Science Fiction magazine. It was reprinted in Card's short story collection The Folk of the Fringe. This story begins before the war that destroys America. In it, a teenage boy named Sam Monson travels to Brazil with his father. While there, he begins dreaming about a woman who lives in a nearby Indian village named Anamari.

The story of the British short story since the Second World War is one of change and revolution and this powerful and moving . The short story has become one of the major forms of modern literary expression - in some ways the most modern of them all'.

The story of the British short story since the Second World War is one of change and revolution and this powerful and moving collection brilliantly demonstrates the evolution of the form. Containing thirty-four of the most widely regarded postwar British writers, it features tales of love and crime, comedy and the supernatural, the traditional as well as the experimental. The story of the British short story since the Second World War is one of change and revolution and this powerful and moving collection brilliantly demonstrates the evolution of the form.

The Oxford Book of Latin American Short Stories, e. Roberto González Echevarría, Oxford University Press 1997; tr. by William L. Grossman. GUIN, JERRY (fl. 1995-2008) (chron.

The Oxford Book of Latin American Short Stories, ed. with Helen Caldwell. The Third Bank of the River, by João Guimarães Rosa, (ss) 1967. The Oxford Book of Latin American Short Stories, ed. Roberto González Echevarría, Oxford University Press 1997.

Comments: (2)
This book was published in 1967, one of the early English-language anthologies of Brazilian short fiction from multiple authors. It contained 17 short stories by as many writers, written or published between 1925 and 1962. There were a few selections for each decade, with the 1940s most frequently represented.

The oldest writers were Graciliano Ramos (1892-1953), Mário de Andrade (1893-1945) and Aníbal Monteiro Machado (1895-1964). The youngest were Clarice Lispector (ca. 1922-77), Carlos Vasconcelos Maia, (1923-) and Marília São Paulo Penna e Costa (1930-). Others included João Guimarães Rosa (1908-67), Rachel de Queiroz (1910-2003) and Dinah Silveira de Queiroz (1911-82). Among the writers of short stories who weren't included: Jorge Amado (1912-2001), with his larger than life, grotesque characters, and Murilo Rubião (1916-91), who's been called a master of fantastic themes in his country's literature.

The introduction by translator William Grossman discussed very briefly a few trends in the nation's literature. These included the modernist movement, which dominated during the period from the early 1920s to the end of World War II, as authors sought to develop genuinely Brazilian idioms and themes. The main exponents of this movement in the short story were said to be Andrade, Rui Ribeiro Couto (1898-1963) and Antônio de Alcântara Machado (1901-35), all of whom were included in the collection. All of the writers in the book except Lispector were said to reflect modernism's influence to one degree or another.

A number of writers in the anthology focused on a particular region. For example, Andrade and Alcântara Machado on São Paulo, Darcy Pereira de Azambuja (1903-70) on the far south, Marques Rebêlo (1907-73) on the suburbanites of Rio de Janeiro, and Raimundo Magalhães Júnior (1907-81) and José Carlos Cavalcanti Borges (1910-83) on the northeast.

Among the many characteristics of the various tales, three -- ironic or other humor, melancholia, and the frequent presence of death -- were singled out for mention by the translator as widely shared. The most lyrical of the stories was one from the 1950s, "Sun" by Carlos Vasconcelos Maia, in which a tax agent traveled to a sinister town under the boiling sun in Bahia: "It was if the sun had poured molten lead on the roof of the boardinghouse . . . . The sun had invaded his head, paralyzing his will, tormenting his brain. The water licked his skin like the tongues of a thousand slimy serpents. He became aware of the snails living in the muddy bed of the stream; they woke and spouted battalions of the fierce, wormlike parasites that cause schistosomiasis. Suddenly, with horror and revulsion, the fat man realized that his body had become a pulpy, writhing mass of these little killers . . . . The foul stream was swelling, rising, boiling from some fire within, threatening to burn him alive."

Another story that was especially interesting for its use of language was Andrade's from the 1930s, "It Can Hurt Plenty," in which a narrator described adults' physical and mental neglect of a young boy: "On the floor there was a mattress where the cockroaches lived. At night they came out and danced on the old lady's face. After all, where do all the insects of this world perform their tribal dances? On somebody's face, right? . . . . [The child] picked up his bread, now buttered with dirt, and went on with his fast, enjoying the music of the grit as it crunched between his teeth. It sounded like a maraca."

The story by Cavalcanti Borges from the 1940s, "With God's Blessing, Mom," consisted of a mother's letters to her son in another city. In them, she couldn't stop bringing up the subject of his love life and revealing her day-to-day concerns about her family; this work expressed a mother's psychology very well, in direct language. The tale by Ramos from the 1940s, about a hapless thief in the city, was written in a realistic style but focused on the man's troubled psychology, and could be read as either funny or disturbing. There was also a children's story from the 1940s about an enchanted ox, in which an arrogant rancher learned to accept that he could do only what God willed. This work was the only one in the collection in which God or some kind of religious attitude had a prominent role.

A few stories, such as Guimarães Rosa's from the early 1960s, "The Third Bank of the River," contained elements of magic realism: one day the narrator's father rowed a boat far out into the river and remained there for years, as the rest of the family grew old. This author has been called important for moving the dominant literary style in Brazil away from social realism after the 1940s and for adapting the possibilities of the oral tale to revolutionize narrative.

Lispector's story, published in 1960, about a logical professor who behaved illogically, might be taken to express the absurdity of human existence, showing the influence of existentialism. In Marília São Paulo Penna e Costa's story from the 1960s, "The Happiest Couple in the World," a narrator found that an apparently happy elderly couple had a few secrets in their past, though the true reality was unknowable.

The introduction noted that the predecessor of the authors in this collection -- Brazil's greatest writer, Machado de Assis (1839-1908) -- was a master of irony and maybe something of an influence on the later generations in this collection. Few of the other works here, other than the ones described, approached the very best of his short stories, like "The Psychiatrist," "Education of a Stuffed Shirt" or "Midnight Mass" in their use of symbolism, their social criticism or their muted compassion. Their language was far more dynamic, though.

This collection is important as an early, well-done effort to make Brazilian writers more widely known in English, and for the period of time it covered. Regrettably, it was too short, at just 160 pages. Other collections in English include the even slimmer Brazilian Tales (1921, reissued in 2007), One Hundred Years after Tomorrow: Brazilian Women's Fiction in the 20th Century (1992) and the comprehensive Oxford Anthology of the Brazilian Short Story (2006). Among collections for the continent as a whole, Volumes 1 and 2 of the Borzoi Anthology of Latin American Literature (1977) in particular contain many selections for Brazil, especially its poetry. The Hammock beneath the Mangoes (1991) also includes a generous number of Brazilian writers.
Oldies and quite few goodies. As in any collection from a variety of authors, a mixed bag.

‘Modern’ in the title is not used in the sense of ‘recent,’ rather, in the introduction we are told that the stories in the book were picked to reflect the development a modernist Brazilian style, distinct from Portuguese, from 1922 to 1945. During this time Brazilian writers not only focused on local culture but also became “genuinely Brazilian in idiom, in spirit, and in subject matter.” They also started using their own language. Prior to that, to be published, Brazilian authors had to write in academically correct Lusitanian (continental) Portuguese.

Like the United States, Brazil is such a big country geographically that “local color” reflects vastly different geographies. Many of these stories are from the hardscrabble northeast of Brazil where cyclical drought and periodic starvation were a way of life.

From the introduction we also learn that if a “national Brazilian ethos” exists, as reflected in these stories, it consists of a “pervasive melancholy,” a mystical religiosity, irony, sadness, humor and a focus on death.

Several stories are by women, including one by probably the best know author on the list, Clarice Lispector. That’s “The Crime of the Mathematics Professor” where the character says to his pet “I can see clearly now that that it was not I who had a dog; it was you who had a person.”

In “It Can Hurt Plenty,” by Mario de Andrade, 1936, a young boy is simply an object of abuse to his prostitute mother and grandmother. He is so hungry that he eats ants, flies and cockroaches.

One of the stories, “The Enchanted Ox” by Luis Jardim is an allegorical fable with a religious theme that could have been written by Paulo Coelho.

Many of the stories raise “big questions.” “At the Side of the Road” by Darcy Azambuja asks how can an elderly couple that locals consider ‘saints’ raise an only son who turned into a murderer who tortures his victims?

Can a happily married couple be “insanely happy?” That’s the theme of “The Happiest Couple in the World” by Marilia Penna e Costa.

In “Guidance” by Dinah Silveira de Queiroz, a neighborhood woman is encouraged by her neighbors to become a kind of pseudo-priest, counselor and medium. She counsels a gay man (all this is hinted at since this was written in 1940’s Brazil). It ends in tragedy: “Don’t you think maybe she’s cured him…too much?”

Many of the 17 stories are quite good; a couple are dull; all are short, 7 or 8 pages at most. A decent read - if you can find it!
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