Beatriz Bracher: Photo by Nina Subin

Beatriz Bracher

Beatriz Bracher, born in São Paulo in 1961, grew up under the Brazilian military dictatorship. Her memories of that time intersect with the lives of people whose friends and lovers were tortured, exiled, and killed, as well as with those who did the killing. An editor, screenwriter, and the author of six books of fiction, Bracher has won three of Brazil’s most prestigious literary awards: the Clarice Lispector Prize, the Rio Prize, and the São Paulo Prize.

Antonio

Fiction by Beatriz Bracher

Translated from the Portuguese by Adam Morris

In Beatriz Bracher’s Antonio—her third novel and her breakout book in Brazil— Benjamin, on the verge of becoming a father, discovers a tragic family secret involving patrimony and determines to find out how it happened. Those most immediately involved are all dead, but their three closest confidantes are still alive—his grandmother, Isabel; Haroldo, his grandfather’s friend; and Raul, his father’s friend—and each will tell him different versions of the facts. It is by collecting these shards of memories that Benjamin will piece together the painful puzzle of his family history.…
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I Didn't Talk

Fiction by Beatriz Bracher

Translated from the Portuguese by Adam Morris

A professor prepares to retire—Gustavo is set to move from São Paulo to the countryside, but it isn’t the urban violence he’s fleeing: what he fears most is the violence of his memory. But as he sorts out his papers, the ghosts arrive in full force. He was arrested in 1970 with his brother-in-law Armando: both were viciously tortured. He was eventually released; Armando was killed. No one is certain that he didn’t turn traitor: I didn’t talk, he tells himself, yet guilt is his lifelong harvest.…
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Simmering.
Vanity Fair
No one but Beatriz Bracher would be able to write a book like Antonio in Brazil today, because only she manages to write so intimately and forcefully, so ironically and bitterly, about the bourgeois upper class.
Jornal do Brasil
Brazil’s “ghosts” refuse to stay buried, and they haunt the narrator of Bracher’s novel.
The Critical Flame
Bracher’s story abounds with narrative and thematic contradictions and encompasses everything from the gulf between our own self-image and how others perceive us to the flaws that can arise when one attempts to apply literary analysis to a life. The resulting narrative is unpredictable and its dissonances resonate powerfully.
Words Without Borders
While the central question—did Gustavo give away his brother-in-law?—serves as a locus for the book, it is really an extended meditation on a variety of topics: the (un)reliability of memory, the meaning of education, the way members of families see one another, and the crushing impact of the dictatorship years on generations past and present. Translator Adam Morris deftly renders Bracher’s conversational style, chasing Gustavo as he skips from one topic to another, lost in the haze of memory.
World Literature Today
Beatriz Bracher: intense and precise.
Folha De S. Paulo
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