found Left of the Father a shelf of Vasco da Gama in the Mainland for sixteen years. I picked up the book because the title. On the back cover an authoritative recommendation Eduardo Prado Coelho. I bought the book and soon on the homepage this: “the room is individual, is a world, cathedral room where, in the anguish intervals is harvested, a rough stem, the white rose of despair because of the objects that fourth enshrines are first the body objects. “the white rose of despair.
and so, knowing all about Raduan Nassar, stepped forward eagerly by genesíaca fury of his words and when I finished reading I was another and Portuguese also was no longer the same for me. Feel similar to reading Sagarana , Guimarães Rosa, or to discover the poetry of Manoel de Barros: suddenly we realize have spent their lives side of true language when we realized that the Portuguese language we use in day-to-day, compared with those miracles, a blunt instrument used may buy bread and ask excuse to head for another delay.
The Portuguese edition of “Left of the Father” by Water’s Clock
Left of the Father was the primary force of a Bible book and linguistic inventiveness of a modern writer. It was at the same time, archaic and timeless, history and myth, taboo and transgression, family and desire. That edition included an afterword Sabrina Sedlmayer that in addition to a brief analysis of the work the author spoke of Raduan Nassar biography and his decision to leave literature to manage a farm 250 km from Sao Paulo. I learned that the writer had just published another novel ( A Glass of Rage – whose English translation was semifinalist of the Man Booker International Prize) and a book of short stories ( Girl the path ). Li A Glass of Rage with hotly anticipated, but only loses her virginity once and I had already delivered to Archaic Crop , fortunately. Never read the stories.
In the absence of more books, the name of Raduan Nassar came to be spoken almost exclusively for its seclusion, its withdrawal from the literature or, to be more exact, by your visa literary inactivity who participated in activities promoting his work and even sold the Left of the Father to the cinema (and after seeing the film the great Luiz Fernando Carvalho – telenovelas director as “Rebirth” and ” Courage brothers “- praised the final result). It is unfortunate that the noisy folklore around the literary writer’s silence – fueled in part by the famous words of Nassar that “there is no artistic creation that compares to a chicken farm” – does not serve only to promote the worth promoted, although it could be argued that the author’s radical renunciation has had the side effect to shine more intensely the only pearl of his collection or at least compel the reader to confront Left of the Father – his only novel – not have much to choose from. It is this misconception that the award of the Camões Prize to Raduan Nassar, being of unquestionable justice also breaks: to be in the place it deserves, a masterpiece does not have to top off a stack of books (often smaller). Exemption companions and, after writing, dir would that even dispenses with the author.
In this, know forgive your livestock enthusiasm. He’ll know when the day comes that the chickens, even the most elusive, as in the tale of Clarice Lispector, end up in the pot. But the great books like Left of the Father , reborn each time a reader finds them.
Bruno Vieira Amaral is literary critic, translator, and author of the novel The first Things, prize winner José Saramago in 2015
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