“Ex Cathedra” — Joaquim Maria Machado de Assis

“Ex Cathedra”

by

Joaquim Maria Machado de Assis

translated by

Rhett McNeil


 

“Godfather, you’ll go blind from that, sir.”

“What?”

“You’re going to go blind. Reading is so sad. No sir, give me that book.”

Caetaninha took the book out of his hands. Her godfather paced around and then went into his study, where there was no lack of books. He closed the door behind him and kept reading. That was his vice. He read excessively; he read morning, noon, and night, during lunch and dinner, before going to sleep, after bathing; he read as he walked, read standing up, read in his house and in his barn; he read before reading and he read after reading; he read all sorts of books, but especially books on law (in which he’d received his degree), mathematics, and philosophy. Lately, he’d also been reading up on the natural sciences.

Worse than going blind, he went crazy. It was near the end of 1873, in Tijuca, when he started to show signs of mental disturbance; but, since the episodes were minor and few, his goddaughter only started to notice the difference in March or April of 1874. One day, over lunch, he interrupted his reading to ask her:

“What’s my name again?”

“What’s your name, godfather?” she repeated, astonished. “Your name is Fulgencio.”

“From this day forth, my name will be Fulgencius.”

And, burying his face in the book, he went on reading. Caetaninha mentioned the episode to the slave women, who admitted that they’d had their doubts about him for some time, that he hadn’t seemed well. Just imagine how fearful she was; but her fear soon passed, leaving only compassion behind, which increased her affection for him. His mania was also limited and docile, and was only related to books. Fulgencio lived for the written word, the printed word, doctrines, abstract thought, principles, and formulas. He eventually passed from mere superstition to true hallucination of the theoretical. One of his maxims was that liberty would not die, so long as there was a single piece of paper on which to declare it. So one day, waking up with the idea of improving the condition of the Turks, he wrote a constitution for them and sent it to the British diplomat in Petrópolis as a gift. On another occasion, he set about studying the eyes in anatomy books to verify whether they were really able to see, and concluded that they were.

Tell me, readers, whether, under such conditions, Caetaninha’s life could have been a happy one? It’s true that she wanted for nothing, because her godfather was rich. He had been the one who’d raised her, from the age of seven, when he lost his wife. He had taught her to read and write, French, and a little bit – so as not to say almost nothing – of history and geography, and had charged the domestic slaves with teaching her embroidery, lace-making, and sewing. There’s no denying any of that. But Caetaninha had turned fourteen and, if, in the early years, her toys and the slaves were enough to entertain her, she was now at an age when toys go out of style and slaves hold no interest, when no amount of reading or writing can transform a solitary house in Tijuca into a paradise. She went out sometimes, but rarely, and always in a rush. She never went to the theater or to dances, never made or received visits. Whenever she saw a cavalcade of men and women on horseback out in the street, her soul would ride pillion on one of the horses and ride off with them, leaving only her body behind, right next to her godfather, who kept on reading. Continue reading ““Ex Cathedra” — Joaquim Maria Machado de Assis”

Read “Life,” a dialogue by Joaquim Maria Machado de Assis

“Life”

by

Joaquim Maria Machado de Assis

Translated by Isaac Goldberg


 

End of time. Ahasverus, seated upon a rock, gazes for a long while upon the horizon, athwart which wing two eagles, crossing each other in their path. He meditates, then falls into a doze. The day wanes.

Ahasverus. I have come to the end of time; this is the threshold of eternity. The earth is deserted; no other man breathes the air of life. I am the last; I can die. Die! Precious thought! For centuries of centuries I have lived, wearied, mortified, wandering ever, but now the centuries are coming to an end, and I shall die with them. Ancient nature, farewell! Azure sky, clouds ever reborn, roses of a day and of every day, perennial waters, hostile earth that never would devour my bones, farewell! The eternal wanderer will wander no longer. God may pardon me if He wishes, but death will console me. That mountain is as unyielding as my grief; those eagles that fly yonder must be as famished as my despair. Shall you, too, die, divine eagles?

Prometheus. Of a surety the race of man is perished; the earth is bare of them.

Ahasverus. I hear a voice…. The voice of a human being? Implacable heavens, am I not then the last? He approaches…. Who are you? There shines in your large eyes something like the mysterious light of the archangels of Israel; you are not a human being?…

Prometheus. No.

Ahasverus. Of a race divine, then?

Prometheus. You have said it. Continue reading “Read “Life,” a dialogue by Joaquim Maria Machado de Assis”

Read “The Fortune-Teller,” a short story by Joaquim Maria Machado de Assis

“The Fortune-Teller”

by

Joaquim Maria Machado de Assis

Translated by Isaac Goldberg


Hamlet observes to Horatio that there are more things in heaven and earth than are dreamt of in our philosophy. This was the selfsame explanation that was given by beautiful Rita to her lover, Camillo, on a certain Friday of November, 1869, when Camillo laughed at her for having gone, the previous evening, to consult a fortune-teller. The only difference is that she made her explanation in other words.

“Laugh, laugh. That’s just like you men; you don’t believe in anything. Well, let me tell you, I went there and she guessed the reason for my coming before I ever spoke a word. Scarcely had she begun to lay out the cards when she said to me: ‘The lady likes a certain person …’ I confessed that it was so, and then she continued to rearrange the cards in various combinations, finally telling me that I was afraid you would forget me, but that there were no grounds for my fear.”

“She was wrong!” interrupted Camillo with a laugh.

“Don’t say that, Camillo. If you only realized in what anguish I went there, all on account of you. You know. I’ve told you before. Don’t laugh at me; don’t poke fun at me….”

Camillo seized her hands and gazed into her eyes earnestly and long. He swore that he loved her ever so much, that her fears were childish; in any case, should she ever harbor a fear, the best fortune-teller to consult was he himself. Then he reproved her, saying that it was imprudent to visit such houses. Villela might learn of it, and then …

“Impossible! I was exceedingly careful when I entered the place.”

“Where is the house?”

“Near here. On Guarda-Velha Street. Nobody was passing by at the time. Rest easy. I’m not a fool.”

Camillo laughed again.

“Do you really believe in such things?” he asked. Continue reading “Read “The Fortune-Teller,” a short story by Joaquim Maria Machado de Assis”

The main defect of this book is you, reader

img_6843

From Joaquim Maria Machado de Assis’s 1881 novel The Posthumous Memoirs of Brás Cubas.

The Posthumous Memoirs of Brás Cubas (Book acquired 29 April 2017)

img_5991

I picked up Brazilian author  Joaquim Maria Machado de Assis’s 1881 novel The Posthumous Memoirs of Brás Cubas today. I picked it up because of an oblique recommendation via Twitter a few weeks ago when I was raving about Antonio di Benedetto’s novel Zama

I got Gregory Rabassa’s translation (I dipped my toe into his translation of Miguel Ángel Asturias’s 1963 novel Mulata a few weeks ago).

Brás Cubas reminds me a lot of Tristram Shandy so far—short sharp funny chapters that bop forward and backward. The 1881 novel anticipates anticipates a style and form that we now describe as “postmodern.” I’ll share a few excerpts in the future, but for now, here’s the Wikipedia summary (lazy, I know, but I think it’s a bit better than this Oxford UP edition’s blurb):

The novel is narrated by the dead protagonist Brás Cubas, who tells his own life story from beyond the grave, noting his mistakes and failed romances.

The fact of being already deceased allows Brás Cubas to sharply criticize the Brazilian society and reflect on his own disillusionment, with no sign of remorse or fear of retaliation. Brás Cubas dedicates his book to the first worm that gnawed his cold body: “To the worm who first gnawed on the cold flesh of my corpse, I dedicate with fond remembrance these Posthumous Memoirs” (Portuguese: Ao verme que primeiro roeu as frias carnes do meu cadáver dedico com saudosa lembrança estas Memórias Póstumas). Cubas decides to tell his story starting from the end (the passage of his death, caused by pneumonia), then taking “the greatest leap in this story”, proceeding to tell the story of his life since his childhood.

The novel is also connected to another Machado de Assis work, Quincas Borba, which features a character from the Memoirs (as a secondary character, despite the novel’s name), but other works of the author are hinted in chapter titles. It is a novel recalled as a major influence by many post-modern writers, such as John Barth or Donald Barthelme, as well as Brazilian writers in the 20th century