14 December 16 | Chad W. Post

The pub date for Chronicle of the Murdered House by Lúcio Cardoso, which is translated from the Portuguese by Margaret Jull Costa and Robin Patterson, with a biographical note from Ben Moser officially came out on Tuesday, December 13th. To celebrate the release of this Brazilian masterpiece, we’ll be running a series of pieces over the rest of this week, including an interview with the translators, some early reviews, an excerpt, and part of Ben Moser’s piece.

We’ll start with this—the press release that was sent to reviewers and booksellers with the galleys.

The book is available at better bookstores everywhere, or through our website. If you order before the end of 2016, use the code BOOKSEASON at checkout to receive 40% off your total order.

“When a friend suggested that Chronicle of the Murdered House might be the greatest modern Brazilian novel, I was startled. There are so many more obvious candidates, after all. But as I thought about it, I realized that the statement wasn’t as strange as it sounds. The book itself is strange—part Faulknerian meditation on the perversities, including sexual, of degenerate country folk; part Dostoevskian examination of good and evil and God—but in its strangeness lies its rare power, and in the sincerity and seriousness with which the essential questions are posed lies its greatness.“—Benjamin Moser



There are a number of approaches to Lúcio Cardoso’s life and work that mark the first English-language publication of his Chronicle of the Murdered House as a major literary event.

For one, there’s Cardoso’s influence on the beloved Clarice Lispector, whose own work is currently enjoying an incredible renaissance. Clarice was enamored with Cardoso, and, as Benjamin Moser explains in his introduction, transformed one of Cardoso’s suggestions into the title of one of her most famous books—Near to the Wild Heart.

Although their writing styles are quite different, you can see the impact Cardoso had on Lispector while reading Chronicle of the Murdered House. The introspective nature of its prose marked a significant turning point in the history of Brazilian writing, carving out a path that Lispector and many others would eventually follow. In contrast to what came before, writing for these authors was less an activity concerned with social or national issues, but, again in Moser’s words, “a spiritual exercise, not an intellectual one.”

For a lot of readers and critics, this approach is particularly interesting given Cardoso’s position as a gay Brazilian author who was also a member of the Catholic Church. Although Chronicle itself doesn’t address many themes of contemporary gay literature, Cardoso’s sexual orientation does influence a lot of his writings, especially in terms of the role homosexuals could play in Brazil during that period.



The comments about Cardoso’s spirituality—as a Catholic and in terms of the goal of his writing—are particularly interesting in context of the morally suspect situations found throughout the book. In isolation, or as part of the jacket copy at least, these bits sound almost overly sensational. There’s incest. Madness. Adultery. An obese, cross-dressing character locked up in his room. There’s a cultured woman from the city whose very presence calls into question generations of familial habits.

The novel is never sordid just for the sake of being sordid though, and beyond the machinations of the plot—which twist and turn like great mid-century, or even Victorian, works—there is the form through which Cardoso tells his story. With shifts of tone and point of view, he utilizes confessions, diary entries, letters, statements, reports, to bring to life this once great family that is now represented by a crumbling estate that they can’t afford to maintain. (A very Faulknerian image.)

This a book that is a “classic” on a number of counts, including its scope, its literary style that approaches but doesn’t always embrace the high modernists, and in its import to Brazilian literature as a whole. A book of this import—that’s spectacular and complex—requires a brilliant translator to really make it work in English. Thankfully, Margaret Jull Costa—translator of such literary giants as Javier Marías, Fernando Pessoa, José Maria Eça de Queirós, José Saramago, and many more—was willing and able to undertake this task. With the help of Robin Patterson (translator of José Luandino Vieira), they have fully captured the intricacies and beauty of Cardoso’s writing, producing a rendition that’s as linguistically powerful as the original.

For such a lengthy book, Chronicle is a rather quick read. It embraces its page-turner impulses, and uses a non-linear structure to stimulate and engross the reader. From the very opening chapter, the reader can get a sense of the overall pattern of dissolution driving the lives of the characters, but keeps reading in order to witness all the juicy details and see just how crazy things can get. (Answer: As crazy as the wake scene in the final chapters.) It’s a book that fills in a gap in our collective knowledge about Brazilian literature from the twentieth century, and hopefully will spark a resurgence of interest in one of Brazil’s greatest literary stars.


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