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Epitaph of a Small Winner

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Epitaph of a Small Winner Cover

 

Synopses & Reviews

Publisher Comments:

In these memoirs, Braz Cubas, a wealthy nineteenth-century Brazilian, examines (from beyond the grave) his rather undistinguished life in 160 short chapters that are filled with philosophical digressions and exuberant insights. A clear forerunner of Gabriel García Márquez and Jorge Luis Borges, Epitaph for a Small Winner, first published in 1880, is one of the wittiest self-portraits in literary history as well as “one of the masterpieces of Brazilian literature” (Salman Rushdie).

Machado de Assis (1839-1908) was born in Rio de Janeiro. Among his many works are Philosopher or Dog? and Dom Casmurro. He is considered one of Brazils greatest novelists.
"I am a deceased writer not in the sense of one who has written and is now deceased, but in the sense of one who has died and is now writing." So begins the posthumous memoir of Braz Cubas, a wealthy nineteenth-century Brazilian. Though the grave has given Cubas the distance to examine his rather undistinguished life, it has not dampened his sense of humor. In 160 short chapters, he covers the basics of his existence and expands into philosophical explorations that sometimes follow meandering paths of thought to unexpected places, at times exuberant and hilarious, at other times cynical and at odds with the world that surrounds him.  In the tradition of Laurence Sterne and Jonathan Swift—and as a clear forerunner of the works of Gabriel García Márquez and Jorge Luis Borges—Epitaph of a Small Winner, first published in 1880, is one of the wittiest literary self-portraits.
"Machado de Assis was a literary force, transcending nationality and language, comparable certainly to Flaubert, Hardy, or James . . . Epitaph of a Small Winner is clearly one of those books which we call definitive. It is there, complete, done: a study of ironic disillusionment couched in the most delicate suavity of despair."—The New York Times Book Review

"No satirist, not even Swift, is less merciful in his exposure of the pretentiousness and the hypocrisy that lurk in the average good man and woman. Machado, in his deceptively amiable way, is terrifying."—The New Republic

"Machado de Assis . . . is held by many to be not only Brazil's greatest writer but on a par with Henry James, Flaubert and Hardy [with] his enchantingly digressive style, sly humor and merciless exposure of hypocrisy and pretentiousness."—Liz Calder, The Guardian

"A masterpiece of Epicurean irony."—The New York Times

"[Machado] is really a post-modernist writer . . . Alongside [his] very nineteenth-century irresistible habit of confiding directly in his readers, we find a text that has been deliberately and playfully fragmented . . . He demonstrates the irresistable tug of our basest desires, and the emptiness of our high philosophies."—Louis de Bernières, author of Corelli's Mandolin

Contents

1. The Death of the Author

2. The Plaster

3. Genealogy

4. The Fixed Idea

5. In Which a Lady Appears at the Door

6. Chimene, Qui L'eut Dit? Rodrigue, Qui L'eut Cru?

7. The Delirium

8. Reason versus Folly

9. Transition

10. On That Day

11. The Child Is Father to the Man

12. An Episode of 1814

13. A Jump

14. The First Kiss

15. Marcella

16. An Immoral Thought

17. Concerning the Trapeze and Other Matters

18. Vision in the Hallway

19. On Board

20. I Acquire a Bachelor's Degree

21. The Muleteer

22. Return to Rio

23. Sad but Short

24. Short but Happy

25. In Tijuca

26. The Author Is Undecided

27. Virgilia?

28. Provided That . . .

29. The Visit

30. The Flower of the Thicket

31. The Black Butterfly

32. Born Lame

33. Blessed Are They That Go Not Down

34. To a Sensitive Soul

35. The Road to Damascus

36. Concerning Boots

37. At Last!

38. The Fourth Edition

39. The Neighbor

40. In the Coach

41. The Hallucination

42. What Aristotle Overlooked

43. "A Marchioness, for I Shall Be a Marquis"

44. A Cubas!

45. Notes

46. The Inheritance

47. The Recluse

48. Virgilia's Cousin

49. The Tip of the Nose

50. Lobo Neves Wife

51. Mine!

52. The Mysterious Package

53. . . .

54. The Pendulum

55. The Venerable Dialogue of Adam and Eve

56. The Opportune Moment

57. Fate

58. A Confidence

59. An Old Friend

60. The Embrace

61. A Project

62. The Pillow

63. Lets Run Away

64. The Deal

65. Eyes and Ears

66. Legs

67. The Little House

68. The Master

69. A Grain of Folly

70. Dona Placida

71. The Defeat of this Book

72. The Bibliomaniac

73. Afternoon Snack

74. The Personal History of Dona Placida

75. To Myself

76. The Fertilizer

77. In Error

78. The Governorship

79. Compromise

80. The Secretaryship

81. The Reconciliation

82. A Moatter of Botany

83. Thirteen

84. The Conflict

85. The Top of the Mountain

86. The Mystery

87. Geology

88. The Invalid

89. In Extremis

90. The Old Colloquy between Cain and Adam

91. An Extraordinary Letter

92. An Extraordinary Man

93. The Dinner

94. The Real Reason

95. The Blossoms of Yesteryear

96. The Anonymous Letter

97. Between Lips and Forehead

98. Deleted

99. In the Pit

100. Probably True

101. The Dalmatian Revolution

102. To Forget for a Moment

103. Case of Forgetfulness

104. It Was He!

105. The Equivalence of Windows

106. A Dangerous Game

107. A Note from Virgilia

108. Beyond Understanding

109. The Philosopher

110. Thirty-one

111. The Wall

112. Public Opinion

113. The Soldier

114. End of a Dialogue

115. Luncheon

116. Old Letters

117. Humanitism

118. The Third Force

119. Parenthetical

120. Compelle Intrare

121. Down the Hill

122. A Lofty Purpose

123. The Real Cotrim

124. Interposition

125. Epitaph

126. Disconsolation

127. Formality

128. In the Chamber of Deputies

129. No Remorse

130. To Insert in Chapter 129

131. Concerning a Calumny

132. Not Profound

133. Helventius Theory

134. Fifty Years

135. Oblivion

136. Unnecessary

137. The Shako

138. To a Critic

139. How I Did Not Become a Minister of State

140. Which Explains the Preceding Chapter

141. The Dogs

142. The Confidential Request

143. I Wont Go

144. A Limited Purpose

145. Mere Repetition

146. The Platform

147. My Folly

148. An Insoluble Problem

149. Theory of Benefits

150. Rotation and Revolution

151. Philosophy of Epitaphs

152. Vespasians Revenue

153. The Psychiatrist

154. The Ships of Piraeus

155. A Loyal Thought

156. Pride of Servitude

157. The Most Brilliant Phase

158. Two Old Friends

159. Insane

160. Negatives

Synopsis:

In these memoirs, Braz Cubas, a wealthy nineteenth-century Brazilian, examines (from beyond the grave) his rather undistinguished life in 160 short chapters that are filled with philosophical digressions and exuberant insights. A clear forerunner of Gabriel García Márquez and Jorge Luis Borges, Epitaph for a Small Winner, first published in 1880, is one of the wittiest self-portraits in literary history as well as “one of the masterpieces of Brazilian literature” (Salman Rushdie).

About the Author

Machado de Assis (1839-1908) is considered one of Brazils greatest novelists.

Product Details

ISBN:
9780374531232
Author:
De Assis, Machado
Publisher:
Farrar Straus Giroux
Translator:
Grossman, William L.
Illustrator:
Frisch, Shari
Foreword:
Sontag, Susan
Author:
de Assis, Machado
Author:
Grossman, William L.
Author:
Assis, Machado de
Author:
de, Machado
Author:
Sontag, Susan
Subject:
Literary
Subject:
Literature-A to Z
Copyright:
Edition Description:
Trade Paper
Series:
FSG Classics
Publication Date:
20080431
Binding:
TRADE PAPER
Grade Level:
General/trade
Language:
English
Illustrations:
, Y
Pages:
240
Dimensions:
8.3 x 5.52 x 0.66 in

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Related Subjects

Fiction and Poetry » Literature » A to Z

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Product details 240 pages Farrar Straus Giroux - English 9780374531232 Reviews:
"Synopsis" by ,
In these memoirs, Braz Cubas, a wealthy nineteenth-century Brazilian, examines (from beyond the grave) his rather undistinguished life in 160 short chapters that are filled with philosophical digressions and exuberant insights. A clear forerunner of Gabriel García Márquez and Jorge Luis Borges, Epitaph for a Small Winner, first published in 1880, is one of the wittiest self-portraits in literary history as well as “one of the masterpieces of Brazilian literature” (Salman Rushdie).

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