Trigger warning: mentions mental illness and infant death.
Stu over at WinstonsDad’s blog is hosting Spanish Portuguese Lit Month for the whole of July and so this was the perfect opportunity to get to a novella by Brazilian author Beatriz Bracher which had been languishing in the TBR: Antonio (2007, transl. Adam Morris 2021) published by the wonderful Pushkin Press.
I want to start with the disclaimer that I don’t think I’ve really got to grips with Antonio, so this post is just some initial impressions. Although only 187 pages long it is incredibly densely written and it took me a week to read. Admittedly work has been really demanding lately, but usually it still wouldn’t take me that long to read a book of that length.
Also looking online, there are many effusive reviews praising the socio-political commentary of Antonio, which I’m sure I didn’t fully comprehend. I did pick up some, but I’m certain I need to re-read Antonio at some point.
The novella is told through the alternating viewpoints of three people: Raul, Isabel and Haroldo. Their silent interlocutor is Benjamim, who is awaiting the birth of his first child, the titular Antonio. The imminent arrival of his son has prompted Benjamim to probe into his family history in more depth.
“I’d like to think your mother was also a free person, and maybe you can hold onto that thought, instead of clinging to fear and rage.”
Benjamim knows that his father was Teodoro and that his mother was Elenir. Elenir had a son with Benjamim’s grandfather Xavier first, who they also called Benjamim and who died very young. The second Benjamim was raised by his father after his mother died in childbirth.
Raul is his father’s friend, Isabel is his paternal grandmother, and Haroldo was Benjamim’s grandfather’s friend. They all provide histories of Benjamim’s family that echo and contradict each other, and none seem any more reliable or authoritative than any other. Each has their own truth.
The family is well-off and privileged in São Paulo, but their history is a troubled one. Both Xavier and Teodoro had periods of intense mental illness.
For Xavier, this occurred after the death of Benjamim. As Haroldo recalls:
“[Elenir] looked like a bent piece of wood. She didn’t cry. She received each condolence with correct politeness. Xavier was the total opposite: he was in pieces […] I managed to gain entry to that hell three times. The last time, I brought a team of nurses, to drag my friend out of there and take him to a sanatorium.”
Later, Xavier meets and marries Isabel and they raise a family. They are the generation that came of age in the 1950s and 1960s, idealistic and, in Isabel’s case, driven:
“In a family we’re always a me or and I who’s scattered and complex. It’s only at work, especially work that has to do with ideas, but it’s possible to feel ourselves out and let the contours assume the shape.”
Their youngest son Teo rejects the urban privilege he is born into and goes to live in rural Minas. He throws himself into village life but ultimately becomes rudderless and unwell. Isabel reminds Benjamim of his early childhood:
“You’re from this family, so you are this family. Your father wanted to be rid of all that, and shed himself along with it. The history that he crafted for himself in Minas was a non-history. He went too deep. By the time I brought him back, there was nothing left to hold onto, no handle I could use to hoist him back out: only damaged pieces.”
This is one of central themes of Antonio: how to live an authentic and conscious life, but not be overwhelmed by the search for meaning. How to truly find who you are, alongside the demands of daily life. Isabel believes the answer is hard work, but only Big Work. Haroldo points out:
“She raised a bunch of irresponsible ingrates who are incapable of the most basic displays of solidarity, like visiting their dying mother. Isabel cultivated a true horror of responsibility in them, and at the same time overloaded them with the responsibility to be nothing but the best.”
Isabel recognises that privilege brings responsibility, but she also remains an elitist. When she observes: “I never understood any language that wasn’t well spoken Portuguese.” she is being both literal and metaphorical. The family’s wealth isn’t what it once was and she is unhappy at her children’s middle-class existence.
To me Isabel was the strongest of the three narrators and I got a real sense of her. But Raul, living an ordinary life and baffled by what happened to his childhood friend, and the somewhat reprehensible, colourful Haroldo were also distinct characters if not entirely differing voices, and Bracher balances the three viewpoints well.
I’ve focused on some of the ideas rather than the events of Antonio and that is partly because the novella has some graphic scenes in it – of extensive mental breakdown, one of pig-killing and one of caring for a dead body by someone who doesn’t know what they are doing. None of these are gratuitous but they mean Antonio can be very difficult to read in places.
Bracher avoids conclusions about the causes of Xavier and Teo’s ill health and whether there is a genetic component or whether it is the demands of society on the individual. She vividly, sometimes viscerally, evokes the pressures of family and the search for self in late twentieth-century Brazil.
“To live long and stay well, stay away from your relatives.”
madame bibi lophile recommends 