Accreting through cumulative and sometimes contradictory accounts of a crumbling São Paulo dynasty, this philosophical novel examines what people present and what they conceal, even from themselves....Bracher and translator Morris render a sophisticated, multifaceted portrait of a family that endures nevertheless through its decline and the prolonged fallout from the choices they made--or that were left them--through the lives they lived. An elegant and nuanced meditation on family, class, perception, illness, and death.-- "Kirkus (starred review)"
This spellbinding and surprising work announced Bracher as one of the most fascinating contemporary Brazilian writers.-- "Publishers Weekly (starred review)"
No one but Beatriz Bracher would be able to write a book like Antonio in Brazil today, because only she manages to write so intimately and forcefully, so ironically and bitterly, about the bourgeois upper class.-- "Jornal do Brasil"
Praise for I Didn't Talk: Brilliant, enigmatic, haunting, powerful; Bracher is a force to be reckoned with.-- "Publishers Weekly (starred review)"
Simmering.-- "Vanity Fair"
Above all, it's the writing that shines in I Didn't Talk. It's a novel that's intelligent but not showy, and Bracher's restraint makes the story all the more potent. And the story is an important one. I Didn't Talk isn't just about one emotionally bruised man; it's about the lasting effects of violence, and the way cruelty causes its victims to torture themselves.--Michael Schaub "NPR"
As in her novel "I Didn't Talk" (also elaborately translated by Morris), Bracher brilliantly picks away at the web of secrets and lies plaguing a family and country.--Andersen Tepper "New York Times"
Grief and distance have the power to turn memory into myth in Antonio, a masterpiece of storytelling that is slippery and prismatic, biting and cynical, and then, at last, gentle.--Ally Findley "Harvard Review"
Antonio feel[s] neither entirely like the work of a single author nor like a folk tale, propelling it into a liminal space that allows Bracher to address her real subject: the enduring violence, misogyny, and racism of Brazil's hierarchical society.--Kyle Paoletta "The Nation"