The book that established Dalton Trevisan as one of Brazil's greatest authors returns with a new cover and texts on the back and back cover written by César Aira and Marçal Aquino, illustrious figures in national and international literature.
"Elephant Cemetery ," originally published in 1964, is the book that established Dalton Trevisan as one of Brazil's greatest writers. After a warm reception upon his debut, with the 1959 book "Novelas Nada Exemplares ," critics and readers alike fell head over heels for the Curitiba-born writer's minimalist short stories and keen eye. It's no coincidence, as some of the author's finest moments are found in this book. Such is the case with "A Candle for Dario," which became a classic in Dalton's repertoire for exposing the cruelty of humankind in extreme situations.
The downfall of man, both rural and urban, is portrayed in powerful short stories, in which Trevisan distills the themes that made him famous: betrayal ("A beira do rio"), jealousy ("Caso de destipo"), abuse ("Questão de família"), domestic violence ("Ao nascer do dia"), patriarchy ("O primo"), prostitution ("Dinorá, moça do prazer"), and all the feelings that tend to fuel "marital war," as the author himself so aptly defined in another famous book. There are also, of course, the drunkards by the river in the title story, a merciless portrait of the scourges of the metropolis.
But these tales would be just ordinary stories, heard “behind the door”, if it weren’t for the brilliant language created and polished to exhaustion by the author – when the ellipses say more than pages and pages of plot.
Thus, *Elephant Cemetery* became an important chapter in the immense novel about private life that Dalton Trevisan has been writing for decades, definitively cementing his name among the greatest authors in Brazilian literature. For writer and screenwriter Marçal Aquino, who penned the cover story of this latest edition: " * Elephant Cemetery* is the cornerstone of the literary monument that Dalton Trevisan has built over the last sixty years."
"I discovered Dalton's work in the mid-1970s, when the translation of The Vampire of Curitiba was published in Argentina. Shortly after, I began traveling to Brazil and buying all his books I could find. [...] If you ask me what my favorite is, I might mention Bread and Blood , in which his bloodthirsty minimalism was sublimated. However, I like everything he wrote: his speed, his nonsensical prose, an antidote to so much useless baroque, his distrust of marriage, and his love for humanity." – César Aira