BRAZILIAN BILINGUAL BOOK CLUB

| RADUAN NASSAR | ANCIENT TILLAGE |

14th November 2019, 18.30-21.00
2019 – The year of
adding marvellous Brazilian novels to your reading lists!

RADUAN NASSAR (1935-)

Lavoura Arcaica (1975)

translated as

Ancient Tillage (2016)

 The debut and prize-winning novel of Raduan Nassar
about a young man, André, unable to cope with his father’s pious preaching.
One day he decided to flee his stifling Lebanese immigrant family life
on a farm in a small town in the São Paulo state countryside.

One of his brothers, Pedro, is sent on a family mission to return André, the
prodigal son, to his home and family! How is his return celebrated?

Since the times of Imperial Brazil (1822-1889) in the nineteenth century,

by virtue of the polyglot scholar and translator Pedro de Alcântara,
Dom Pedro II, and his landmark translation of Arabian Nights into Portuguese,
the Orient has held a special appeal to so many in Brazil!
Since then, Brazil has borne various notable authors skilled in ‘Arabian’
narrative, thoroughbreds of various kinds!

Raduan Nassar’s storytelling, in eloquent poetical prose,

skillfully interweaves of some timeless tales in a relatively short novel. As you
read you will find echoes of:

One Thousand and One Nights including The Story of the Barber’s Sixth Brother,
prayers and invocations of Saint Maroun**,
Biblical and Qur’anic passages,
Dyonisian Mysteries, Euripides and Mediterranean tragedies,
Dante’s Nine Circles of Hell,
Shakespeare through Love’s Labour’s Lost
Machado de Assis’s The Academies of the Kingdom of Siam (1884) and Esau and
Jacob (1904),
Clarice Lispector’s passions of the soul
and a great deal of
Malba Tahan*: The Sky of Allah (1927), The Bedouin’s Love (1929), Tales of the
Desert (1932), Tales of the Oasis (1933), Maktub (1935),The Soul the Orient
(1936), The Man Who Calculated (1938), and scores of Oriental Tales and
The Romance of the Prodigal Son (1967)….

On closer examination, the plot seems to have yet another deeper layer
with portentous tales of
incest, sensuous love, inbreeding, maladies and honour crimes.

Could Raduan Nassar be an early whistleblower regarding ancient incest and

inbreeding practices which his forebears brought
to the tillage fields of their new homeland Brazil?
NB. Raduan Nassar is frequently described as an enigmatic author who virtually stopped
writing in 1980s allegedly moving away from the vainglory of literary coteries. He also wrote
a novella Um Copo de Cólera (1978), translated as A Cup of Rage (better rendered as A Chalice
of Rage) and then removed himself from writing and pursued farming.

* Full name: Ali Yezzid Izz-Edin ibn-Salim Hanak Malba Tahan, the pen name of the Brazilian
mathematician and writer extraordinaire Júlio César de Mello e Souza (1895 –1974): our book
club has discussed his major work – see:
https://sistemas.mre.gov.br/kitweb/datafiles/Londres/en-us/file/cul-bookclub-38-tahan.pdf
** An excellent history of the arrival of the Maronites (from Lebanon and Syria/Ottoman Empire)
to Brazil appears in Chapter three of As Religiões no Rio (1904?), Religions in Rio (bilingual
edition 2015, New London Librarium) by João do Rio (1881-1921), the pen name of Paulo
Barreto. See the 2016 post https://sistemas.mre.gov.br/kitweb/datafiles/Londres/en-
us/file/cul-bookclub-05-joaodorio.pdf

Details of available publications:

ENGLISH

2016 – Ancient Tillage translated by Karen C. Sherwood Sotelino (1957-), published by Penguin
Random House UK in the Penguin Modern Classics.
ISBN-10: 0811226565 ISBN-13: 978-0811226561 ASIN: B01N9TFUJS
and reprinted
ISBN: 0-8112-2656-5 / 978-0- 8112-2656-1 (USA edition)

PORTUGUESE
1975 – Lavoura Arcaica published by Livraria José Olympio Editora, Rio de Janeiro, various
reprints by various publishing houses.
ISBN-10: 8571640335 ISBN-13: 978-8571640337 ASIN: B00Q97XDW0

Free download in Portuguese:

http://static.recantodasletras.com.br/arquivos/7172 64.pdf

SHORT HISTORY OF THE BOOK AND TRANSLATIONS

 Lavoura Arcaica has two parts with thirty chapters. The first part comes under the
heading The Departure (chapters 1-21) and the second is Homecoming (chapters 22-30). The
chapters vary in size. The structure of the chapters deserves due attention. Chapters are
numbered (large red numbers in the original) but do not have titles.

A feature of some of the longest ones is that a chapter often appears as an extensive single
paragraph with multiple complex clauses, but totally logical. And with very few full stops. There
are various passages featuring cadences typical of sung poetry similar to those in litanies or
liturgical practices.

A fascinating feature which was used by Clarice Lispector in her 1964 novel The Passion
According to G. H. occasionally appears in Ancient Tillage: the medieval Galician-Portuguese
leixa-pren. In Lispector, the last sentence of a chapter, appears as the opening sentence of the
subsequent chapter. In Raduan Nassar’s novel a whole section of the end of his very long
sentence appears as an opening to another chapter. An example of this resource comes at the
end of Chapter 7 and the beginning of Chapter 9. Chapter 7 ends as

….…da mesa dos sermões; que rostos mais coalhados, nossos rostos adolescentes em volta
daquela mesa: pai à cabeceira, o relógio de parede às suas costas, cada palavra sua
ponderada pelo pêndulo, e nada naqueles tempos nos distraindo tanto como os sinos
graves marcando as horas.
what curdled/frozen faces, our teenage faces around that table: father at its head,
the wall clock behind his back, every word of his pondered/measured by the pendulum,
and nothing at that time would distract us more than the deep bass bells striking the
hours (N.K. translation).

Chapter nine begins with the aforementioned section:

Que rostos mais coalhados, nossos rostos adolescentes em volta daquela mesa: pai à
cabeceira, o relógio de parede às suas costas, cada palavra sua ponderada pelo pêndulo,
e nada naqueles tempos nos distraindo tanto como os sinos graves marcando as horas:
“O tempo …..

Other types of reiterations (repetitions) abound in Raduan Nassar’s prose. At times they
have the effect of echo, echoing memories, at other times they sound like parts of litany
responses. Many are metaphors and reiterations of proverbs or old traditional sayings.

There are two epigraphs at the start of each of the part of the novel. The first has two
lines of the long poem Invenção de Orfeu (1952) by Jorge de Lima (1893-1953). He was a
physician, poet, novelist, biographer, essayist, translator and painter. Invenção de Orfeu (The
Invention of Orpheus) has ten cantos (from the Italian cantus, meaning song) and eleven
thousand lines. It is regarded as one of the masterpieces in Brazilian literature. Raduan Nassar
uses the following lines from the Canto I, poem XXII:
Que culpa temos nós dessa planta da infância,
de sua sedução, de seu viço e constância?

Which blame can we carry of this plant of childhood,

of its seduction, of its vigour and constancy? (N.K.)
 Invenção de Orfeu is a long poem in which Jorge de Lima tries to make a symbolic
interpretation of link or bond of the man and the universe. The poet uses sections of classical
epics such as the Divine Comedy, Aeneid, Os Lusíadas, the Bible as well as other sources. By
linking and collating narrative passages from the various sources, Jorge the Lima created a
complex poem.

The second part of the novel, Homecoming, brings an excerpt from the Qur’an, surah
IV, 23 and the original features the spaces which are not typical of the translated surah:

“Vos são interditadas:

vossas mães, vossas filhas, vossas irmãs.

Forbidden to you are

your mothers, your daughters and your sisters.

This is but a short excerpt from the initial sentence of the surah IV, 23. It refers to marriage
rules. Here is one of its translations by the British scholar Marmaduke Pickthall (1875-1936):
Forbidden unto you are your mothers, and your daughters, and your sisters, and your father's sisters, and
your mother's sisters, and your brother's daughters and your sister's daughters, and your foster mothers,
and your foster sisters, and your mothers-in-law, and your stepdaughters who are under your protection
(born) of your women unto whom ye have gone in but if ye have not gone in unto them, then it is no sin
for you (to marry their daughters) and the wives of your sons who (spring) from your own loins. And (it
is forbidden unto you) that ye should have two sisters together, except what hath already happened (of
that nature) in the past. Lo! Allah is ever Forgiving, Merciful.

A pointer of an additional intellectual source for Raduan Nassar is the reference to the
idols in Francis Bacon, Lord Verulam (1561-1626). He was an English philosopher and
statesman. In his 1620 Novum Organum, sive indicia vera de Interpretatione Naturae, (The New
organon, or true directions concerning the interpretation of nature) or ‘the new instrumentality
for the acquisition of knowledge’. The title is a reference to Organon by Aristotle (384-322 BC).
In this work, written in Latin, Francis Bacon set out the intellectual fallacies of his time under
four headings which he called idols. He distinguished them as idols of the Tribe, idols of the
Cave, idols of the Marketplace and idols of the Theater.
 Language and the use of language, including philosophical and psychological dimensions
also features in his (1605) Of the Proficience and Advancement of Learning, Divine and Human
– known as The Advancement of learning. It greatly influenced the French Encyclopédistes. His
New Atlantis (1626) is an unfinished utopian novel which became a kind of blueprint for the
Royal Academy and future universities. (See, for example, Kerecuk 2005 for a short outline)

Francis Bacon employs the term ‘idol’ in his oeuvre is ‘an image held in the mind, which
receives veneration but is without substance in itself. Bacon did not regard idols as symbols, but
rather as fixations. In this respect he anticipated modern psychology.’ (source: Manly P. Hall
http://www.sirbacon.org/links/4idols.htm )

Idols of the Tribe are deceptive beliefs inherent in the mind of man, and therefore belonging to the whole of the human race. They are
abstractions in error arising from common tendencies to exaggeration, distortion, and disproportion. Thus men gazing at the stars
perceive the order of the world, but are not content merely to contemplate or record that which is seen. They extend their opinions,
investing the starry heavens with innumerable imaginary qualities. In a short time these imaginings gain dignity and are mingled with the
facts until the compounds become inseparable. This may explain Bacon's epitaph which is said to be a summary of his whole method.
It reads, "Let all compounds be dissolved."

Idols of the Cave are those which arise within the mind of the individual. This mind is symbolically a cavern. The thoughts of the
individual roam about in this dark cave and are variously modified by temperament, education, habit, environment, and accident. Thus
an individual who dedicates his mind to some particular branch of learning becomes possessed by his own peculiar interest, and
interprets all other learning according to the colors of his own devotion. The chemist sees chemistry in all things, and the courtier ever
present at the rituals of the court unduly emphasizes the significance of kings and princes.

(The title page of Bacon's New Atlantis (London 1626) is ornamented with a curious design or printer's device. The winged figure of Father Time is shown
lifting a female figure from a dark cave. This represents truth resurrected from the cavern of the intellect.)

Idols of the Marketplace are errors arising from the false significance bestowed upon words, and in this classification Bacon anticipated
the modern science of semantics. According to him it is the popular belief that men form their thoughts into words in order to communicate
their opinions to others, but often words arise as substitutes for thoughts and men think they have won an argument because they have
out talked their opponents. The constant impact of words variously used without attention to their true meaning only in turn condition the
understanding and breed fallacies. Words often betray their own purpose, obscuring the very thoughts they are designed to express.

Idols of the Theater are those which are due to sophistry and false learning. These idols are built up in the field of theology, philosophy,
and science, and because they are defended by learned groups are accepted without question by the masses. When false philosophies
have been cultivated and have attained a wide sphere of dominion in the world of the intellect they are no longer questioned. False
superstructures are raised on false foundations, and in the end systems barren of merit parade their grandeur on the stage of the world.
 Although there is no specific direct reference to any readings of Raduan Nassar of the
works of the notable Brazilian Malba Tahan (full name - Ali Yezzid Izz-Edin ibn-Salim Hanak
Malba Tahan), for those who are acquainted with Malba Tahan, the pen name of the Brazilian
mathematician and writer extraordinaire Júlio César de Mello e Souza (1895 –1974) there is a
very a very obvious link and considering that his Portuguese language teacher, Sister Rosa,
advised him to read Brazilian classics of literature:

The Sky of Allah (1927),

The Bedouin’s Love (1929),
Tales of the Desert (1932),
Tales of the Oasis (1933),
Maktub (1935),
The Soul the Orient (1936),
The Man Who Calculated (1938),
and scores of Oriental Tales
and
The Romance of the Prodigal Son (1967).

Various collections of Malba Tahan’s works were pubishes in the 1950s and 1960s (12, 14, 15, 18 books
in each set of publications) achieving very broad readership in Brazil.

The Romance of the Prodigal Son is particularly relevant and may even void the claim
that Raduan Nassar may have been influenced by the 1907 short story Le retour de l'enfant
prodigue (The Return of the Prodigal Son) is a short story by André Gide (1869-1951).
 Romance do Filho Pródigo based on the parable of the Prodigal Son. Malba Tahan’s book
brings the parable in the version by Marie-Joseph Lagrange (born Albert Marie-Henri Lagrange
1855 - 1938), a Catholic priest in the Dominican Order, studied oriental languages at the
University of Vienna, founder of the École Biblique in Jerusalem and the journal Revue Biblique
(1892). Also it brings a chronology by the Malba Tahan’s older brother J. B. de Mello e Souza
(João Baptista 1888-1969), and it is annotated, with commentary and curious facts by Nelson
Vainer and Naumin Aizen (1939-2012). Catholic, Protestant and Israeli authors contributed to
the Romance do Filho Pródigo.
Regrettably, there is a single translation of Malba Tahan in English. Our book club has
discussed his major work– see: https://sistemas.mre.gov.br/kitweb/datafiles/Londres/en-
us/file/cul-bookclub-38-tahan.pdf

Accounts about how Raduan Nassar began to write Lavoura Arcaica indicate that he
began to draft his notes for the novel in 1968. At the time he resumed his readings of the Bible
and the Qur’an. The evidence of study of both sacred books is certainly present in the novel. In
addition, there are sections which are reminiscent of the spirituality or prayers of Saint Maroun
(unknown -410 AD) and the Maronite Church.
St. Maroun, born in the middle of the 4th century in Syria, was a priest who later became
a hermit, retiring to a mountain of Taurus in the region of Cyrhus, near Antioch. His holiness
and miracles attracted many followers, and drew attention throughout the empire. St. John
Chrysostom sent him a letter around AD 405 expressing his great love and respect, and asking
St. Maron to pray for him.
An excellent history of the arrival of the Maronites (from Lebanon and Syria/Ottoman
Empire) to Brazil appears in Chapter three of As Religiões no Rio (1904?), Religions in Rio
(bilingual edition 2015, New London Librarium) by João do Rio (1881-1921), the pen name of
Paulo Barreto. See the 2016 post https://sistemas.mre.gov.br/kitweb/datafiles/Londres/en-
us/file/cul-bookclub-05-joaodorio.pdf

I should point out that Ancient Tillage can be read without references to any of the
religious texts. In April 1969, Raduan Nassar left the weekly newspaper Jornal de Bairro as he
disagreed with the editorial changes. He decided to write the novel, working ten hours a day and
completed it in October. His brother Raja, a law and philosophy graduate, was the first reader
of the manuscript. Without seeking permission from the author, his brother made two copies of
the novel and circulated them among friends. One of the copies ended up in the hands of his
former teacher at the Faculty of Philosophy, Dante Moreira Leite, who sent it to the Livraria José
Olympio Editora in Rio de Janeiro.

The author contributed to the costs of the publication of Lavoura Arcaica and José
Olympio published it in 1975. In 1976, the book was awarded the Coelho Neto Prize of the
Brazilian Academy of Letters (novel category). It was also awarded the Jabuti Prize of the
Brazilian Book Chamber.

The first translation of Lavoura Arcaica appeared in Spanish in 1982. The French
translation La maison de la mémoire along with Un verre de colère appeared as a single book in
1975. The German translation, Das Brot des Patriarchen was published in 2004. A translation
in English finally appeared in 2016.

Ancient Tillage, the English translation is by Karen C. Sherwood Sotelino (1957-). She
holds a Bachelor’s Degree in International Relations from Stanford University (political science,
economics, French and Italian) and an M.A. and PhD in Literature from the University of
California Santa Cruz. She lived in Brazil for twenty years. She has translated Brazilian and
Portuguese authors into English, including Machado de Assis (Resurrection), Raul Brandão,
Álvaro Cardoso Gomes and José Leon Machado.

In an interview (Luciana C. Fonseca 2016), she said that she ‘worked six hours a day for
six weeks to meet the deadline’. She thought she could submit her translation for a Brazilian
prize unaware that it was awarded for published works. She contacted the author, who met her.
She states, ‘I believe he wanted to get a sense of the translation. We sat for hours, and we talked
about words and more words. If there was a passage here or there that I had not understood,
instead of explaining, he would say, ‘Let me read it out loud to you.’ And through his tone of
voice, I understood the passage’. She has been publishing on translation and translations from
2002.
The translation is adequate but comes with weaknesses. The first epigraph – two lines
from one of the Cantos of the long poem by Jorge de Lima, contain the word ‘constância’ –
translated as ‘earnestness’. The poem refers to ‘constancy’, ‘immutability’, ‘permanence’,
‘faithfulness or fidelity’. In ecological metalanguage, for instance, ‘constancy’ ‘refers to the
frequency of occurrence of a particular species in the same plots from a community’ (Collins
Dictionary). The context of forest is relevant as this section of the original poem. The semantic
distribution of ‘earnestness’ is at variance with the sense of the original. Also, the two lines
appear as single sentence in the Penguin publication, giving an erroneous idea that the source is
in prose.

Another example is the last line of chapter 7 with reference to the translation of ‘sinos
graves marcando as horas’ which Karen Sotelino renders as ‘deep bells’ missing the essential
musical reference. Also ‘marking the passing hours’ is too literal a translation.

….e nada naqueles tempos nos distraindo tanto como os sinos graves marcando as horas.

… (with nothing distracting us more) at that time than the deep bells marking the passing
of the hours’ (2016: 30)

….and nothing at that time would distract us more than the deep bass bells striking the
hours. (NK)

The original text is very challenging and complex as it is poetry in prose with extremely
long sentences/paragraphs. A great deal of the syntactic of the original was lost in the
translation. The sentence structure in Raduan Nassar contains numerous embedded clauses in
coordination and subordination and with altering register and emotional overtones. The
translation of such a text is akin to translating a long poem.
 The Penguin Modern Classics edition suffers from current publishers’ malaise of splitting
words in the wrong places, ignoring syllables.

There is a 2001 adaptation of Ancient Tillage for the cinema as Lavoura Arcaica by the
film director Luiz Fernando Carvalho (1960). He specialises in adaptations from literature. The
film in Portuguese has been ranked as one of the best one hundred Brazilian films. Its title in
English is To the left of the father, a reference to the seating plan of the narrator’s family around
the table at meals. See http://luizfernandocarvalho.com/projeto/lavoura-arcaica/ and
https://www.kinolorber.com/film/view/id/838

BIOGRAPHY

RADUAN NASSAR
(27th November1935-)
 Raduan Nassar was born in the state of São Paulo, Brazil in in 1935. His parents João
Nassar and Chafika Cassis were married the hamlet Ibel-Saki (Ibl Es Saqi), in the South of
Lebanaon in 1919. A year later they arrived in Brazil similarly to twenty thousand Syrian and
Lebanese immigrants who arrived in Brazil in 1920s. The author’s parents settled in Pindorama
where other members of the family had settled earlier; later in 1949, they moved to Catanduva.

Following the four-century Ottoman rule, Lebanon came under the French rule for 25
years. A constant flow of Christian immigrants (four main Christian churches, the Maronite
being the oldest), were minorities in Lebanon. Christians were persecuted by the Muslims at the
instigation of the Turks. The author’s father would tell his children about the history of his home
country. The author told Edla van Steen about his father in an interview. He stated that he learned
a great deal about politics from his father who had to serve in the Ottoman Occupation Army.
His father read newspapers and made his children read them aloud. (Steen, 1983: 265).

Most of the Lebanese left for Brazil dreaming of religious freedom and particularly
economic advancement. They did not resort to any support from the Brazilian authorities and
were self-reliant, a great source of pride.

The Nassar family were farmers in Lebanon, and when they arrived in Brazil they became
traders but also continued their agricultural activities. His father was a small shop keeper and
later opened a fabric shop - Casa Nassar. They had ten children. Raduan is their seventh child
born at home. His siblings are Violeta, Rosa, Norma, Uydad, Raja and Rames and born after him
Rauf, Leila and Diva. His parents greatly valued education and moved from Pindorama to
Catanduva in 1949 to ensure better education for their children and in 1953, the family moved
to the capital city of São Paulo.

In 1943, Raduan attended the local primary school in Pindorama. He had a good memory
and could recite various poems on special dates despite the difficulty in pronouncing the ‘r’
sound. His father gave him some guinea fowls as a present and he was delighted. He became an
altar boy in 1946 and went to church regularly. He started high school in the town Catanduva
and worked at his father’s shop. At that time he had a collection of pigeons. In the fourth year of
the high school, in 1950, he began to have seizures. His parent took him in a plane for treatment
with a neurologist in the capital to São Paulo. He suffered from partial amnesia and could not
complete the school year. He returned to school the following year and his Portuguese teacher,
Sister Rosa, instigated him to read the Brazilian classics as part of his study programme. In 1952,
he began his senior high school studies. He built a tank in the family back garden and started
growing fish.

In 1953, João Nassar moved the family to the capital city São Paulo to ensure that his
children have better education. They lived in the borough of Pinheiros (Rua Teodoro Sampaio,
2.173). He opened a haberdashery shop at the same place, The Bazar 13, which later became a
big business there. Raduan worked with his father during the day and attended high school
(sciences first and then classics) in the evenings.

Raduan Nassar read law at the Largo de São Francisco Faculty of Law (started in 1955 in
the evenings), classic languages at the University of São Paulo and ended up graduating from
philosophy. At the Law Faculty he met Hamilton Trevisan who nurtured literary aspirations, who
introduced Raduan Nassar to Modesto Carone who was keen to pursue a life in literature. The
trio debated their literatury aspirations.

In 1957, Raduan started a degree in philosophy at the University of São Paulo and there
he met José Carlos Abbate. The quartet of literary friends regularly met at the Mário de Andrade
Library and the Law Faculty Library. They also played snooker and visited bars in the old part of
the capital. Again, Raduan changed his mind and dropped out of his degree courses. His father
died in 1960 and the author left the family business the following year. He wrote a short story
‘Menina a caminho’.

He travelled to Matane, Canada, where two of his aunts on his father’s side lived and then
spent two months in the United States. He returned to Brazil in 1962 and his Philosophy degree
completing it in 1963. He travelled to Lüneburg, Germany to learn German, and travelled to
Lebanon to visit his parents’ village before returning to Brazil.

In 1965, at the Tapiti farm in the town of Cotia, São Paulo, he started breeding rabbits
with a business partner Ernst Weber. He even chaired the Brazilian Rabbit Breeders Association.
He continued to meet his three literary friends and once again changed track. In 1967, with his
brothers he founded the weekly Jornal do Bairro. José Carlos Abbate became their chief editor.

His mother died in 1971. She was a top breeder according to the author (poultry,
chickens and turkeys). He said he inherited her love of breeding animals. In 1972, he joined his
family in the readings and discussions of the New Testament (not religious though) and carried
on with the Old Testament and Qur’an studies he had started earlier. In 1973, he met a lecturer
in Germanic studies, Heidrun Brückner, of the Department of Germanic Languages at University
of São Paulo, who became his life companion. Heidrun Brückner organized various cultural
activities at the Goethe Institutes in S. Paulo and Curitiba.
 His novella Um copo de cólera was published in 1978. He bought the Fazenda Lagoa do
Sino, in Buri, in the state of São Paulo in 1985 and pursued farming there. He developed various
areas of farming and livestock breeding there and built a significant estate. He bequeathed it to
the University of São Carlos in 2017.

References and sources

Main works: (1975) Lavoura Arcaica, (1978) Um copo de cólera, (1994) Menina a caminho (short stories),
(2016) Obra Completa

Agents: https://www.rcwlitagency.com/

On Jorge de Lima
 Invenção de Orfeu by Jorge de Lima- for the structure and details (in Portuguese) see for example:
https://www.companhiadasletras.com.br/trechos/28000426.pdf

http://enciclopedia.itaucultural.org.br/obra12113/invencao-de-orfeu
 Author’s agents: Rogers,Coleridge & White Ltd - https://www.rcwlitagency.com/authors/nassar-
raduan/

On Francis Bacon, Lord Verulam

 Kerecuk, Nadia ( 2005)Bacon, Francis, Lord Verulam (1561–1626). In: Keith Brown, (Editor-in-Chief)
Encyclopedia of Language & Linguistics, Second Edition, volume 1, pp. 645-646. Oxford: Elsevier
 The full text Of the Proficience and Advancement of Learning, Divine and Human and Novum Organum
is available in digitised format https://archive.org/details/advancementofl00baco/page/n8 and
https://www.gutenberg.org/ebooks/author/296

On Karen C. Sherwood Sotelino

 Fonseca, Luciana (2016) C. Translation and beyond: Machado’s Resurrection and Nassar’s Ancient
Tillage An Interview with Karen Sotelino https://www.researchgate.net/publication/306362348

2019: #AddBraziliannovels2yourReadingLists

HAPPY READING!

Attendance is free, but booking is essential: nadia.kerecuk@itamaraty.gov.br

©Nadia Kerecuk
Creator and Convenor of the © Brazilian Bilingual Book Club at
the Embassy of Brazil in London