Deliciously sensuous and fascinating, Robb renders in vivid detail the intoxicating pleasures of Brazil’s food, music, literature, and landscape as he travels not only cross country but also back in time—from the days of slavery to modern day political intrigue and murder. Spellbinding and revelatory, Peter Robb paints a multi-layered portrait of Brazil as a country of intoxicating and passionate extremes.
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About the Author:
Peter Robb has divided his time among Brazil, southern Italy, and Australia for the last quarter century. He is the author of Midnight in Sicily, a New York Public Library Best Book and a Publishers Weekly Best Book of the Year; and M : The Man Who Became Caravaggio, which was a New York Times Notable Book of 2000. The Economist described Midnight in Sicily as “quite simply, the best book about Italy in English” and The Times Literary Supplement called it “a classic.”Deliciously sensuous and fascinating, Robb renders in vivid detail the intoxicating pleasures of Brazil’s food, music, literature, and landscape as he travels not only cross country but also back in time—from the days of slavery to modern day political intrigue and murder. Spellbinding and revelatory, Peter Robb paints a multi-layered portrait of Brazil as a country of intoxicating and passionate extremes.
From A Death in Brazil:
Murders happen anywhere and mine most nearly happened in Rio. Twenty years later only the scar of a small knife wound on my arm reminds me this is a memory and not a dream. The night went on and on like a dream, with a dream's ungraspable logic, or a Brazilian soap's. Details become wonderfully vivid, like the old carving knife with a long curved and darkened blade carelessly left earlier on the kitchen bench of the Copacabana flat, in the moment it was being held at my throat. My Portuguese lost its rudimentary awkwardness and became unreally fluent very fast. Words I never knew that I knew came pouring from my throat. Things flowed with a dream's weightless speed. The danger lay in the speed. A flailing knife blade moves faster than thought. Movement had to be slowed, the heat lowered. It was the one thing I understood. Let nothing happen. Respond to violence, not with violence, speed, and noise, but with ponderous torpidity, envelop each new threat in slowness. The beautiful Portuguese periods began to roll, slowly, slowly, but with what baroque grace, from my amazing tongue. Obtuse fearlessness stayed the hand with the knife, impassive calm put a little wobble in the spin of violence.
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