The Posthumous Memoirs of Brás Cubas, also translated as Epitaph of a Small Winner, is a novel by the Brazilian writer Joaquim Maria Machado de Assis. Published in 1881, the novel has a unique style of short, erratic chapters shifting in tone and style. Instead of the clear and logical construction of a normal nineteenth-century realist novel, the novel makes use of surreal devices of metaphor and playful narrative construction. It is considered the first romance of the realist movement in Brazil.
Plot introduction
The novel is narrated by the dead protagonist Brás Cubas, who tells his own life story from beyond the grave, noting his mistakes and failed romances. The fact of being already deceased allows Brás Cubas to sharply criticize the Brazilian society and reflect on his own disillusionment, with no sign of remorse or fear of retaliation. Brás Cubas dedicates his book: "To the worm who first gnawed on the cold flesh of my corpse, I dedicate with fond remembrance these Posthumous Memoirs" , which indicates that not a single person he met through his life deserved the book. Cubas decides to tell his story starting from the end, then taking "the greatest leap in this story", proceeding to tell the story of his life since his childhood. The novel is also connected to another Machado de Assis work, Quincas Borba, which features a character from the Memoirs, but other works of the author are hinted in chapter titles. It is a novel recalled as a major influence by many post-modern writers, such as John Barth or Donald Barthelme, as well as Brazilian writers in the 20th century.
Philosophy of Brás Cubas
Brás Cubas' pessimism is shown most obviously in the sub-title of the novel, Epitaph of a Small Winner. Cubas considers his life in the manner of an accounting, finding neither any positives or negatives; but he then realises that since he has not fathered any children he has not passed on the "misery" of life any further. For this reason he considers his life a success. Assis published his work in 1881 and it is influenced by the philosophy of Arthur Schopenhauer, a German philosopher whose philosophical magnum opus, The World as Will and Representation was first published in 1818. Schopenhauer's influence on the novel's philosophy is without doubt when one compares Cubas' description of insects and his attitude towards animals, which is a feature of Schopenhauer's philosophical outlook; and in Schopenhauer's writing he similarly uses examples from the animal kingdom to illustrate a philosophical truth. Assis' allusion to Schopenhauer's philosophy is also 'formal': the chapter structure of The Posthumous Memoirs mimics that of Schopenhauer's World as Will and Representation; Bras Cubas' "method" in the novel, specifically the practice of referring to incidents in previous chapters by the chapter number, is imitative. Schopenhauer is often referred to as the 'King' of pessimists, or the 'Philosopher of despair'; his outlook is heavily linked to that of Buddhism. It is important to note that Assis created a philosophical theory to criticize Positivism, which was common in Brazil's literature back then. The theory in question was Humanitism, created in the books by Quincas Borba, a friend of Brás Cubas who had gone mad before dying. By doing this, Assis sharply criticizes the current philosophical theories, implying that only someone crazy would believe in them. Humanitism is to believe in Humanitas, which, according to Borba, is "the principle of the things, the same man equally distributed in all men". Therefore, if all men are equally Humanitas, an executioner killing a convict of murder is just "Humanitas correcting Humanitas because of an infraction of the laws of Humanitas". Envy is just "an admiration that fights for Humanitas against Humanitas", and thus, "being the war the grand function of the human genus, all the pugnacious feeling are the most adequate to happiness. From this, I came to the conclusion: envy is a virtue". If envy is a virtue, then cynicism, vanity and egoism are legitimated. Assis, through an ingenious fallacy, implied that envy is positive, in the same way many theories could "prove" true something clearly absurd looking through today's eyes.
Reception
In an article in The Guardian, Woody Allen listed the work as one of his favorites. He said in an interview with the newspaper:
Translations
There have been multiple translations. It was first translated in 1952 as Epitaph of a Small Winner by William L. Grossman. In 1997, it was translated as The Posthumous Memoirs of Brás Cubas by Gregory Rabassa. In 2020, there were two new translations, by Flora Thomson-DeVeaux and Margaret Jull Costa and Robin Patterson. The New York Times named Jull Costa and Patterson's translation "the superior translation".
