Discovering and Re-discovering

Brazilian Science Fiction:

An Overview

M. Elizabeth Ginway and Roberto de Sousa Causo 1

■■ This paper is an overview of representative works of Brazilian science

fiction (sf) and their periodization. As the article “A Chronology of Latin-
American Science Fiction” by Molina-Gavilán et al. demonstrates, we have
reached a point in the study of Latin American sf at which it is possible to
trace its genealogy, proving that the genre has a long-standing historical pres-
ence and social relevance in a region associated with neo-colonial societies
and developing economies. In fact, in the Latin American sf of the nineteenth
century, as Rachel Haywood Ferreira has pointed out in “The First Wave: Latin
American Science Fiction Discovers Its Roots,” science and technology play a
key role in intellectual life, since technology is viewed as a possible solution
to overcoming the historical lag in economic development with the hope of
creating a better, more utopian society (Ferreira 434).
In order to offer an overview of Brazilian sf, we take our cue from a pioneer-
ing work, the Fantastic, Fantasy, and Science Fiction Catalog (1991) by Braulio
Tavares and Roberto de Sousa Causo, a work that offers a list and summary of
works as well as the publisher contact information of publishers for English-
speaking researchers and translators. As its title indicates, this compendium
identifies three subgenres of speculative fiction: the fantastic, fantasy and sf.
The fact that these are grouped together reflects that, in the Brazilian tradition,
all three remain closely related to this day, gaining strength in numbers in a
country where high art and the realist tradition predominate in literary circles and

Extrapolation, Vol. 51, No. 1 © 2010 by The University of Texas at Brownsville and Texas Southmost College

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M. Elizabeth Ginway and Roberto de Sousa Causo

publishers. Additionally, it is common in Brazil for critical works, anthologies

and fanzines to include multiple genres from this group, a phenomenon that has
the added effect of facilitating generic cross-fertilization. As we shall see, many
of Brazil’s contemporary authors, among them Braulio Tavares, Gerson Lodi
Ribeiro, Roberto Causo, Carlos Orsi, Octavio Aragão and newcomer Cristina
Lasaitis all write works in these genres, or a mix of them. Furthermore, the New
Weird, itself a blend of horror, fantasy and sf devices has also gained strength in
Brazil. In fact, Fabio Fernandes and Jacques Barcia, among others, have started
a website in English “Post-Weird Thoughts.” All these authors consider them-
selves to be part of the sf community in Brazil, and for this reason, our approach
here is necessarily inclusive, rather than exclusive in scope. It is also important
that, since this study has a partially thematic approach, there is an unavoidable
measure of chronological overlap between subsections.
Although a few studies on the sf genre appear in Brazil before 1990,2 the
recovery of the history of the genre does not begin in earnest until then. Fol-
lowing Tavares’s 1991 catalogue mentioned above, the São Paulo-based literary
supplement, D.O Leitura, re-prints Leo Godoy Otero’s overview of the history
of Brazilian sf in 1993. Later on, Francisco Alberto Skorupa publishes a study
covering the years 1947-1975, Viagem às letras do futuro.3 However, it is not
until 2003 that Roberto de Sousa Causo publishes his landmark Ficção cientí-
fica, fantasia e horror no Brasil, 1875-1950 [sf, Fantasy and Horror in Brazil,
1875-1950], the first panoramic study of the genre from its origins through the
first half of the twentieth century. This article is based on Causo’s introduction
to a new anthology of Brazilian sf and fantasy short stories published between
1882 and 1997, written with the goal of educating a new reading public about
its own tradition of sf.

Beginnings: Scientific Romance (1875-1939)

As Causo has observed, the role played by science and technology in
Brazilian sf of the late nineteenth and early twentieth centuries is quite distinct
from its Anglo-American or European counterparts. It is significant that the
time machines that appear in these stories do not allow protagonists to travel in
time or space, but merely to observe events from afar—hence preventing them
from taking an active part in the narrative. This type of sf clearly follows the
model of the “scientific romance” or voyages extraordinaires of Jules Verne,
H. G, Wells, and Arthur Conan Doyle. In Brazil, Augusto Emílio Zaluar’s
1875 O Doutor Benignus [Doctor Benignus], obviously inspired by Verne and
Camille Flammarion,4 is heavy on armchair travel and light on real adventure.
For Dr. Benignus, science is mostly another way of improving oneself as a
citizen by becoming more informed, while at the same time bettering one’s

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social status.5 Thus, in late nineteenth-century Brazil, science becomes an

enterprise undertaken by an elite individual for self-improvement and is not
part of a wider vision of the institutionalization of science in society.
The futuristic O presidente negro ou O choque das raças [The Black
President, or The Clash between the Races] (1926),6 the only adult novel written
by Monteiro Lobato7—and one that many of his fans and critics would rather
forget—is a vision of the United States in the year 2228, when a black man runs
for president.8 While inspired by H. G. Wells, the novel is Lobato’s interpreta-
tion of American racial politics (portrayed by Lobato as a state of apartheid) that
produced a social dynamic resulting in American material progress during the
first part of the twentieth century. For Lobato, this is the exact opposite of Brazil’s
racial policy of miscegenation, a factor he attributes to his country’s racial and
economic backwardness. This view is reinforced in the novel by the fact that the
only Brazilian is a guest who is hosted by the American scientist Benson and
his daughter. In the course of the novel, the Brazilian only “observes” the future
shaped by others, via the “futuroscope” invented by the American.
A similar passivity is seen in Erico Verissimo,9 in his 1939 Viagem à Aurora
do Mundo [Journey to the Dawn of the World], a narrative also inspired by Wells
and Lobato, with a touch of Arthur Conan Doyle thrown in, given that Doyle’s
own Lost World (1912) actually deals with pre-historic life on a plateau located
in Northern Brazil. Verissimo, however, chooses to use a more familiar setting
to most Brazilians, a large family estate, and a serialized format, both associ-
ated with nineteenth-century Brazilian Romanticism.10 In Verissimo’s novel,
the observer is a prisoner of a mysterious villa inhabited by a family consisting
of four brothers: a physicist, a naturalist, a philosopher, and a theologian. The
main character, Dr. Fabricio, possesses, like Benson, a viewing machine with
which he captures images from various time periods for the edification of a
group of guests as they observe the dawn of life on Earth, with special atten-
tion paid to dinosaurs. Dr. Fabricio’s daughter provides the love interest, as
she is the object of desire of the brothers and of an evil capitalist who hopes
to put the scientific device to commercial use. All ends well when the device
finally breaks, squelching the capitalist’s plans, and the brothers make peace,
since their fields of knowledge do not really compete anyway. However, we
do discover that the philosopher has been hanging onto a volume that happens
to be a classic of Brazilian children’s literature, none other than Lobato’s O
Reino de Narizinho [The Kingdom of Narizinho] (1931), thereby completing
Verissimo’s homage to his Brazilian literary forebear and undermining the
scientific “authority” of the other competitors.
In these three Brazilian examples, science has little social relevance and
mostly appears as a symbol of bourgeois entertainment, captured by the central

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M. Elizabeth Ginway and Roberto de Sousa Causo

image of the estate or mansion, the places from which such “voyages” emanate.
It comes as no surprise that science’s other use is purely commercial, as in the
case of the capitalist in Verissimo’s novel who views the scientific device as
just another source of money and entertainment, and not as a means of gain-
ing scientific or historical understanding. This contrasts with the attitude of
Wells and Doyle, who, in their novels, depict scientific meetings and debates
that lead the protagonists to experience new adventures and realities, thereby
challenging our notions of the known world. Thus European societies tend to
colonize, taking an active role in the scientific process, while countries like
Brazil tend to take a more passive role, as consumers or critics of science. While
it could be argued that not all Latin American sf conveys such passivity,11 this
is a significant trend in works by Brazilian authors who envision a new or dif-
ferent society, but by and large view scientific endeavor as an elite pastime.

Pulp Trends and Beyond (1925-1958)

We start to see a more critical, anti-colonial voice expressed in Brazilian
novels beginning in the 1920s and 30s. A amazônia misteriosa [The Mysteri-
ous Amazon] (1925) by Gastão Cruls,12 can be seen as a counterbalance to the
more Darwinian/Wellesian models of works of early Brazilian sf, although
the influence of Wells’s Island of Dr. Moreau (1896) is clear. Unlike Moreau,
who is interested in philosophical arguments on the animal nature of humanity,
Cruls’s scientist is more interested in performing experiments for their own
sake. When the unnamed protagonist, a Brazilian physician, ends up lost in the
Amazon, he becomes a prisoner of the legendary Amazon women, who later
introduce him to Dr. Hartmann, a German scientist who uses the male offspring
rejected by the Amazons in his scientific research. The Brazilian physician,
after ingesting a local hallucinogen, experiences an encounter with the his-
torical figure of the Incan prince Atahualpa,13 who describes the violence and
abuses of the conquest of the Americas. After this, the protagonist rejects the
European’s claims of scientific intent, realizing that Hartmann is yet another
in a series of cruel and exploitative conquerors and colonialists.
Menotti del Picchia’s A filha do Inca [The Daughter of the Inca] (1930)14 is
a critique of technology and technological society. In the novel, when a Brazil-
ian military expedition sets out to explore central Brazil, it finds a scientifically
advanced civilization that has been insulated from the jungle by an invisible
force field. When lightning momentarily interrupts the force field’s power
source, the men enter, only to find themselves taken prisoner. They eventually
reject the society’s positivistic belief in the future and space travel, managing
to escape, along with an Incan princess who is also being held there. The novel
ends with a tribute to pastoral values and traditional rural living. In reality, the

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vision of a quiet, simple rural existence would ultimately be supplanted for the
majority of Brazilians by rapid urbanization and the adoption of the post-war
American model of progress and capitalist competition.
Another practitioner of sf, Berilo Neves, can also be considered to be part
of this pulp trend, although from a more urban and sophisticated point of view.
Unlike the Amazonian novels, his work provides social criticism, albeit from
a reactionary perspective. Published in magazines and newspapers throughout
the 1920s and 30s, his texts were gathered in the collections A costela de Adão
[Adam’s Rib] (1930) and O século XXI, [The Twenty-First Century] (1934).
Most of his stories deal with future events and inventions in Brazil and beyond,
and are satirical in tone and content, his main targets being female frivolity
and feminism. His blatant misogyny is still shocking to this day, as it reflects
a distinct condemnation of romanticism and sentimentality in the relationships
between the sexes. One of his plots involves the invention of a machine for
human reproduction that makes women obsolete. In another, he depicts a future
world where the roles of the sexes are reversed, in a parody of everyday life.
Apparently Neves’s dislike of women did not prevent his becoming one of
the best sellers of his day, as his futuristic tales were seen as following in the
footsteps of Verne and Wells.
During the 1930s, another facet of Brazilian popular fiction emerged, as
seen in the work of the prolific Jeronymo Monteiro,15 who, while inspired by
Wells, borrows themes and images of American pulp fiction. One of Monteiro’s
creations is Dick Peter, an American detective and protagonist for a radio series
he wrote and produced. The detective, like many pulp heroes, often finds himself
involved in scenarios reminiscent of sf, complete with fantastic machines and
menacing monsters. Monteiro also wrote novels about Dick Peter, under the
pseudonym Ronnie Wells, in part as homage to Wells, his favorite author and
greatest influence, and in part to give his mysteries the cachet of being written
by an American author.
Wells remains a consistent influence in Jeronymo Monteiro’s writings, as
seen in his 3 meses no século 81 [Three Months in the Eighty-First Century]
(1947), which mixes aspects of War of the Worlds (1898), The Time Machine
(1895), and When the Sleeper Wakes (1899). Monteiro’s protagonist, a Brazilian
journalist, confronts Wells himself, telling him that he will manage to carry out
the time travel proposed in his 1895 work. Undaunted by the lack of scientific
research in Brazil, the journalist travels via a “transmigration of souls” with
the help of Brazilian mediums recruited for this purpose. The Brazilian time
traveler awakens in the future and takes an active role in a rebellion led by
those fighting against a mindless regime of conformity and mass production
on Earth, alongside their Martian allies. For the first time, Monteiro shows us

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M. Elizabeth Ginway and Roberto de Sousa Causo

a Brazilian hero who takes part in a social movement while also developing
his own individual will, new collective values, and spiritual awareness. After a
hiatus of nearly a decade and a half, Monteiro publishes another distant future
science-fiction novel, Fuga para parte alguma [Flight to Nowhere] (1961),
a work hailed as “um dos marcos da ficção cientifica brasileira” [“one of the
landmarks in Brazilian science fiction”] by critic and sf author Fausto Cunha
(10-11). This novel can be seen as a grim sequel to the first, in that humanity is
defeated as it struggles against the superior forces of giant ants, which, having
mutated after exposure to electricty, emerge to take over the Earth. The story
reflects, in part, the prevailing fears and pessimism of the atomic age, since it
predicts human annhilation.
To conclude our discussion of the period, Rubens Teixeira Scavone’s
protagonist of O homem que viu o disco voador [The Man Who Saw a Flying
Saucer] (1958) exemplifies the new independent Brazilian sf hero. In Scavone’s
work, Brazilians become both the actors and observers of a drama that unfolds
on Brazilian territory, specifically in São Paulo and its offshore Island of Trin-
ity (Ilha da Trindade). In the novel, the pilot finds his life transformed after he
spots a UFO on a routine flight, given that the aliens from the UFO arrange
to meet with him and his crew on the Brazilian island. In writing this novel,
Scavone is didactic in conveying information about the UFO phenomena, while
offering readers a Vernian-type adventure story set in Brazil. Both Scavone
and Monteiro anticipate the First Wave of Brazilian sf, providing active heroes
who represent the beginning of a new attitude towards the genre in Brazil.

The GRD Generation of the 1960s: The First Wave

Monteiro and Scavone go on to become part of a larger movement associ-
ated with the Bahian editor Gumercindo Rocha Dorea, whose efforts, from 1960
to 1965, foment the production of more sophisticated sf texts. As part of his
collection, Science Fiction GRD, Dorea offers established authors who have
previously shown some interest in sf the opportunity to publish in the genre.
Among the literary heavyweights he attracts are Dinah Silveira de Queiroz,
Antonio Olinto, and Leon Eliachar,16 but Dorea’s more interesting discoveries
are André Carneiro, Levy Menezes and Fausto Cunha. Although better known
as a literary critic up until that point, Cunha produces his popular and revered
collection As noites marcianas [Martian Nights] (1960), while Menezes pens
O 3o planeta [The Third Planet] (1965). In this latter collection we find a
true Brazilian classic, “O último artilheiro” [The Last Artillery Man], a post-
apocalyptic story, which ironically takes place in a mansion, a setting typical
of early Brazilian sf. Menezes, an architect by profession, thoroughly enjoys
speculating about the fully automated house in the story. Dorea also edits the

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first two short story collections of Brazilian sf, A antologia brasileira da ficção
científica brasileira [A Brazilian Anthology of Science Fiction] and Histórias
do acontecerá [Tales of the Future], both from 1961.
Dorea’s efforts do not go unnoticed and they inspire the publishing house
EdArt to launch its own sf anthology in 1965: Além do tempo e espaço: 13
histórias de ciencificção [Beyond Time and Space: 13 SF Stories], with texts
by Monteiro, Scavone, Carneiro, and Domingos de Carvalho da Silva, among
others. Of these, Silva’s “Água de Nagasáqui” [“Waters of Nagasaki”] best
captures the fears of nuclear war, a common theme among authors of that era.
The EdArt collection, organized by Álvaro Malheiros, also publishes two
important collections by Carneiro, Diário da nave perdida [A Lost Ship’s Log]
(1963), which contains his masterpiece “A escuridão” (“Darkness”), translated
and anthologized abroad, 17 and O homem que adivinhava [The Man Who Pre-
dicted] (1966). The entire generation of the 1960s would later become known
as the GRD Generation, a phrase coined by Fausto Cunha in his seminal essay
“Ficção científica no Brasil: Um planeta quase desabitadao” [“SF in Brazil:
An Almost Uninhabited Planet”], (11).18
While Wells is the author who has the most influence over Brazilian authors
during the first part of the twentieth century, Ray Bradbury holds the most sway
among the pioneers of the GRD generation. Bradbury’s sf is not limited to
adventure, but includes fantastic elements and lyricism, both of which appeal
to Brazilian authors of the era. Among those to pay tribute to him are Fausto
Cunha in As noites maricanas [Martian Nights], and Carneiro and Scavone,
especially in the latter’s collections, Diálogo dos mundos [Dialogue Between
Worlds] (1961) and Passagem para Júpiter [Passage to Jupiter] (1971). Scav-
one is one of the few to keep writing sf long after the initiatives by GRD and
EdArt come to an end.
As a symbol of this transitional period at the end of the 1960s, we should
take note of the SF Symposium held in Rio de Janeiro in 1969, organized
by sf fan and translator José Sanz. Here, the emerging world of Brazilian sf
comes into contact with authors of world renown such as Robert Heinlein, J.G.
Ballard, Brian Aldiss, Harry Harrison, Robert Bloch, Arthur C. Clarke, Philip
José Farmer, John Brunner, Damon Knight and Harlan Ellison, among others.
Ironically, their visit would lead to the domination of Anglo-American sf in
Brazil in the following years, since major Brazilian publishing houses begin
to concentrate on translations of their works.
In general, it can be said it was not part of the GRD generation’s agenda
to nationalize or re-invent the sf genre in Brazil.19 Aside from Monteiro and a
few others, this experiment with sf—whether considered a success or failure—
cannot be seen as an attempt to push the conventional limits of Anglo-American

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M. Elizabeth Ginway and Roberto de Sousa Causo

sf, but is rather a reworking some of its premises and icons in the Brazilian
context.

Dystopian Fiction (1970-1985)

If we have but a handful of names associated with Brazilian sf during the
first half of the twentieth century, we have even fewer for the 1970s. After the
“pioneers” of the GRD Generation, there is a pause during the 1970s, proving
the view that the works of the initial period never make it into the hearts and
minds of fans or critics dedicated to studying the genre in Brazil.
On the other hand, this view may be overstated. One of the more interesting
aspects of sf in the 70s, produced mainly by a groups of mainstream writers, is
its political function of encoding criticism of the military regime (1964-1985), as
the dystopian texts of this era associate the country’s imagined futuristic societies
marked by modernization, with authoritarianism, environmental degradation,
and the loss of personal and collective identity. Works such as O rosto perdido
[The Lost Face] (1970) by Almeida Fisher, Adaptação do funcionário Ruam,
[Bureaucrat Ruam’s Adaptation] (1975) by Mauro Chaves, O fruto do vosso
ventre, [The Fruit of Thy Womb] (1976) by Herberto Sales (winner of the annual
Brazilian Jabuti literary prize), and Asilo nas torres, [Asylum in the Towers]
(1979) by Ruth Bueno, deserve the attention of researchers precisely because
of their political content, despite their awkwardness in adopting sf tropes.
In Brazilian Science Fiction: Cultural Myths and Nationhood in the Land
of the Future (2004), M. Elizabeth Ginway has thoroughly researched this
period.20 In the chapter “Brazilian Dystopian Fiction: Protesting Repression,
Modernization and Ecological Degradation,” she discusses the origins of
dystopian fiction, and how, in Brazil, the genre explores the control of sexual-
ity and reproduction as demeaning political control, the often conflicted or
stereotyped roles for women, the use of censorship and the media, and the
threat of ecological disaster. One sf author not dealt with by Ginway is Gerald
C. Izaguirre, author of Espaço sem tempo [Space without Time] (1977) and
Fenda no espaço [A Fissure in Space] (1980), novels clearly influenced by the
works of Issac Asimov.
Following this period of the 1970s, we have the first sf novel to be published
by André Carneiro: Piscina livre [Free Swim] (1980), a sexual utopia, which
appears the same year in Sweden. Other significant works include novels by
mainstream authors, such as Não verás país nenhum (1981) by Ignácio Loyola
Brandão, and Márcio Souza’s A ordem do dia (1983), both of which also appear
in English translation as And Still the Earth (1985) and The Order of the Day
(1986), respectively. Finally, Paulo de Sousa Ramos’s O outro lado do protocolo
[The Other Side of Protocol] (1985) remains one of the most sophisticated of

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 Discovering and Re-discovering Brazilian Science Fiction

its kind in Brazil, focusing on the themes of social control, sexuality and aging
in a brief, elegantly rendered, metafictional text.21
Before discussing the contemporary generation, we need to return briefly
to 1982 in order to understand one of the most significant aspects of the period:
the emergence of a new type of sf community in Brazil, namely, fandom. The
early Brazilian fan movement coincides with the GRD generation, and is mainly
associated with the figure of Jeronymo Monteiro during the period 1965 to
1970. In 1965, for example, fans organize the Primeira Convenção Brasileira
de Ficção Científica [The First Science Fiction Convention] in São Paulo, and
publish the first local fanzine, called CoBra, named after the Convenção Brasile-
ira, which they distribute at the event. During the convention, the Associação
Brasileira de Ficção Científica [Association of Brazilian Science Fiction]
comes into being, some of whose members later become consultants for the
Magazine de Ficção Científica [Magazine of Science Fiction] 1970-71. Another
event, mentioned earlier, the International SF Symposium, is also organized
by a fan, José Sanz. Two attendees of the symposium, namely Harry Harrison
and Brian Aldiss, turn out to like the idea of having an international meeting
so much that they organize a similar one for Tokyo in 1971—thus initiating a
trend that has continued ever since.
During the period 1981-82, two fanzines begin to circulate in Brazil, one
in São Paulo and the other in Porto Alegre, the capital of the southernmost
state of Brazil, Rio Grande do Sul. Both emerge out of clubs dedicated to
amateur astronomy: Star News and Boletim Antares. Soon, other fanzines
appear, together with new clubs centered on sf or on its literary, cinematic, or
televised forms. Several glossy magazines continue to follow American sf in
this way, such as the Brazilian Sci-Fi News.

The New Generation, 1980-2000: the Second Wave

Finally, in 1985, we have the publication of Jorge Luiz Calife’s Padrões de
contato [Patterns of Contact] (1985), the seminal novel of the new generation,
also called the Second Wave (the First Wave being the GRD generation).22 The
network of fan clubs and fanzines offer venues for this new generation, including
Jorge Luiz Calife’s first story, published in the fanzine Boletim Antares. In 1985,
Calife becomes a celebrity among fans upon receiving recognition from none
other than Arthur C. Clarke, who thanks him for providing him with the inspi-
ration for the long awaited sequel to 2001: A Space Odyssey (1968). After this
success, Calife publishes his aforementioned first novel, followed by Horizonte
de Eventos [Event Horizon] (1986), and Linha Terminal [Terminal Line] (1991),
thereby completing Brazil’s first trilogy of hard sf. As a science journalist, writ-
ing hard sf is no problem for Calife, who follows in the steps of Clarke, Larry

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M. Elizabeth Ginway and Roberto de Sousa Causo

Niven, David Brin, Gregory Benford and other American and British writers who
write daring tales about outer space, anchored in their knowledge of physics,
chemistry, engineering, electronics and computer science.
Among the principal writers of the Second Wave to emerge from the fan-
zines are Braulio Tavares, Gerson Lodi-Ribeiro, Ivan Carlos Regina, José dos
Santos Fernandes, Carlos Orsi, and Roberto Schima, to cite a handful of those
most active during the 1980s and 90s. Tavares, whose work we will outline in
some detail below, takes a highly literary, intertextual approach to the genre,
while Gerson Lodi-Ribeiro, prefers to write alternate histories, as seen in his O
vampiro de Nova Holanda [The Vampire of New Holland] (1998),23 or hard sf,
as in his Outras Histórias [Other Stories] (1997). Ivan Carlos Regina, strongly
influenced by the telegraphic style and absurdist vision of Brazilian modernists
of the 1920s, offers strong critiques of consumer society in his post-modern
stories collected in O fruto maduro da civilização [The Ripe Fruit of Civili-
zation](1993). José Santos Fernandes’s stories are generally hard sf, but are
often imbued with a sense of “saudade” (sense of longing) for simpler times,
as when a boy is forced to leave his dog behind before undertaking a voyage
in “Floxy,” or when a dying pilot steals a ship so that he may die among the
stars in “De volta às estrelas [Back to the Stars].24 Carlos Orsi, fascinated with
Lovecraft’s stories and popular movies, parodies these genres in his 1996 “A
mortífera maldição da múmia” [The Death Curse of the Mummy],25 while
Roberto Schima’s 1993 story “Os fantasmas de Vênus” [The Ghosts of Venus]
explores the relations between Latin America and the United States in outer
space, as well as the imperialist implications of terraforming.26 The common
tie among these writers is a deeper understanding of sf and fantasy traditions
and a willingness to engage Anglo-American traditions in a critical way.
Another trend typical of the 1980s and early 1990s is Brazilian cyberpunk.
A subgenre characterized by formal experimentation, postmodernism and social
commentary, it is dubbed, somewhat ironically, “tupinipunk,” by Causo.27 Unlike
North American cyberpunk, tupinipunk’s concerns lie less in a fascination with
cyberspace and implants than in an urban environment where technology, sen-
suality, mysticism, and a Third World political perspective mix in a fairy-tale
kaleidoscope of urban adventures in its modern capitals.28 In this sense, Causo
emphasizes the “analog” nature of Brazilian cyberpunk, since the most advanced
science or technology portrayed here tends to be astronomy and atomic weapons,
fields that do not necessarily involve cyberspace or the digital age. Its principal
exponents are Tavares, Ivan Carlos Regina, Guilherme Kujawski, and Fausto
Fawcett. Combining issues of race, technology, sex and Brazil’s urban settings,
works in this genre display noir street smarts and postmodern playfulness, but
generally lack a hard-edged concern with scientific extrapolation.29

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The year 1990 is memorable for the breakthrough publication Espinha

dorsal da memória [Spinal Cord of Memory] by Braulio Tavares, who had won
the Portuguese publisher Caminho’s coveted sf award a year earlier. Tavares
strives for high literary quality, as had Carneiro and Scavone some 20 years
earlier. Espinha dorsal da memória shows Brazilian sf in a new light, with the
influence of Latin American magical realism and literary postmodernism. Of
particular interest are the stories of the second half of the collection portraying
instances of first contact, thus projecting humans into a new era. These vibrant,
succinct, and interrelated stories lead the way in the more literary current of
Brazilian sf, and Tavares continues to publish sporadically throughout the
decade, gaining the respect of mainstream critics and sf critics alike. The title
of his second collection, Mundo Fantasmo [Ghost World] (1996), is a phrase
used by the famous literary character Riobaldo, the hero of João Guimarães
Rosa’s modern classic Grande Sertão: Veredas [Devil to Pay in the Backlands]
(1956), an epic novel about a hired gun, his adventures and sinister pact with
the devil in the often violent and dry, rural interior of Northeastern Brazil.
The year 1990 also sees the publication of Henrique Flory’s Projeto
evolução [Project Evolution], a novel about humanity’s last days on Earth
and the building of star ships for relocating the species. Flory had raised the
expectations of the Brazilian sf community with his 1988 collection Só sei
que não vou por aí, [I Just Know I Am not Going There], the first new sf title
published by Gumercindo Rocha Dorea, in his second phase of sf publishing.
Later, however, Flory turns to a career in publishing, putting his career as an
author of sf on hold.
Still in 1990, Dorea publishes José dos Santos Fernandes’s collection
O outro lado do tempo [The Other Side of Time], whose story “A janela do
segundo andar” [The Second Story Window] provides a significant allegory for
Brazil and sf. In the story, a young student, after moving in with his uncle—a
scientist and inventor of a time travel machine—is able, via the machine, to
witness daily life in the nineteenth century from his second story window.
Naturally, he falls in love with a girl he sees in a passing carriage, and when
she is assaulted, he throws caution to the wind, and, disobeying his uncle’s
strict orders, rushes in to save her. In this act, the protagonist violates the
passivity observed by Brazilian sf protagonists of the past, represented by
the old-fashioned two-story house, which the student literally breaks out of
to rescue the girl. Notably, the gesture takes place at a threshold moment in
history during the years following Brazil’s emergence from dictatorship and
as it begins the arduous process of re-democratization. Just as the protagonist
in Fernandes’s story, Brazilians of this era take politics into their own hands
after years of repression.

23
M. Elizabeth Ginway and Roberto de Sousa Causo

Perhaps the larger experiment is the transformation of a genre that is closely

associated with the First World, especially the United States, to fit a Third World
reality and its lesser advances in science and technology. This question, which
is not dealt with thoroughly by the generation of the 60s, becomes a source of
debate in the 1980s, linked with the controversial “Manifesto Antropofágico
de Ficção Científica” [Cannibalist Manifesto of Brazilian Science Fiction]
proposed by Ivan Carlos Regina in 1988.30 This essay sparked controversy by
insisting that sf be developed in a Brazilian fashion to fit Brazilian reality. Like
Regina’s modernist predecessor and author of the original “Cannibalist Mani-
festo” published in 1928, Oswald de Andrade, Regina argues for assimilating
foreign cultural trends in a critical way, hence the idea of cultural cannibalism,
instead of passive imitation. While the movement is successful in making Bra-
zilians conscious of this approach, it does not give rise to any solid theoretical
debate or manage to articulate the question in greater depth. Interestingly, the
polemic the essay generates is still ongoing, especially in discussions among
Brazilian fandom and writers. Notably, some writers have managed to use sf to
comment on specifically Brazilian issues, thereby re-shaping the genre. Two of
the most successful attempts are Ivanir Calado’s “O altar de nossos corações”
[“The Altar of our Hearts”] (1993) and Gerson Lodi-Ribeiro’s alternate history
“A ética da traição’ [“The Ethics of Treason”], from the same year. Calado’s
work takes on the themes of re-democratization and the increasing power of
Brazilian drug gangs in Rio de Janeiro, while Lodi-Ribeiro’s alternate history
focuses on one of the key events of nineteenth-century Brazil, The Paraguayan
War. By changing Brazil from winner to loser of this war, he reconfigures the
power structure and borders of several of Latin American nations and the social
structure of Brazil itself.

Contemporary Trends: the Third Wave and Beyond

New voices have emerged since 2000, and are currently engaging in heated
discussions about the future of the genre in Brazil. The latest generation of
writers, active on the internet, sees itself as a literary vanguard. The unsigned
2005 “Manifesto Antibrasilite” [Anti-Brazilitis (like the disease tonsillitis)],
for example, is typical of a generation that views the Second Wave as too
nationalistic and outdated, and strongly desires to become part of global sf.
This reveals a new thirst for internationalization in theme and content, fueled
by the internet, film and television.

Não é necessário citar o Brasil numa obra de ficção para que ela seja brasileira.
Acreditamos que o autor e o realizador expressa sua brasilidade no estilo e nas idéias
defendidas em sua obra, mesmo quando situa sua história de forma cosmopolita ou
até fora do Brasil, sem necessidade de explicitar a brasilidade da mesma.31

24
 Discovering and Re-discovering Brazilian Science Fiction

[It is not necessary to make reference to Brazil in a fictional work in order for it to be
Brazilian. We believe that the author or practitioner expresses his or her Brazilian-
ness in the style or ideas put forth in his or her work, even where the story is set in a
cosmopolitan area or even outside Brazil. There is no need to make “Brazilianness”
explicit].

The Third Wave, while familiar with earlier Brazilian sf writers from the
past, generally believes them to be of limited relevance to their own production.
The new generation views the genre as their own to create, in a synchronic,
rather than a diachronic way, perhaps because of the immediacy of the internet
and a desire to break with the past. In the meantime, their texts circulate on
the internet in the virtual form of fanzines or e-zines, while discussion groups,
list-serves, and blogs provide feedback and support for new and established
writers. One of the new publication projects to showcase some previously
unpublished authors is A FC do B, [The SF of B(razil)] (2008), a collection of
27 stories resulting from a sf contest, designed to give new talent a chance to
get into print beyond the internet.
In 2008, all three “Waves” of authors participated in the FantastiCon,
a small symposium for publishers, writers and academics. Organized for the
last two years by Silvio Alexandre, who has worked as an editor and publicist
for sf and gaming for such publishers as Devir and Conrad, the conference
has been held in the city of São Paulo in conjunction with gaming and RPG
events. In the 2007 FantastiCon, for example, First Wave author André Car-
neiro launched his latest collection of short stories, Confissões do Inexplicável
[Confessions of the Unexplicable] (2007), and a panel was held in his honor.
In 2008 several writers traveled from Rio de Janeiro to participate, expanding
the range of discussion and topics of debate. Their activities provide us with
a way to document recent trends in Brazilian sf and fantasy.

Gaming in the Future, Recovering the Past

Many authors of the 1980s and 90s continue to be productive and are
busy with new projects involving both past and future. Gerson Lodi-Ribeiro,
for example, has plunged into the future, helping to develop the first Brazilian
web-based MSG (Massive Social Game) called Taikodom, created by Hoplon
designers. As part of this project, Lodi-Ribeiro has written several hard sf stories
based on the terraforming of Mars, and an encyclopedia of terms to provide
the gaming parameters and storyline. He is working on the narratives with a
younger writer, J. M. Beraldo, who launched his novel, Despertar [Awakening]
in 2008. Braulio Tavares has been delving into the past, putting together his
2004 anthology of Brazilian fantasy and horror stories, Páginas de sombra:
Contos fantásticos brasileiros [Pages of Shadow: Brazilian Stories of the

25
M. Elizabeth Ginway and Roberto de Sousa Causo

Fantastic], with stories dating from 1893 to 2000. A year later, he published a
work of literary criticism called Um rasgão na real [A Rip in the Real] (2005),
using Philip K. Dick’s Time Out of Joint as a prime example of the richness
of sf, and continues to be interested in how the genre uses metalinguistic and
postmodern techniques. His latest book, A pulp fiction de João Guimarães
Rosa [The Pulp Fiction of João Guimarães Rosa] (2008), probes the popular
roots of one of Brazil’s most famous twentieth-century literary figures. In this
sense, Tavares actively works at recovering the past, making connections with
the sf genre.
Another facet of the recovery trend is Devir’s republication of Jorge Luiz
Calife’s trilogy, which revolutionized the sf scene in Brazil some 20 years ago,
along with his prequel, Angela, which is slated for 2010. Making one of his
rare appearances at the 2008 FantastiCon, Calife, along with Marcello Simão
Branco, the former editor of the long-standing fanzine Megalon, discussed the
continuing relevance of his trilogy Padrões de Contato [Patterns of Contact].
Branco is currently the co-editor of the Anuário brasileiro de Ficção Científica
e Fantasia [Annual Review of Brazilian SF and Fantasy], working with César
Silva in summarizing publication data, reviews of books, and interviews with
their choice of “Personality of the Year.” Another recovery effort is Roberto de
Sousa’s Os melhores contos da ficção científica brasileira [The Best of Brazilian
Short SF],32 which contains short stories from 1882 to 1997. He also published
a novella about the Amazon entitled O par: uma novela amazônica [“The Pair:
An Amazonian Novella”] (2008) with a university press, and continues to write
an online bi-weekly column where he reviews books and events in the sf world
in Brazil and abroad.33

SF, Horror and Fantasy

One of the more successful offshoots of the sf phenomenon in Brazil is its
cross-fertilization with the horror genre, as exemplified in the work of Carlos
Orsi, whose stories incorporate both genres. After the 1996 publication of his
Medo, mistério e morte [Fear, Mystery and Death], Orsi’s collection of short
stories called Tempos de fúria [Times of Fury] (2005) appears, published by
Novo Século.34 It represents a wide range of his works previously published in
fanzines and other sf magazines such as the short-lived Quark, and demonstrates
his versatility in writing horror, sf and detective fiction. Novo Século has
also published a highly successful vampire series, by André Vianco, whose
workshops were among the most heavily attended at the 2008 Fantasticon.
Vianco’s first volume, O sete [The Seven] (2000), is about seven Portuguese
vampires, who, sealed in a silver coffin and abandoned in 1500, are discovered
and released onto Brazilian shores some 500 years later. The book was a

26
 Discovering and Re-discovering Brazilian Science Fiction

runaway success, selling over 50,000 copies in a country where a typical run by
a major press is 5,000. Since then, Vianco has continued to publish bestselling
novels along these lines. Among those who attended the Fantasticon and also
dedicate themselves to the vampire genre and the fantastic are Martha Argel
and Giuliana Moon,35 both of whom published short story collections in 2006.
Argel also organized a sf and fantasy anthology penned exclusively by women,
Lugar de mulher é na cozinha [A Woman’s Place is in the Kitchen] (2000)
marking the first of its kind in the genre.36
At the 2008 FantastiCon, fantasy also showed a more marked presence.
The two areas are closely allied in Brazil, where they have gained strength
in numbers to establish a presence in the market. Spurred on by the success
of The Lord of the Rings films, Brazilian hybrids often combine the fantastic
with sf. These include the works of Helena Gomes, A aliança dos povos [The
People’s Alliance] (2007), the sequel to O Arqueiro e Feticeira [Archer and the
Enchantress] (2003). Her ambitious series is projected to total seven volumes.
Orlando Paes Filho, whose best-selling medieval-based saga of the British Isles,
Angus, with its evangelical Christian overtones, has discontinued the series
due to contractual problems.
Other new authors on the fantasy scene are Flávio Medeiros, who wrote
Quintessência [Quintessence] (2006), and Clinton Davisson, whose Hege-
monia: o herdeiro de Basten [Hegemony: The Heir of Basten] (2008), like
Gomes’s work, tends to combine aspects of sf, technology and warfare with
medieval social structures, mythologies and planetary romance. Medeiros
includes terrorism and cloning in his portrayal of the struggle between good
and evil, while Davisson sets his epic struggles on planets protected by drag-
ons and wizards. Ana Cristina Rodrigues, an academically trained medievalist
and current president of the Clube de Leitores de Ficção Científica [“Science
Fiction Readers Club”], is also interested in promoting the medieval aspect
of the fantasy genre, and keeps track of the latest trends in her blog.37 She is
interested in encouraging new authors and eliciting contributions to Somnium,
the club’s fanzine.38 Recently, Claudio Brites and Helena Gomes launched Anno
Domini (2008), a collection of 49 medieval-based fantasy stories written by
new Brazilian authors. Another author who combines allegorical fantasy and sf
is Cristina Lasaitis, whose Fábulas do tempo e da eternidade [Fables: Tales of
Time and Eternity] (2008), address the posthuman, exploring new sexualities
and relationships between artificial intelligences and humans.

Postmodernism and the New Weird

A more metafictional or intertextual approach to sf can be found in Octavio
Aragão’s work,39 with characters drawn from comic books, world literature,

27
M. Elizabeth Ginway and Roberto de Sousa Causo

and sf. At the FantastiCon, he outlined the history of literary borrowings in sf,
which explains his own approach in writing his 2006 action novel, A mão que
cria [The Hand that Creates], in which a powerful zombie combats a mutant
born of one of Dr. Moreau’s experiments. Set in several time periods during
the late-nineteenth and twentieth centuries, this recursive sf and horror novel
combines historical and literary characters from Brazilian and world history,
such as Jules Verne as president of France.
Finally, the New Weird has become the subject of debate among Brazilians,
who see themselves as pioneers of sf as a globalized genre. Fabio Fernandes
is an experienced sf writer/academic whose most important critical work is A
construção do imaginário cyber: William Gibson, criador da cibercultura [The
Construction of the Cyber-Imaginary: William Gibson, the Creator of Cybercul-
ture] (2006).40 In September 2008, Fernandes launched the e-zine Terra Incog-
nita, the first edition of which is comprised of stories by authors from diverse
backgrounds, generations and themes, including a short story by newcomer Ivan
Hegenberg, author of the 2007 novel Será (It Will Be) and new texts by veterans
Carlos Orsi and Guilherme Kujawski. Fernandes also interviews a Russian author
now living in the United States, Ekarina Sedia, whose 2008 works The Secret
History of Moscow and The Alchemy of the Stone are selling well in the U.S. As
a platform for the New Weird, Terra Incognita includes one of Sedia’s stories
in Portuguese translation.41 Another project organized by Fernandes along with
Jacques Barcia is an English language blogspace, “Post-Weird Thoughts”42 which
offers Brazilian insight into the global phenomenon of sf. Barcia also edits the
new e-zine Kalíopes43 in Portuguese, and recently posted a long interview with
the 24-year old Cristina Lasaitis, the author of Fábulas do tempo e da eternidade,
mentioned above. The production of fanzines has been falling off in recent years,
so it is not surprising that Somnium, the fanzine of the Clube de Leitores de
Ficção Cientifica [The SF Readers’ Club], under Ana Cristina Rodrigues’s able
editorship, is now web-based. This shows greater sophistication with electronic
media, something that enhances distribution to most fans, while limiting access
to readers who are less cyber-oriented.

Graphic Novels, Academia

Brazil seems to be recovering its comic book past with a series of new
studies and exhibits, symbolized by the recent re-issue of a national classic,
first published in the early 60s, Ziraldo Alves Pinto’s “Saci Pererê” whose
characters are based on Brazilian folklore.44 In 2000, Patati and Allan Alex
launched the soft cover graphic novel A Guerra dos Dinossauros [War of
the Dinossaurs] aimed at an adolescent audience, but few works followed
until Helena Gomes’s 2006 Lobo Alpha [Alpha Wolf] in 2006, issued by the

28
 Discovering and Re-discovering Brazilian Science Fiction

prestigious Rocco publishing house of Rio de Janeiro. Octavio Aragão and his
Intempol group published Osmarco Valladão’s The Long Yesterday in 2005. A
parody of the noir detective genre (Raymond Chandler’s Long Goodbye [1953]),
this work is aimed at an adult audience and involves the time police of the
shared universe created by Aragão. Another trend is to rework older classics
that include fantastic elements as graphic novels. These include Machado
de Assis’s 1882 O alienista [The Psychiatrist] and Portuguese author Eça de
Queiroz’s 1887 A relíquia [The Relic], whose illustrations were drawn by one of
Brazil’s most talented underground comic artists, Marcatti. In 2004, journalist
and researcher Gonçalo Júnior wrote a history of Brazilian comics entitled
A guerra dos gibis: a formação do mercado editorial brasileiro e a censura
aos quadrinhos 1933-64 [The Comic Book War: Formation of the Brazilian
Market and the Censorship of Comics, 1933-64], showing how censorship
in the United States stimulated the cultivation of local talent in Brazil, while
debates about the genre raged among Brazilian media magnates and politicians.
In 2006, Carlos Patati and Flavio Braga published Almanaque dos quadrinhos:
100 Anos de mídia popular [A Comic Book Almanac: One Hundred Years of
Popular Media], a more general, illustrated guide to the history of comics in
Brazil and abroad. The SESC Pompéia recently held an exhibit on the history
of comic books in Brazil, offering a visual overview of Brazilian artists and
writers in the medium.45
Another facet of the sf scene is the increased visibility and acceptance of
the genre in academic circles and cultural centers. In addition to Fernandes’s
study on Gibson, Adriana Amaral published a more general study on the phe-
nomenon of cyberpunk in film and music called Visões perigosas [Dangerous
Visions] (2007). The first university press anthology of nine essays about sf,
Volta ao mundo da ficção científica, [Back to the World of SF] edited by Edgar
Cézar Nolasco and Roldolfo Londero, was published in 2007 by the Federal
University of Mato Grosso do Sul Press.46 Itaú Cultural, a bank-sponsored
cultural center, has made an effort to support the sf genre with public events.
The most recent was “Ficção Científica no Século no XXI: Ainda é Possível?”
[Science Fiction in the 21st Century: Still a Possibility?”],47 which took place
in September 2008. There are several videos posted on its website of discus-
sions by writers and academics, along with panels and events. The program
included many of the authors and editors present at the FantastiCon, with
the added cachet of Max Mallman and Nelson de Oliveira, two mainstream
authors whose work is closely linked with the effort to expand the scope of
sf and appeal to a wider audience.48 While the title of this event questions the
future of sf and its relevance, it is our impression that it is alive and better off
than ever in Brazil.

29
M. Elizabeth Ginway and Roberto de Sousa Causo

As can be seen from the discussion above, Brazilian sf covers a wide

variation of themes and subgenres, which are ultimately representative of the
diversity of Brazilian styles and themes and the genre’s potential for transform-
ing itself and combining with other forms and perspectives, both literary and
scientific. While foreign academics and authors are attracted to Brazil because
of its multicultural possibilities, the new generation of Brazilian authors is
interested in becoming part of the international scene. They believe that the
genre is capable of transforming itself in ways that will help forge a new uni-
verse of perceptions and sensibilities, helping to map out their vision of the
future of the genre in Brazil and abroad.

Notes
1. Parts of this essay originally appeared as the introduction of Os Melhores Contos
de Ficção Científica Brasileira [The Best of Brazilian Science Fiction Stories] (São
Paulo: Devir, 2008). All translations from the original Portuguese are Ginway’s,
except for published book titles.
2. Among them André Carneiro, Introdução ao estudo da Science Fiction (São Paulo:
Conselho Estadual da Cultura,1967), Muniz Sodré, A ficção do tempo: análise
da narrativa de science fiction (Petrópolis, Vozes, 1973); Raul Fiker, Ficção
científica: ficção, ciência ou uma épica de época (Porto Alegre: L&PM, 1985),
Braulio Tavares, O que é a ficção científica (São Paulo: Brasiliense, 1986); Gilberto
Schoereder, Ficção científica (Rio de Janeiro: Francisco Alves, 1987).
3. Leo Godoy Otero, “Autores brasileiros de ficção científica” D.O Leitura (1993):
São Paulo 12 (138) nov. 1993, 11-14. There are several studies on sf in general
published by Brazilian writers and scholars, as seen above, but few focus on the
history of sf in Brazil, with the exception of Otero and Francisco Alberto Skorupa.
Skorupa’s study focuses on the myths of scientific discourse, scientific theory and
the institution of science as they appear in Brazilian sf, with useful discussion of
specific Brazilian stories from the GRD generation appearing mainly in footnotes.
See Francisco Alberto Skorupa, Viagem das Letras do Futuro: extratos de bordo
da ficção científica brasileira, 1947-1975 (Curitiba: Quatro Ventos, 2002).
4. Nicolas Camille Flammarion (1842-1925) was a French astronomer whose 1862
work La pluralité des mondes habités (1862) popularized the idea of life on other
planets. He also believed in the transmigration of souls, and thought that humans
could learn and develop spiritually via contact with other extraterrestrial species.
His best-known work in Brazil is Lumen (1872).
5. For a more in-depth analysis of Zaluar in English, see Rachel Haywood Ferreira’s
“By Burro or by Beagle: Geographical Journeys Through Time in Latin America,”
Journal for the Fantastic in the Arts 18.2 (2007): 166-86.
6. As the founder of children’s literature in Brazil, Monteiro’s O presidente negro
ou O choque das raças (1926) was his only novel written for adults. It has been

30
 Discovering and Re-discovering Brazilian Science Fiction

recently reprinted by Editora Globo, São Paulo, 2008, despite its controversial
ending; see Note 8.
7. Monteiro Lobato is a canonical author in Brazil, and although he wrote realist
fiction about the decadence of São Paulo’s coffee region, he is best known for
his pioneering work in children’s literature. His classic children’s series is still
read today and is the basis for a long-running children’s television series by the
Globo network, O sitio do Pica-pau amarelo (The Country Home of the Yellow
Woodpecker).
8. This book is controversial because of its ending; the black president commits suicide
after learning that all black Americans undergoing a treatment for straightening
their hair have been sterilized, resulting in genocide. Clearly Monteiro assumed that
all blacks in the U.S. would want to look white and undergo the treatment. Racial
whitening (and miscegenation) was the policy adopted by the Brazilian elite as they
facilitated immigration by Europeans after the abolition of slavery in 1888.
9. Erico Verissimo is best known for his series of historical novels from the 1930s
and 40s, O tempo e o vento [Time and Wind], portraying the colonization and
settlement of the south of Brazil, especially the state of Rio Grande do Sul. His
novels are also readily available in new editions in Brazil.
10. Brazilian Romanticism in prose began with A moreninha [The Little Brunette]
(1844) and the picaresque Memórias de um Sargento de milícias [Memories of
a Militia Sargent] (1852). As in the case of Charles Dickens in England, among
others, novels were often serialized in newspapers.
11. See Rachel Haywood Ferreira, “By Burro or by Beagle” for a different reading of
the Latin American nineteenth-century novel sf novel. She outlines Dr. Benignus’s
imagined future for Brazil, which includes Flammarion’s idea of spiritual betterment
and reforms through contact with Europe and North America. Similarly Eduardo
Ladislao Holmberg envisions the future belonging to Argentina and the past to
Europe in Dos partidos en lucha [The Struggle of Two Parties] (1874), as Darwin
learns from Latin America on his imaginary “second” voyage to the region.
12. Gastão Cruls was trained as a physician and worked in the area of public health. In
1928, while on an Amazonian expedition, he wrote A Amazônia que eu vi (1928).
In addition to his 1925 novel, he is author of several collections of short stories.
13. Atahualpa was the last Inca leader as defeated by Pizarro in the early sixteenth
century.
14. A filha do Inca is also known by another title, A república 3.000 [The Republic of
the Year 3000]. Since many readers confused it with a political treatise, the author
changed its title. Sometimes both titles are used.
15. In American libraries, the spelling of Jeronymo Monteiro often appears as
Jerônimo.
16. Several mainstream authors, recognized as canonical names in Brazilian letters,
published sf works: Dinah Silveira de Queiroz published two collections: Eles her-
darão a terra [They Shall Inherit the Earth] (Rio de Janeiro: Edições GRD, 1960)
and Comba Malina (Rio de Janeiro: Laudes, 1969); Leon Eliachar published “A
experiência” [The Experiment] in Histórias do acontecerá (Rio de Janeiro: GRD,

31
M. Elizabeth Ginway and Roberto de Sousa Causo

1961) 95-102; Rachel de Queiroz (no relation to Dinah) published “Ma-Hôre” in

Histórias do acontecerá (Rio de Janeiro: GRD, 1961), 103-16; Antônio Olinto
published “O desafio” [The Challenge] in Histórias do acontecerá (Rio de Janeiro:
GRD, 1961) 49-66, and “O menino e a máquina” [The Boy and the Machine] in
Antologia brasileira de ficção científica (Rio de Janeiro GRD, 1961) 31-36. Another
figure of literary renown, Lygia Fagundes Telles, also had “A caçada” [The hunt]
published in Além do tempo e do espaço (São Paulo: Edart, 1965), 35-42.
17. See André Carneiro, “Darkness,” trans. Leo L. Barrow, The Year’s Best Science
Fiction No. 6, ed. Harry Harrison and Brian Aldiss (London: Sphere, 1973), 94-112.
Also in Spanish,“La oscuridad,” Lo mejor de la ciencia ficción latinoamericana,
Bernard Goorden and A. E. Van Vogt (Barcelona: Martínez Roca, 1980), 37-62.
18. Fausto Cunha, “Ficção científica no Brasil: Um planeta quase desabitado.” In L.
David Allen, [Science Fiction Reader’s Guide] No mundo da ficção científica,
trans. Anôntio Faccioli Gregório Toloy (São Paulo: Summus, 1976), 5-20.
19. For another point of view, see Ginway’s chapter on the works of the 1960s. She
believes that even these authors unconsciously “Brazilianize” the genre, “The Sci-
ence Fiction of the Sixties,” Brazilian Science Fiction, 36-88. See also Ginway,
“A Working Model of Third World Science Fiction: The Case of Brazil” Science
Fiction Studies 32.3 (Nov. 2005), which analyzes stories by GRD authors Levy
Meneses and Guido Wilmar Sassi, 368-71.
20. Ginway’s book also includes chapters on the GRD generation and that of the 1980s
and beyond, offering a panorama of sf from 1960-2000.
21. Roberto de Sousa Causo analyzes this work by Sousa Ramos in depth in “A Brazil-
ian Metafiction, Paulo de Sousa Ramos’s Dystopian Novella,” New Boundaries
in Political Science Fiction, edited by Donald M. Hassler and Clyde Wilcox,
University of South Carolina Press, 2008), 212-22.
22. Andrea Bell also discusses these generations in “Science Fiction in Latin America:
Reawakenings,” and mentions the history of Brazilian sf in the introduction to
Cosmos Latinos, An Anthology of SF from Latin America and Spain, which she
and Yolanda Molina-Gavilán published in 2003.
23. See Ginway, “Vampires, Werewolves, and Strong Women.”
24. This story is part of O outro lado do tempo [The Other Side of Time] (São Paulo:
GRD, 1990).
25. This story by Carlos Orsi [Martinho] appears in Intempol: uma antologia de contos
sobre viagens no tempo [Intempol: an Anthology of Stories of Time Travel], Ed.
Octávio Aragão (São Caetano do Sul: Ano Luz 2000), 57-96.
26. Ginway’s work Brazilian Science Fiction also analyzes the works of several of these
authors: José dos Santos Fernandes, “Os meninos não devem chorar” [Children
Shouldn’t Cry] 167; Roberto Schima, “Os fantasmas de Vênus” [The Ghosts of
Venus] 147.
27. The word “tupiniquim” has a rather negative or ironic connotation; taken from
the tupi word for Brazil, it suggests a locally produced object of inferior quality.
Causo uses it to discuss the local variants of Brazilian cyberpunk in “Tupinipunk—
Cyberpunk brasileiro” Papêra Uirandê Especial No. 1, 1996. 5-11.

32
 Discovering and Re-discovering Brazilian Science Fiction

28. Causo’s interpretation appears in his “A antropofagia modernista e o movimento

antropofágico da ficção científica brasileira,” an unpublished essay (6 pp.) and
in “Tupinipunk—Cyberpunk brasileiro” Papêra Uirandê Especial No. 1, 1996.
5-11.
29. For more details about cyberpunk, see Ginway, Brazilian Science Fiction,
150-65.
30. This manifesto is reprinted in Ivan Carlos Regina’s short story collection, O fruto
maduro da civilização (São Paulo: GRD, 1993), 9-10.
31. http://www.antibrasilitite.xpg.com.br. Accessed Sept. 23, 2008
32. The authors of this anthology include Machado de Assis, Brazil’s great nineteenth-
century master, and representative writers from certain key periods: Gastão Cruls
from the 1920s, several authors from the GRD generation of the 1960s such as
André Carneiro, Jeronymo Monteiro, Levy Menezes and Domingos Carvalho da
Silva, and authors from the Second Wave, among them Calife, Ricardo Teixeira and
Finisia Fideli, one of the first female authors to emerge in the 1980s. Os melhores
contos da ficção científica brasileira (São Paulo: Devir, 2008).
33. http://terramagazine.terra.com.br/colunistas/robertocauso
34. Among Orsi’s books are Medo, mistério e morte [Fear, Mystery and Death] (São
Paulo: Didática Paulista, 1996), O mal de um homem [The Evil of a Man] (São
Caetano do Sul: Ano-Luz, 2000) e Tempos de fúria [Times of Fury] (São Paulo:
Novo Século, 2005).
35. Argel’s and Moon’s vampire titles are included in the bibliography. Their most
recent publications include: Martha Argel, O livro dos contos enfeitiçados [The
Book of Enchanted Tales] (São Paulo: Landy, 2006) and Giulia Moon, Dama
Morcega [Lady Bat] (São Paulo: Landy 2006). Argel and Moon were chosen as
the “Personalities of the Year” by Marcello Simão Branco and César Silva, who
interviewed them. See “Personalidades do Ano: Entrevista com Giulia Moon e
Martha Argel.” Anuário brasileiro de Literatura Fantástica, 2006, 57-67.
36. An internet book, it was originally available in PDF format by a publisher called
“Writers” in São Paulo. For more details on women and sf see Ginway, “Recent
Brazilian Science Fiction and Fantasy Written by Women.”
37. Of course, these blogs are in Portuguese: Ana Cristina Rodrigues, www.comunafc.
blogspot.com/ (and from 2006-2007 at www.cubosonhos.blogspot.com).
38. The link to Somnium is http://www.clfcbr.org/somnium/101.pdf. On another page
[http://letraevideo.wordpress.com/ Letra/Video], writers can see comments about
their work. Accessed Aug. 20, 2008.
39. Aragão, an adjunct professor at the Universidade Federal de Espírito Santo in
Visual Arts, is also art director for the newspaper O Globo in Rio de Janeiro. He
maintains the following blog, http://intemblog.blogspot.com/, where he has posted
a recent interview in English with author Robert Holdstock. Accessed Sept. 25,
2008.
40. Fábio Fernandes, A construção do imaginário cyber: William Gibson, criador da
cibercultura [The Construction of the Cyber-imaginary: William Gibson, Creator
of Cyberculture] (São Paulo: Ed. Anhembi-Morumbi, 2006). At the end of Jeff

33
M. Elizabeth Ginway and Roberto de Sousa Causo

Vandermeer’s July 2008 blog, Fernandes talks about his own literary formation
in English: http://www.jeffvandermeer.com/2008/07/ Accessed Aug. 21, 2008.
41. The URL of Terra Incognita is http://www.verbeat. com.br/terraincognita/
Accessed
Sept. 25, 2008.
42. http://verbeat.org/blogs/pwt Accessed Aug. 20, 2008, Oct. 27, 2008.
43. Kalíopes can be found at http://www.clfcbr.org/downloads/Kaliopes01.pdf?bcsi_
scan_AA6E84FA7C094047=0&bcsi_scan_filename=Kaliopes01.pdf. Accessed
September 8, 2008.
44. The three volumes of Todo Pererê were issued by Editora Moderna in São Paulo
in 2002, 2003 and 2005.
45. The show, “A história dos quadrinhos no Brasil” [The History of Comics in Brazil]
was held at the exhibit space in the SESC (Serviço Social do Comércio) Pompéia
in São Paulo, July 5—August 8, 2008.
46. Masters students are also making academic inroads, with Fabiana Camara’s thesis,
“O Cânone e a Ficção Científica Brasileira” [The Canon and Brazilian SF] com-
pleted at the Pontifícia Universidade Católica (Rio de Janeiro) in 2005, and Edgar
Indalecio Smaniotto’s anthropological approach to Zaluar’s 1875 novel O Doutor
Benignus was published as book in 2007, entitled A fantástica viagem imaginária
de Augusto Emílio Zaluar [The Fantastic Imaginary Voyage of Augusto Emílio
Zaluar] (Rio de Janeiro: Corifeu, 2007). Ramiro Giroldo also completed his Mas-
ters’s thesis, “A ditadura do prazer” [The Dictatorship of Pleasure] at the Federal
University of Mato Grosso do Sul in 2008 on André Carneiro’s 1991 sexual utopia
Amorquia. Carlos Alberto Machado completed his MA thesis, “Contribuições da
ficção científica para o conhecimento e a aprendizagem” [Contributions of SF
to Knowledge and Learning] at the Universidade Federal do Paraná, 2000. He
is currently a doctoral candidate at the Pontifícia Universidade Católica [PUC],
working in the area of education and science fiction. He has recently started a
list-serve for university students, academics and educators working on academic
projects related to sf in Brazil, in addition to publishing articles on the role of sf
in education: fcnaacademia@yahoogrupos.com.br.
47. This link has been closed to general access. It was successfully accessed on Sept.
15, 2008, but now demands a password. http://invisibilidades.wordpress.com/
48. Mallman works for Rede Globo, Brazil’s largest television network, and has pub-
lished several sf and fantasy novels, among them Mundo Bizarro [Bizarre World]
(1996), Síndrome da Quimera [Chimera Syndrome] (Rio de Janeiro, Rocco, 2000)
and Zigurate [Ziggurat] (Rio de Janeiro: Rocco, 2003). In addition to publishing
some 20 titles of adult and children’s fiction, Nelson de Oliveira has organized
workshops for younger mainstream writers and edited two collections: Geração
90: manuscritos do computador [The 90s Generation: Computer Manuscripts] (São
Paulo: Boitempo, 2001) and Geração 90: os transgressores [The 90s Generation:
Transgressors] (São Paulo: Boitempo, 2003). His future projects include sf novels,
which should provide more prestige for sf in Brazil.

34
 Discovering and Re-discovering Brazilian Science Fiction

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