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PENGUIN CLASSICS
CAPTAINS OF THE SANDS
JORGE AMADO (1912–2001), the son of a cocoa planter, was born in the Brazilian state of Bahia, which he would portray in more than thirty novels. His first novels, published when he was still a teenager, dramatize the class struggles of workers on Bahian cocoa plantations. Amado was later exiled for his leftist politics, but his novels would always have a strong political perspective. Not until Amado returned to Brazil in the 1950s did he write his acclaimed novels Gabriela, Clove and Cinnamon, and Dona Flor and Her Two Husbands (the basis for the successful film and Broadway musical of the same name), which display a lighter, more comic approach than his overtly political novels. One of the most renowned writers of the Latin American boom of the 1960s, Amado has had his work translated into more than forty-five languages.
GREGORY RABASSA is a National Book Award–winning translator whose English-language versions of works by Gabriel García Márquez, Mario Vargas Llosa, Julio Cortázar, and Jorge Amado have become classics in their own right. He was born in Yonkers, New York, in 1922, and in 2006 he was awarded the National Medal of Arts. He is Professor Emeritus of Romance Languages and Comparative Literature at Queens College, City University of New York.
COLM TÓIBÍN’s novels include The Master and Brooklyn. Tóibín worked as a journalist in Latin America in the 1980s. He is the Irene and Sidney B. Silverman Professor of the Humanities at Columbia University.
JORGE AMADO
Captains of the Sands
Translated by
GREGORY RABASSA
Introduction by
COLM TÓIBÍN
PENGUIN BOOKS
PENGUIN BOOKS
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Translation by Gregory Rabassa first published in the United States of America by Avon Books,
a division of The Hearst Corporation 1988
This edition with an introduction by Colm Tóibín published in Penguin Books 2013
Copyright © Grapiuna – Grapiuna Producoes Artisticas Ltda., 2008
Translation copyright © Gregory Rabassa, 1988
Introduction copyright © Colm Tóibín, 2013
All rights reserved. No part of this product may be reproduced, scanned, or distributed in any printed or electronic form without permission. Please do not participate in or encourage piracy of copyrighted materials in violation of the author’s rights. Purchase only authorized editions.
Originally published in Portuguese as Capitães da areia by Livraria Jose Olympio Editora, São Paulo, 1937
LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA
Amado, Jorge, 1912–2001.
[Capitães da areia. English]
Captains of the sands / Jorge Amado ; translated by Gregory Rabassa ;introduction by Colm Toibin.
pages cm.—(Penguin classics)
Previously published: New York, N.Y. : Avon, c1988.
Translated from Portuguese
ISBN: 978-1-101-60291-1
I. Rabassa, Gregory, translator. II. Title.
PQ9697.A647C373 2013
869.3’41—dc23 2013000991
Contents
Introduction by COLM TÓIBÍN
CAPTAINS OF THE SANDS
Letters to the Editor
Child Thieves
In The Moonlight in an Old Abandoned Warehouse
The Warehouse
Night with The “Captains of The Sands”
The Pitangueiras Stop
The Lights of the Carrousel
Docks
The Ogun Adventure
God Grins Like A Little Black Boy
Family
Picture-Book Morning
Milk Pox
Destiny
The Night of Great Peace, The Great Peace in Your Eyes
Daughter of the Smallpox Man
Dora, Mother
Dora, Sister and Sweetheart
Reformatory
Orphanage
Night of Great Peace
Dora, Wife
Like A Star with Blond Hair
Song of Bahia, Song of Freedom
Vocations
The Spinster’s Love Song
Hitching A Ride on A Train
Like A Circus Trapeze Artist
News Items
Comrades
The Drums Resound Like Trumpets of War
…A Homeland and a Family
Postface: The Bahian Novels
Introduction
In his book on Nathaniel Hawthorne, written in 1879, Henry James offered a list of what New England could not offer a novelist: “No sovereign, no court, no personal loyalty, no aristocracy, no church, no clergy, no army, no diplomatic service, no country gentleman, no palaces, no castles, nor manor, nor old country houses, nor parsonages, nor thatched cottages, nor ivied ruins; no cathedrals, nor abbeys, nor little Norman churches; no great Universities nor public schools—no Oxford, nor Eton, nor Harrow; no literature, no novels, no museums, no pictures, no political society, no sporting class—no Epsom nor Ascot.” But James understood, at least some of the time, that such a lack could, in a strange way, be as much a gift as a problem for a novelist. “The American knows,” he wrote, “that a good deal remains.” Seven years earlier, in a letter to an American friend, he had suggested that the richness of Europe was something perhaps the American novelist did not need: “It’s a complex fate being an American, and one of the responsibilities it entails is fighting against a superstitious valuation of Europe.”
In his efforts to root his fiction in a world of settled manners, however, James understood that he would have to possess the old world rather than embrace the new one. Since he believed in structure and form in the novel, and in the orderly and stately architecture of fiction, he lived merely with the shadow of what “the American knows” and feasted instead on the substance of what England, France, and Italy offered him. He relished in his fiction a thousand years of slow progress, a sense of order and continuity.
In listing what was absent from the world that Hawthorne inherited, James was suggesting a kind of wilderness, a place where nothing orderly, including an orderly novel, could easily grow. He did not wish to write disorderly novels.
As James was working, however, literacy and literary culture began to spread in places where civility was merely a rumor, or a sour joke. In such countries as Ireland and Brazil, for example, as poverty and social disruption reigned, and respect for form and continuity was sorely missing, the novel took on a new and strange shape ... etc.