Although Brazil and Serbia are geographically located on opposite sides of the world, the affinity between the two nations is surprisingly strong

by Nikola Perišić

This phenomenon stems from deep similarities in mentality, temperament, and cultural patterns that have, among other things, contributed to the popularity of Brazilian literature in this part of the world.

Although Brazilian literature may not dominate the global literary canon as great European literary traditions do, it has an exceptionally long, distinctive, and rich readership tradition in Serbia. The foundations of this tradition were laid during the period of the former Yugoslavia, when the first translations of Jorge Amado’s best-known novels arrived here, including Gabriela, Clove and Cinnamon, Captains of the Sands and The Violent Land.

At the time, his literature proved to be a perfect match for the prevailing political and cultural climate. As Amado was a communist by political conviction, themes such as poverty, class divisions and the struggle of the oppressed working class were ideally aligned with the ideological values of the Yugoslav system.

Amado’s popularity, however, was not based solely on his political acceptability. It also rested on his authentic portrayal of everyday life in Brazil. People in this part of the world could easily identify with his characters. Amado’s protagonists are marked by inexhaustible perseverance, resourcefulness in difficult times, defiance, fearlessness and a distinctive sense of humour that helps them withstand adversity.

This connection was further strengthened by the fact that much of the action in almost all of his novels takes place in markets, town squares and, above all, local taverns and cafés, which in our culture likewise represent the epicentre of social life and function almost as unofficial institutions.

Through his works, the people of Yugoslavia discovered an entirely new and different Brazil. Instead of its major urban centres, Amado introduced them to the north-eastern state of Bahia and its mystical capital, Salvador.

Perhaps the most important place in his literary world was reserved for women. Amado’s heroines were ahead of their time, distinguished by a powerful, passionate and independent vitality. Through their strength, they defied a rigid and hypocritical patriarchal society, becoming universal symbols of the struggle for freedom and dignity.

Another factor in the popularisation of Brazilian literature was Rui Ribeiro Couto, Brazil’s long-serving ambassador to Yugoslavia, who lived in Belgrade for 16 years, beginning in 1947. During this period, he developed a friendship with the Split-born writer, translator and professor Ante Cetineo. While in

Yugoslavia, Couto published several works and arranged their translation, continuing to introduce his writing to the Yugoslav market even after leaving the country.

Particularly noteworthy is his 1987 poetry collection The Long Day, inspired by the 40th anniversary of his arrival in Yugoslavia. The collection was translated into Serbo-Croatian.

Brazilian soft power returned to this part of the world during the 1990s through television series. What often escaped the wider audience was that many of the mostwatched Brazilian series in Serbia were either direct screen adaptations of Jorge Amado’s works or drew heavily on his literary legacy.

Through visually lavish series such as the cult classic Land of Hope and the mystical Tent of Miracles, local audiences were exposed daily to Amado’s distinctive themes and motifs. This powerful media presence prepared the ground for a new literary wave, paving the way for more accessible and commercially oriented literature, whose undisputed leading figure would become Paulo Coelho.

Coelho’s literary success in Serbia extends far beyond conventional fiction. His prose can rightly be regarded as a literary precursor to contemporary popular psychology. During a prolonged period of social transition, Coelho offered readers precisely what they needed most: accessible spirituality, universal stories about the search for personal meaning, and powerful motivational messages about pursuing one’s dreams.

COELHO HAS BEEN THE MOST WIDELY TRANSLATED AND READ BRAZILIAN AUTHOR IN THIS PART OF THE WORLD FOR DECADES

Thanks to this universality and his simple yet striking style, Coelho has been, for decades, by far the most widely translated and read Brazilian author in this part of the world. His status as a literary star and the enduring appeal of his ideas are perhaps best illustrated by the efforts of the Laguna publishing house, which recognised his significance and has so far introduced Serbian readers to no fewer than 22 of his titles, further strengthening Brazilian literature’s presence in the Serbian market.

One challenge in bringing Brazilian literature to this region has been language, as Portuguese specialists most often translate these works. Brazilian Portuguese, however, is not simply standard Portuguese, but a distinctive variety in which many words and expressions have entirely different meanings. Translators therefore face linguistic dilemmas over how to convey the original language faithfully and often seek assistance from Brazilian writers themselves.

Nevertheless, the fact that Portuguese-speaking countries were guests of honour at the Belgrade International Book Fair in 2011 created broader opportunities for Brazilian literature to establish a presence in Serbia. Over the past decade and a half, thanks to the enthusiasm of accomplished translators and the vision of various Serbian publishing houses, numerous Brazilian authors have been systematically translated and introduced to local readers.

This has created a strong cultural bridge, bringing us everything from essential classics and profound psychological dramas to monumental epics of the Brazilian hinterland and the latest voices in contemporary, socially engaged and documentary literature.

In this context, we should mention the books published by Geopoetika, which has released two works by Milton Hatoum. His award-winning novel The Brothers presents a masterful family saga set in the multicultural Brazilian port city of Manaus, in the heart of the Amazon. Through the archetypal conflict between twin brothers competing for their mother’s love, Hatoum depicts not only the tragic disintegration of a family but also creates a subtle metaphor for the dramatic transformation of Brazilian society as a whole.

The same publishing house also released Hatoum’s Orphans of Eldorado. In this novel, the Amazon’s natural riches become a stage where myth and harsh reality, personal memories and the collective past, constantly intertwine to create a tragic portrait of unfulfilled dreams.

One of the youngest publishing houses in Serbia, Magnus, has focused on works from the Spanishand Portuguese-speaking world through its carefully curated Rio Magnus series. In keeping with this vision, in recent years it has introduced Serbian readers to remarkable works rooted in investigative journalism and real events.

Betina Anton’s novel Tropical Bavaria, based on extensive research into facts and documents, sheds light on the dark secret of how the notorious Nazi doctor Josef Mengele, following the fall of the Third Reich, managed to continue living undisturbed in Brazil for years.

Alongside this historical documentary thriller, Magnus also published The Name of Death, written by award-winning Brazilian journalist Klester Cavalcanti. The book reconstructs the true story told to him by Júlio Santana, a contract killer who committed 492 murders during his lifetime.

Hymn of the World: A Book of Journeys, published by Čigoja štampa, offers one of the most comprehensive overviews of Brazilian literary theory. The book systematically presents the theoretical framework and key ideas concerning the development and characteristics of Brazilian literary production, giving readers a clearer understanding of how particular literary forms, themes and cultural contexts are understood and interpreted.

Beyond its theoretical analysis, the book also serves as a kind of “mapping” of Brazilian literature, connecting its broader historical and social context with the ways literature emerges, changes, and acquires meaning over time. Precisely because of the breadth of its approach, it stands out as one of the most useful starting points for a deeper understanding of Brazilian literature and its theoretical foundations.

Brazilian literature in Serbia has clearly gone through three distinct phases. The first is associated with the period of the former Yugoslavia. In this context, the dominant themes and reception centred on Amado’s work, particularly his influence and presence in literary life.

The second phase can be linked to the transition from the 20th to the 21st century, with Coelho playing a significant role. His popularity helped establish Brazilian literature in Serbia as part of a broader, more contemporary cultural current, increasing both the visibility of and demand for titles that moved beyond previously dominant patterns of reception.

The third phase began in 2011 and represents the contemporary stage, during which this trend has gradually stabilised and intensified. In this phase, Brazilian writers have become an increasingly common presence in bookstores across Serbia. This can be attributed to several factors: the growing availability of translations, greater recognition of the market potential of Brazilian literature, and increasing reader interest that is no longer limited to one or two of the best-known authors but is gradually expanding to encompass a wider range of writers and literary styles.