Antonio Salvador

Antonio Salvador


Antonio Salvador works as a writer and a lawyer. He also follows a career in academics, teaching in several Brazilian and foreign universities. A number of his articles appeared in different academic magazines and he took part in international projects of institutions such as DiverCult in Spain and RAIA (Ibero-American Audiovisual Net). He was co-researcher for the documentary Ctrl–V–VideoControl, released in 2011. He is the author of the play Experimento com bola de demolição sobre objetos de uso diário which was produced in 2016 to great acclaim.

With his debut novel THE COUNTESS OF PICAÇUROVA, he won the Literature Prize Prêmio Nascente in 2009, awarded by University of São Paulo, was nominated to the Machado de Assis Prize of the National Library in 2012, and was a finalist in the São Paulo Prize for Literature in 2013. Born in 1980 in Natal, he moved to São Paulo as a child. Currently, he lives in Berlin, where he is finalizing his doctoral degree at Humboldt-Universität zu Berlin.


From the collision of gametes to the last grain of dust on the face of the Earth, Number-Man describes the existence of an ordinary human being: Regina. What is the extent of his trajectory? The synthesis of human life or an outline of a fictional creation? Regina condenses the conflicts and aspirations of the contemporary man, trying to play with fidelity the social roles assigned to him. As well as reaffirming life as a numerical spectacle – love, work, marriage, friendships, and decrepitude – number is performed. Numbered from 1 to 9, the entries of each character on the scene mark the accumulation of the protagonist’s obsessions, exposing a progressive count that leads to the total erosion of subjectivity.

What happens to the real person who discovers himself as a fictional character? What happens to the character who does not accept himself as a human person? Would the character’s life become an inescapable reality, or is the reality of life itself a pure fiction? These and other questions feed the romance of Antonio Salvador, giving contours to the collapse of the pact between the narrator and the character, between man and God.

Publication/Status: On submission.


To annihilate the “imbeciles” and assert his concept of a “model-person”, genius Cesario Boaventura develops a theory about monkeys’ supremacy over the human race. His theory arises not only from his observation of the citizens of Coité, a fictitious city mounted atop self-destructive paradigms but mainly from the bizarre and unexpected appearance of a female monkey out of the trunk of an “orabutan” (an indigenous term for the Brazilwood tree, after which the country was named). Welcomed by the surrounding community, the monkey wittingly manages to define her own space and, with that, she grants the citizens’ devotion. While keeping her simian condition, the monkey becomes the novel’s main character, Benguela. Humanized, Benguela eventually becomes a countess – The Countess of Picaçurova – therefore achieving the highest level of artificiality: a title of nobility.

Following these events, a joint effort – always paying homage to the whims of Death – causes the entire social order to collapse. The novel’s plotline is rooted in Brazil’s deepest and lesser-known realities that are constantly trespassed by opposing forces: the universal and the particular, the modern and the archaic, the real and the surreal. A mythical timeline and an amorphous space help illustrate the split panels of contemporary societies.

English and German samples.

Publication/Status: by Prólogo Selo Editorial (Brazil) in 2013. [288 pages]