Brazilian Art under Dictatorship is a sophisticated analysis of the intersection of politics and the visual arts during the most repressive years of Brazil's military regime, from 1968 until 1975. Raised in Rio de Janeiro during the dictatorship, the curator and art historian Claudia Calirman describes how Brazilian visual artists addressed the political situation and opened up the local art scene to new international trends. Focusing on innovative art forms infused with a political undertone, Calirman emphasizes the desire among Brazilian artists to reconcile new modes of art making with a concern for local politics. Ephemeral works, such as performance art, media-based art, and conceptualism, were well suited to the evasion of censorship and persecution. Calirman examines the work and careers of three major artists of the period, Antonio Manuel, Artur Barrio, and Cildo Meireles. She explores the ways that they negotiated the competing demands of Brazilian politics and the international art scene, the efficacy of their political critiques, and their impact on Brazilian art and culture. Calirman suggests that the art of the late 1960s and early 1970s represented not just the artists' concerns with politics, but also their anxieties about overstepping the boundaries of artistic expression.

The dramatic transition from military to civilian rule in Brazil between 1974 and 1985 raises critical questions about voters, competitive party politics, and democracy at the end of the twentieth century.
    This book argues that whereas military government stifled democratic activity, public opinion quickly revived when the military liberalized electoral politics in 1974. Voters rapidly aligned themselves with parties for and against military government, acquired new views on major issues, judged leaders by their performance and policies, and grounded their beliefs in concepts of social justice. Kurt von Mettenheim examines how Brazilian voters make choices and cast their ballots runs counter to long-held liberal theories about how democracy works.

Based upon the author's own experiences of life, exile, and return under the dictatorship that gripped Brazil in the 1960s and 1970s, Freedom Sun in the Tropics follows Lena, a journalist, as she resists violence and political repression, and decides to flee to Paris. Upon her eventual return, Lena soon discovers that the dictatorship's prison walls have enclosed private lives and hold strong even after the collapse of authoritarianism. With friendship, truth, and family broken, she struggles to make the difficult return to freedom and regain a sense of life—and simple decency—on the other side of trauma. Originally published in 1988, Ana Maria Machado's novel vividly captures one of the darkest periods in recent Brazilian history.

After twenty-one years of military dictatorship, Brazil returned to democratic rule in 1985. Yet over the following two decades, the country largely ignored human rights crimes committed by state security agents, crimes that included the torture, murder, and disappearance of those who opposed the authoritarian regime.
            In clear and engaging prose, Rebecca J. Atencio tells the story of the slow turn to memory in Brazil, a turn that has taken place in both politics and in cultural production. She shows how testimonial literature, telenovelas, literary novels, theatrical plays, and memorials have interacted with policies adopted by the Brazilian state, often in unexpected ways. Under the right circumstances, official and cultural forms of reckoning combine in Brazil to produce what Atencio calls cycles of cultural memory. Novel meanings of the past are forged, and new cultural works are inspired, thus creating the possibility for further turns in the cycle.
            The first book to analyze Brazil’s reckoning with dictatorship through both institutional and cultural means, Memory’s Turn is a rich, informative exploration of the interplay between these different modes of memory reconstruction.

Winner, Alfred B. Thomas Award, Southeastern Council of Latin American Studies

Honorable Mention, Roberto Reis Book Prize, Brazilian Studies Association

During the late 1960s and early 1970s, Brazil’s dictatorship arrested, tortured, and interrogated many people it suspected of subversion; hundreds of those arrested were killed in prison. In May 1970, Marcos P. S. Arruda, a young political activist, was seized in São Paulo, imprisoned, and tortured. A Mother’s Cry is the harrowing story of Marcos’s incarceration and his family’s efforts to locate him and obtain his release. Marcos’s mother, Lina Penna Sattamini, was living in the United States and working for the U.S. State Department when her son was captured. After learning of his arrest, she and her family mobilized every resource and contact to discover where he was being held, and then they launched an equally intense effort to have him released. Marcos was freed from prison in 1971. Fearing that he would be arrested and tortured again, he left the country, beginning eight years of exile.

Lina Penna Sattamini describes her son’s tribulations through letters exchanged among family members, including Marcos, during the year that he was imprisoned. Her narrative is enhanced by Marcos’s account of his arrest, imprisonment, and torture. James N. Green’s introduction provides an overview of the political situation in Brazil, and Latin America more broadly, during that tumultuous era. In the 1990s, some Brazilians began to suggest that it would be best to forget the trauma of that era and move on. Lina Penna Sattamini wrote her memoir as a protest against historical amnesia. First published in Brazil in 2000, A Mother’s Cry is testimonial literature at its best. It conveys the experiences of a family united by love and determination during years of political repression.

Between 1964 and 1985, Brazil lived under the control of a repressive, anticommunist regime, where generals maintained all power. Respect for discipline and the absence of any and all political activity was demanded of lower-ranking officers, while their commanders ran the highest functions of state. Despite these circumstances, dozens of young captains, majors, and colonels believed that they too deserved to participate in the exercise of power. For two decades they carried on a clandestine political life that strongly influenced the regime's evolution. This book tells their story. It is history viewed from below, that pays attention to the origins of these actors, their career paths, their words, and their memories, as recounted not only in traditionally available material but also in numerous personal interviews and unpublished civilian and military archives. This behind-the-scenes political life presents a new perspective on the nature and the internal operations of the Brazilian dictatorial military state.

This book is a translation, with expanded material for English-language readers, of Maud Chirio's original Portuguese-language work, A política nos quartéis: Revoltas e protestos de oficiais na ditadura militar brasileira, which was awarded the Thomas E. Skidmore Prize by the Brazilian National Archives and Brazilian Studies Association.
 

Secret Dialogues uncovers an unexpected development in modern Latin American history: the existence of secret talks between generals and Roman Catholic bishops at the height of Brazil's military dictatorship. During the brutal term of Emílio Garrastazú Médici, the Catholic Church became famous for its progressivism. However, new archival sources demonstrate that the church also sought to retain its privileges and influence by exploring a potential alliance with the military. From 1970 to 1974 the secret Bipartite Commission worked to resolve church-state conflict and to define the boundary between social activism and subversion. As the bishops increasingly made defense of human rights their top pastoral and political goal, the Bipartite became an important forum of protest against torture and social injustice. Based on more than 60 interviews and primary sources from three continents, Secret Dialogues is a major addition to the historical narrative of the most violent yet, ironically, the least studied period of the Brazilian military regime. Its story is intertwined with the central themes of the era: revolutionary warfare, repression, censorship, the fight for democracy, and the conflict between Catholic notions of social justice and the anticommunist Doctrine of National Security.

Secret Dialogues is the first book of its kind on the contemporary Catholic Church in any Latin American country, for most work in this field is devoid of primary documentary research. Serbin questions key assumptions about church-state conflict such as the typical conservative-progressive dichotomy and the notion of church-state rupture during harsh authoritarian periods. Secret Dialogues is written for undergraduate and graduate students, professional scholars, and the general reader interested in Brazil, Latin America, military dictatorship, human rights, and the relationship between religion and politics.

In 1964, Brazil’s democratically elected, left-wing government was ousted in a coup and replaced by a military junta. The Johnson administration quickly recognized the new government. The U.S. press and members of Congress were nearly unanimous in their support of the “revolution” and the coup leaders’ anticommunist agenda. Few Americans were aware of the human rights abuses perpetrated by Brazil’s new regime. By 1969, a small group of academics, clergy, Brazilian exiles, and political activists had begun to educate the American public about the violent repression in Brazil and mobilize opposition to the dictatorship. By 1974, most informed political activists in the United States associated the Brazilian government with its torture chambers. In We Cannot Remain Silent, James N. Green analyzes the U.S. grassroots activities against torture in Brazil, and the ways those efforts helped to create a new discourse about human-rights violations in Latin America. He explains how the campaign against Brazil’s dictatorship laid the groundwork for subsequent U.S. movements against human rights abuses in Chile, Uruguay, Argentina, and Central America.

Green interviewed many of the activists who educated journalists, government officials, and the public about the abuses taking place under the Brazilian dictatorship. Drawing on those interviews and archival research from Brazil and the United States, he describes the creation of a network of activists with international connections, the documentation of systematic torture and repression, and the cultivation of Congressional allies and the press. Those efforts helped to expose the terror of the dictatorship and undermine U.S. support for the regime. Against the background of the political and social changes of the 1960s and 1970s, Green tells the story of a decentralized, international grassroots movement that effectively challenged U.S. foreign policy.