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Lisboa: Relógio D’Água, 2021
Paris: Viviane Hamy Editions, trad. Dominique Nédellec, 2024. Paris: Editions J'ai Lu, trad. Dominique Nédellec, 2025.
Nova Iorque: Farrar, Straus & Giroux, trad. Alison Entrekin, 2025.
Zagreb: Fraktura, 2026.
Quem nos salva da possibilidade de, cedo na vida, nos termos desperdiçado? Este tríptico reflecte sobre este desperdício, tomando a vida de três homens. Celestino, um traficante de escravos de regresso a casa, emparedado num jardim, em A Visão das Plantas. Boa Morte da Silva, arrumador de carros, ex-combatente da Guerra Colonial, deixado à sua sorte numa rua de Lisboa, em Maremoto. Bruma, duplo fantasioso do escudeiro negro que lia histórias ao pequeno Eça de Queiroz, em Bruma. Fantasmas guardados dentro dos livros, alegorias da escrita e da leitura, que estas Três Histórias tentam fazer regressar ao nosso espanto.
A Must-Read: NPR, Ms., Literary Hub, Book Riot, Foreign Policy, and Brittle Paper
“[A] haunting triptych of stories.”
—Marc Weingarten, Los Angeles Times
“A brilliant, yet understated, critique of a past that Portugal most likely hopes to forget. Lyrical, enigmatic, and subtle: an accomplished work.”
—Kirkus Reviews
“Poignant . . . [and] compelling.”
—Alejandro Chacoff, The New York Times Book Review
“A work of such unsettling precision . . . Pereira de Almeida’s willingness to go there . . . is what separates this from the well-intentioned but ultimately comfortable tradition of guilt-ridden colonial fiction.”
—Jordan Silversmith, Asymptote Journal
“Beautifully written . . . Dark and quiet yet powerful, this volume offers a thoughtful critique of colonial violence.”
—Ms.
“[A] contemplative triptych . . . Heart-wrenching and uplifting . . . A well-crafted depiction of the hidden bonds between individuals and empire.”
—Publishers Weekly
“[Three Stories of Forgetting] sharply and wrenchingly confronts terrifying colonial legacies . . . Haunting.”
—Terry Hong, Shelf Awareness
“[An] excellent collection.”
—The Brooklyn Rail
“One of the most important voices in Lusophone literature today, Almeida examines the ghosts of the Portuguese Empire through the eyes of men tormented by remorse and the spoils of war.”
—Brittle Paper
“Une rareté.”
— Le Matricule des Anges
“Pereira de Almeida réussit cet exploit consistant à incarner le colonialisme à travers un seul homme. Dans une langue poétique et précise, Djaimilia dit nos aveuglements, tout en repoussant les limites de notre portion congrue de liberté.”
— Le Monde
“La très subtile Djaimilia Pereira de Almeida n’emprisonne cependant son imagination dans aucun stéréotype idéologique.”
— Le Figaro
“Un texte magnifique.”
— Marenostrum
“Ces trois contes exercent chacun un pouvoir de fascination singulier. L’auteure donne une résonance particulière. La recherche d’un lieu – fragile, précaire, imaginaire – pour exister et finir. Et la faculté de s’évader – par l’écriture et le rêve – dans des univers magiques, foisonnants, accueillants, à la frange d’une réalité hostile.”
— Le Temps
“Une langue superbe.”
— Télérama