With only three books published, Raduan Nassar is considered one of the greatest figures of contemporary Brazilian letters. Writer of worship, hermit (never gives interviews or attends public events), Nassar owns a prostrative and precise prostrate, which captures the moments with punctuality and intelligence. The light, the objects, the temperature of the colors, the thickness of the environment are delineated with an incisive, sharp and captivating look.

A glass of cholera, his second book, chronicles two days in the life of a couple who are in a state of crisis. The violent outbursts - influenced by intense moments of passion and loving rapture - are detonated by the clash of two strong and dominant personalities. He tries to subjugate his partner, to subdue it through a continuous verbal violence that seeks to bury the wound right in the clefts of the deepest wounds of it; To attract it from the vulnerability; Erect a temple in which he becomes the center of worship. But she, with an indomitable character and great insight, always has the precise phrase to stop the thrusts of her lover.

While violence seems to be the ether that conducts light through this story, this brief but dazzling novel has multiple dimensions ranging from complex political issues to existential issues. The limit (or absence of it), containment, inability to keep discontent and resentment at bay are central not only in this novel, but in Archaic work and in the volume of stories The Girl on the Road, All Next Appearance on Sixth Floor.