Set in the backlands of Paraíba between the 1970s and 1990s, “Deaths in the Manor House,” by Fátima Sá Paraíba, constructs a narrative marked by mystery, memory, and social tensions. Following the investigation of crimes linked to the dark past of an influential family, the author combines classic elements of the crime novel with the strength of Northeastern regionalism, exploring popular beliefs, collective traumas, and the persistence of secrets that span generations. In an interview, Fátima reflects on the construction of this universe, the role of backlands culture in the work, and the search for justice amidst the shadows.
How did the idea of creating a crime story set in such a culturally rich universe come about?
The idea stemmed from a desire to tell a suspenseful story that wasn’t disconnected from the cultural reality of the backlands. I always felt that the Paraíba backlands hold many silences, many stories that remain hidden within the walls of old houses and in the memories of older people. The crime genre seemed to me an interesting way to reveal these secrets, because the investigation allows one to open doors that would normally remain closed. Thus, the mystery of the crime also ends up being a way to reveal the soul of that place.
How did the Paraíba backlands help shape the atmosphere and events of the book?
The Paraíba backlands are not just a setting; they shape how people think, speak, and relate to each other. Popular beliefs, stories told on sidewalks at dusk, respect for elders, and even certain collective fears are all part of the narrative’s construction. In Aroeira, the fictional town in the novel, I sought to bring together this symbolic universe of the backlands: time seems to move more slowly, but memories remain very vivid. This environment helps create an atmosphere of mystery that permeates the entire story.
What did you want to explore about the weight of family inheritance?
I’ve always been intrigued by the idea that some stories don’t end with a generation. In the book, the past of the Gomes Barreto family continues to influence the present, as if past actions leave deep marks that transcend time. I wanted to reflect on how violence, silence, and injustice can perpetuate themselves when left unaddressed. At the same time, the narrative also suggests that understanding the past is a necessary step to break these cycles.
How did he find the balance between police suspense and the symbolic dimension of memory and tradition?
I sought to build suspense while respecting the rhythm of rural stories, where events are often revealed gradually, through conversations, memories, or small details of daily life. The legends and traditions of the backlands enter the narrative not as decorative elements, but as part of the characters’ worldview. In this way, the police thriller coexists naturally with collective memory and popular imagination.
What kind of humanity did you want to bring to Inspector Pingo D’Água?
Inspector Pingo D’Água represents someone who seeks to do what is right even in an environment full of ambiguities. He is not a perfect hero; he is an attentive man, sensitive to people’s stories and able to perceive that behind every crime there is a complex human context. I wanted to create a character who investigated not only the facts, but also the motivations and the hidden pain behind them.
How did the character Fedorento come about, and what is his symbolic role?
The Stinky Flautist emerged almost as a figure from the very imagination of the backlands—that character who always seems to be present, observing everything, but speaking little. He represents a kind of silent witness to history. His presence reminds us that attentive eyes exist even when no one seems to notice. In a way, he symbolizes the memory of the place, the memory that preserves everything, even what people would prefer to forget.
Can literature provoke reflection on social injustices?
I believe so. Literature may not change the world immediately, but it has the capacity to spark questions and sensitize the reader. When a story reveals historical injustices or silences, it invites the reader to reflect on these realities. In the case of Deaths in the Manor House, the search for justice within the narrative is also an invitation to think about the injustices that often remain hidden within social structures.
How do your academic background and poetic sensibilities influence your writing?
My background in literature has given me the tools to better understand narrative structures and the possible paths within fiction. Poetic sensibility, on the other hand, primarily influences how I observe the world and describe environments and characters. I like to think that my stories are built on the encounter between these two dimensions: the study of literature and the sensitive listening to the voices, landscapes, and memories of the place I come from.
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