Edgar Brau (born 1958) is an Argentine writer, stage director and artist.

Edgar Brau was born in Argentina. He engaged in different occupations: he was an actor, a stage director, a painter of icons, a photographer, until he completely devoted himself to writing literature. His two last performances, as actor and stage director, were A Season in Hell, by Arthur Rimbaud, and Malditos (“Damned Poets”), a dramatization he wrote based on poems by Gérard de Nerval, Charles Baudelaire, and Rimbaud.

His first book, The Poem and Other Stories, published in 1992, was included by the UNESCO in its Project for International Financing of Translations. Enrique Anderson Imbert, an eminent critic from Harvard University, referred to the author as “a poet of prose, with impressive imagination”, and predicted he would get a first place in Argentine literature. Rodolfo Modern, writer and secretary general of the Argentine Academy of Letters, wrote that Brau expresses himself in a language of “amazing richness and accuracy”.

In 1995, he published his first novel, The Player. Between that year and 2000, two books of poems, three short story books and a novel were released. To this period belong Argentine Suite (a collection of four short stories based on the last Argentine military dictatorship, the National Reorganization Process) and Captain Lemuel Gulliver's Last Travel, a satire of present-day society, in which the character created by Jonathan Swift is shown on a fantastic travel (his “fifth” voyage) to the Río de la Plata, more precisely to a country that Gulliver calls Incognitahriah.

By mid 2000, the National Endowment for the Arts awarded professor Donald A. Yates, first American translator and editor of Jorge Luis Borges, a grant to translate all the work in prose written by Brau up to that year. Since then, Edgar Brau has been invited by different American universities and literary organizations to give seminars on his work and classes as Visiting Professor. Together with his translator, he also offered several bilingual readings on the West Coast.

In the Fall of 2002, during one of those stays, he wrote Casablanca, a novella in which a wealthy Argentine “estanciero” (ranch owner) builds a replica of Rick's café in the Argentine pampas, around the fifties, with the idea of recreating the famous film in real life. In this story, the unnamed protagonist, caught in a storm on a lonely road, takes a hitherto unnoticed turn and soon draws up at a group of Moorish-looking buildings. A battered tin sign out front says “Casablanca.” After parking, the driver seeks shelter in a shadowy room, glimpsing chairs and tables piled helter-skelter in the corners, just as a piano begins to play As Time Goes By. The piano player is an old black man, identical to Sam. By the wall opposite the piano, a man in dark glasses (his face seems familiar at first glance), a white jacket and black bow tie dozes, his chin resting on his chest. Somehow, the narrator has wandered into Rick's Café Americain from the film Casablanca. Before he leaves, the piano player will tell him the story of this place and of the people who lived and worked there, representing the movie characters.

Brau's first collection of works in English, entitled Casablanca and Other Stories, was published in the US by the end of 2006. The Washington Post published a lengthy review by Michael Dirda (“For the first time in English the Argentine labyrinths of Edgar Brau”) in which he states that Brau's works are further explorations of Borges´geography of the imagination. Writer and professor John T. Irwin, from Johns Hopkins University (author of The Mystery to a Solution: Poe, Borges, and the Analytic Detective Story), wrote that Brau's stories must be regarded in the same level as those by Edgar Allan Poe and Borges: “These brilliant and haunting stories, superbly translated —Irwin writes— will introduce American readers to a contemporary Argentine fiction writer of startling power and subtlety, a writer whose stories it is no overstatement to mention in the same breath with those of Poe and Borges”.

In January 2007, Words Without Borders, from Chicago, published Woodstock, a long poem by Brau based on the famous rock festival.