A Centenary Pessoa by Fernando Pessoa

By Fernando Pessoa

This selection of the paintings of Portuguese writer Fernando Pessoa (1888–1935) is an important advent to the paintings of 1 of the main unique eu poets of the 20th century. It comprises translations of a large collection of his poems and his amazing prose, in addition to a few of his unique English writings. an immense introductory essay through Octavio Paz, a severe anthology, posthumous "interviews," and archived illustrations also are integrated, revealing the realm of Pessoa in all its richness.

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I THE LABYRINTH OF LOVE
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Sample text

Oh, we had over forty acres of fields and all I wanted to do was make them the boy’s during my lifetime, but it amounted to nothing. [From the time he was young, my grandfather tried his hand at all kinds of things, like growing tea or manufacturing vegetable gelatin, but they all ended in failure. Then he would worry about the divination of the house. He would build and tear down and rebuild, selling off the fields and woods for a song. One part of the property he lost wound up in the hands of a sake brewer name Matsuo from Nada.

SIXTEENTH YEAR Author's note: What is written in brackets are explanations that I added when 1 was twentyseven. MAY 4 It was about five-thirty when I got home from middle school. The gate was closed to keep visitors away. My grandfather was sleeping alone in the house, so he would have been distressed if anyone came. ] “I’m home,” I called. But no one answered, and the house became quiet again. I felt the loneliness and sad­ ness. ” D i a r y of m y s i x t e e n t h y e a r 35 “Oh, you did. But I didn’t have you here to help me pee since morning, so I’ve been lying here groaning, just waiting for you.

1 complained while 1 waited. 1 grumbled. It should come out on its own. Then my grandfather begged my forgive­ ness. W hen I looked at his face, which grows more hag­ gard day by day, his pale face where the shadow of death dwells, 1 was ashamed of myself. Finally, “Oh, It hurts. It hurts. ” His voice was frail and sharp. My shoulders grew tense just listening. Soon, the clear tinkling sound. Night. W hen I rifled through the drawer in the table, I came across A Theory of Safe House Construction.

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