Fernando Pessoa was many writers in one. He attributed his prolific writings to a wide range of alternate selves, each of which had a distinct biography, ideology. and horoscope. When he died in 935, Pessoa left behind a trunk filled with unfinished and unpublished writings, among which were the remarkable pages that make up his posthumous masterpiece, The Book of Disquiet, an astonishing work that, in George Steiner's words, "gives to Lisbon the haunting spell of Joyce's Dublin or Kafka's Prague."
Published for the first time some fifty years after his death, this unique collection of short, aphoristic paragraphs comprises the "autobiography" of Bernardo Soares, one of Pessoa's alternate selves. Part intimate diary, part prose poetry, part descriptive narrative, captivatingly translated by Richard Zenith, The Book of Disquiet is one of the greatest works of the twentieth century.
From Publishers WeeklyWhen Pessoa died in 1935, a few years short of 50, he left behind a trunk of mostly unpublished writing in a variety of languages; his Lisbon publishers and variously translators are still sifting them. This perpetually unclassifiable and unfinished book of self-reflective fragments was first published in Portuguese in 1982, and it is arguably Pessoa's masterpiece. Four previous English translations, all published in 1991, were compromised either by abridgement, poor translation or error-laden source texts. While he's now a Pessoa veteran-having edited and translated Fernando Pessoa Co.: Selected Poems, the 1999 PEN Award for Poetry in Translation winner-Zenith's first pass at this book was one of the four misses. He bases this new translation on his own Portuguese edition of 1998, and has done an admirable job in bringing out the force and clarity in Pessoa's serpentine and sometimes opaque meditations. Pessoa often wrote as various personae (as Pessoa Co. carefully demonstrated); Disquiet is no exception, being putatively the work of "Bernardo Soares, assistant bookkeeper in the city of Lisbon." Thus it is impossible to ascribe the book's anti-humanist logophilia directly to the author: "I weep over nothing that life brings or takes away, but there are pages of prose that have made me cry." That is just one of many permutations of similar sentiments, but the genius of Pessoa and his personae is that readers are left weighing each and every such sentence for sincerity and truth value.Copyright 2002 Reed Business Information, Inc.
Review“This superb edition of The Book of Disquiet is . . . a masterpiece.” —John Lanchester, The Daily Telegraph
“Pessoa’s rapid prose, snatched in flight and restlessly suggestive, remains haunting, often startling. . . . There is nobody like him.” —W. S. Merwin, The New York Review of Books“Extraordinary . . . a haunting mosaic of dreams, autobiographical vignettes, shards of literary theory and criticism and maxims.” —George Steiner, The Observer
"I plan to use this book every year in my course at Yale. Thanks for making it available." —K. David Jackson, Yale University