By Fernando Pessoa
Title note: unique identify O Livro do Desassossego
Contributor note: ahead via William Boyd
Publish yr note: First released in 1982
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Sitting at his table, Bernardo Soares imagined himself loose endlessly of Rua dos Douradores, of his boss Vasques, of Moreira the book-keeper, of the entire different staff, the errand boy, the publish boy, even the cat. but when he left all of them the following day and discarded the go well with of garments he wears, what else might he do? simply because he must do whatever. And what swimsuit might he put on? simply because he must put on one other suit.
A self-deprecating mirrored image at the sheer distance among the loftiness of his emotions and the humdrum truth of his existence, The booklet of Disquiet is a vintage of existentialist literature.
Fernando Pessoa, one of many founders of modernism, used to be born in Lisbon in 1888. so much of Pessoa's writing was once now not released in the course of his lifetime: The booklet of Disquiet was once first released in Portugal in 1982.
"Readers with a selected curiosity in modernism will locate this paintings indispensable."—Publishers Weekly
"Pessoa's outstanding character is as beguiling and mysterious as his distinct poetic output."—William Boyd
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Additional info for The Book of Disquiet (Serpent's Tail Classics)
Sample text
On such a view, the critic does not pick up a text by Johann von Goethe, Fyodor Dostoevsky, or James Joyce simply to communicate some new observations on the literature; nor does he set his pen to paper to contribute to the hallowed corpus of Human Knowledge, though this may well be what he claims he is doing. There is no casually coming across the outcry of a Faust, a Karamazov, or a Daedalus, no munching on buttery popcorn as we move through those paragraphs. Here the critic encounters only critical collision, a collision that brings him face to face with a Kierkegaardian either/or: either flight or resolve.
According to the Johannine notion of the Word, however, both views of literature discussed above are wrongheaded. " Approached from the perspective of the Word, literature is not a lifeless object that reflects or projects reality; it is a living spirit engaged not in mimicry but in response, not in imitation but in evocation. Contrary to being distinct from life, truth, or meaning, as a mirror or a prescription is, literature is the very fabric of life, truth, and meaning. Again, to view literature as spirit is to view it as truth, and truth cannot be imitated, dictated, or explicated.
The words I have spoken to you are spirit and they are life" (6:33). His Gospel also contains the teaching that God is spirit (4:24), and in the Prologue we find the assertion that God is the Word: "In the beginning was the Word: the Word was with God and the Word was God" (1:1). Finally, for the purpose at hand, Saint John's declaration that God is love should be noted (1 John 4:8, 16). The Johannine logos, therefore, may be defined as the Word, God, spirit, and love. It is the house in which people generate a living presence, the place where they are able to dwell freely and openly (cf.
