The Book of Disquiet

  PENGUIN BOOKS

  The Book of Disquiet

  ‘A Modernist touchstone… no one has explored alternative selves with Pessoa’s mixture of determination and abandon… In a time which celebrates fame, success, stupidity, convenience and noise, here is the perfect antidote, a hymn of praise to obscurity, failure, intelligence, difficulty and silence’ John Lanchester, Daily Telegraph

  ‘His prose masterpiece… Richard Zenith has done an heroic job in producing the best English-language version we are likely to see for a long time, if ever’ Nicholas Lezard, Guardian

  ‘The Book of Disquiet was left in a trunk which might never have been opened. The gods must be thanked that it was. I love this strange work of fiction and I love the inventive, hard-drinking, modest man who wrote it in obscurity’ Paul Bailey, Independent

  ‘Fascinating, even gripping stuff… a strangely addictive pleasure’ Kevin Jackson, Sunday Times

  ‘Must rank as the supreme assault on authorship in modern European literature… readers of Zenith’s edition will find it supersedes all others in its delicacy of style, rigorous scholarship and sympathy for Pessoa’s fractured sensibility… the self-revelation of a disoriented and half-disintegrated soul that is all the more compelling because the author himself is an invention… Long before postmodernism became an academic industry, Pessoa lived deconstruction’ John Gray, New Statesman

  ‘Portugal’s greatest modern poet… deals with the only important question in the world, not less important because it is unanswerable: What am I?’ Anthony Burgess, Observer

  ‘Pessoa’s rapid prose, snatched in flight and restlessly suggestive, remains haunting, often startling, like the touch of a vibrating wire, elusive and persistent like the poetry… there is nobody like him’ W. S. Merwin, New York Review of Books

  ABOUT THE AUTHOR

  Fernanco Pessoa was born in Lisbon in 1888 and was brought up in Durban, South Africa. In 1905 he returned to Lisbon to enrol at the university, but soon dropped out, preferring to study on his own. He made a modest living translating the foreign correspondence of various commercial firms, and wrote obsessively – in English, Portuguese and French. He self-published several chapbooks of his English poems in 1918 and 1922, and regularly contributed his Portuguese poems to literary journals such as Orpheu and Portugal Futurista. Mensagem, a collection of poems on patriotic themes, won a consolation prize in a national competition in 1934. Pessoa wrote much of his greatest poetry under three main ‘heteronyms’, Alberto Caeiro, Alvaro de Campos and Ricardo Reis, whose fully fleshed biographies he invented, giving them different writing styles and points of view. He created dozens of other writerly personas, including the assistant bookkeeper Bernardo Soares, fictional author of The Book of Disquiet. Although Pessoa was acknowledged as an intellectual and a poet, his literary genius went largely unrecognized until after his death in 1935.

  Richard Zenith lives in Lisbon, where he works as a freelance writer, translator and critic. His translations include Galician–Portuguese troubadour poetry, novels by António Lobo Antunes and Fernando Pessoa and Co. – Selected Poems, which won the 1999 American PEN Award for Poetry in Translation.

  FERNANDO PESSOA

  The Book of Disquiet

  Edited and translated by Richard Zenith

  PENGUIN BOOKS

  PENGUIN BOOKS

  Published by the Penguin Group

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  www.penguin.com

  First published in Portuguese as Livro do Desassossego by Assírio & Alvim 1998

  This translation first published in Great Britain by Allen Lane The Penguin Press 2001

  Published in Penguin Classics 2002

  1

  Original text copyright © Assírio & Alvim and Fernando Pessoa’s heirs, 1998

  Editorial matter, selection and translation copyright © Richard Zenith, 2001

  All rights reserved.

  The moral right of the translator has been asserted

  Except in the United States of America, this book is sold subject

  to the condition that it shall not, by way of trade or otherwise, be lent,

  re-sold, hired out, or otherwise circulated without the publisher’s

  prior consent in any form of binding or cover other than that in

  which it is published and without a similar condition including this

  condition being imposed on the subsequent purchaser

  Contents

  Introduction

  Notes on the Text and Translation

  Acknowledgements

  The Book of Disquiet

  Preface by Fernando Pessoa

  A Factless Autobiography

  A Disquiet Anthology

  Appendix I: Texts Citing the Name of Vicente Guedes

  Appendix II: Two Letters

  Appendix III: Reflections on The Book of Disquiet from Pessoa’s Writings

  Notes

  Table of Heteronyms

  Introduction

  I’m astounded whenever I finish something. Astounded and distressed. My perfectionist instinct should inhibit me from finishing; it should inhibit me from even beginning. But I get distracted and start doing something. What I achieve is not the product of an act of my will but of my will’s surrender. I begin because I don’t have the strength to think; I finish because I don’t have the courage to quit. This book is my cowardice. (Text 152)

  Fernando António Nogueira Pessoa was born in Lisbon in 1888, died there in 1935, and did not often leave the city as an adult, but he spent nine of his childhood years in the British-governed town of Durban, South Africa, where his stepfather was the Portuguese consul. Pessoa, who was five years old when his natural father died of tuberculosis, developed into a shy and highly imaginative boy, and a brilliant student. Shortly after his seventeenth birthday, he returned to Lisbon to enrol in the university but soon dropped out, preferring to study on his own at the National Library, where he systematically read major works of philosophy, history, sociology and literature (especially Portuguese) in order to complement and extend the traditional English education he had received in South Africa. His production of poetry and prose in English during this period was intense, and by 1910 he was also writing extensively in Portuguese. He published his first essay in literary criticism in 1912, his first piece of creative prose (a passage from The Book of Disquiet) in 1913, and his first poems in 1914.

  Living sometimes with relatives, sometimes in rented rooms, Pessoa supported himself by doing occasional translations and by drafting letters in English and French for Portuguese firms that did business abroad. Although solitary by nature, with a limited social life and almost no love life, he was an active leader of Portugal’s Modernist movement in the 1910s, and he invented several of his own movements, including a Cubist-inspired ‘Intersectionism’ and a strident, quasi-Futurist ‘Sensationism’. Pessoa stood outside the limelight, however, exerting influence through his writings and in his conversations with more conspicuous literary figures. Respected in Lisbon as an intellectual and a poet, he regularly published h
is work in magazines, several of which he helped to found and run, but his literary genius went largely unrecognized until after his death. Pessoa was convinced of his own genius, however, and he lived for the sake of his writing. Although he was in no hurry to publish, he had grandiose plans for Portuguese and English editions of his complete works, and he seems to have held on to most of what he wrote.

  Pessoa’s legacy consisted of a large trunk full of poetry, prose, plays, philosophy, criticism, translations, linguistic theory, political writings, horoscopes and assorted other texts, variously typed, handwritten or illegibly scrawled in Portuguese, English and French. He wrote in notebooks, on loose sheets, on the backs of letters, advertisements and handbills, on stationery from the firms he worked for and from the cafés he frequented, on envelopes, on paper scraps, and in the margins of his own earlier texts. To compound the confusion, he wrote under dozens of names, a practice – or compulsion – that began in his childhood. He called his most important personas ‘heteronyms’, endowing them with their own biographies, physiques, personalities, political views, religious attitudes and literary pursuits (see Table of Heteronyms, pp. 505–9). Some of Pessoa’s most memorable work in Portuguese was attributed to the three main poetic heteronyms – Alberto Caeiro, Ricardo Reis and Álvaro de Campos – and to the ‘semi-heteronym’ called Bernardo Soares, while his vast output of English poetry and prose was in large part credited to heteronyms Alexander Search and Charles Robert Anon, and his writings in French to the lonely Jean Seul. The many other alter egos included translators, short-story writers, an English literary critic, an astrologer, a philosopher and an unhappy nobleman who committed suicide. There was even a female persona: the hunchbacked and helplessly lovesick Maria José. At the turn of the century, sixty-five years after Pessoa’s death, his vast written world had still not been completely charted by researchers, and a significant part of his writings was still waiting to be published.

  ‘Fernando Pessoa, strictly speaking, doesn’t exist.’ So claimed Álvaro de Campos, one of the characters invented by Pessoa to spare himself the trouble of living real life. And to spare himself the trouble of organizing and publishing the richest part of his prose, Pessoa invented The Book of Disquiet, which never existed, strictly speaking, and can never exist. What we have here isn’t a book but its subversion and negation: the ingredients for a book whose recipe is to keep sifting, the mutant germ of a book and its weirdly lush ramifications, the rooms and windows to build a book but no floor plan and no floor, a compendium of many potential books and many others already in ruins. What we have in these pages is an anti-literature, a kind of primitive, verbal CAT scan of one man’s anguished soul.

  Long before the deconstructionists began to apply their sledgehammers to the conceptual edifice that sheltered our Cartesian sense of personal identity, Pessoa had already self-deconstructed, and without any hammer. Pessoa never set out to destroy himself or anything else. He didn’t attack, like Derrida, the assumption that language has the power to mean, and he didn’t take apart history and our systems of thought, in the manner of Foucault. He just looked squarely at himself in the mirror, and saw us all:

  Each of us is several, is many, is a profusion of selves. So that the self who disdains his surroundings is not the same as the self who suffers or takes joy in them. In the vast colony of our being there are many species of people who think and feel in different ways. (Text 396)

  The problem with Cogito, ergo sum, for Pessoa, wasn’t in the philosophical principle but in the grammatical subject. ‘Be what I think? But I think of being so many things!’ cried heteronym Álvaro de Campos in ‘The Tobacco Shop’, and those myriad thoughts and potential selves suggested anything but a unified I. Much more than a literary ploy, heteronymy was how Pessoa – in the absence of a stable and centred ego – could exist. ‘We think, therefore we are’ is what, in effect, he says. And even this form of self-affirmation is chancy, for in his moments of greatest doubt and detachment, Pessoa looks within and whispers, with horror: ‘They think, therefore they are.’

  Doubt and hesitation are the absurd twin energies that powered Pessoa’s inner universe and informed The Book of Disquiet, which was its piecemeal map. He explained his trouble and that of his book to a poet friend, Armando Cortes-Rodrigues, in a letter dated 19 November 1914: ‘My state of mind compels me to work hard, against my will, on The Book of Disquiet. But it’s all fragments, fragments, fragments.’ And in a letter written the previous month to the same friend, he spoke of a ‘deep and calm depression’ that allowed him to write only ‘little things’ and ‘broken, disconnected pieces of The Book of Disquiet’. In this respect, that of perpetual fragmentation, the author and his Book were forever faithful to their principles. If Pessoa split himself into dozens of literary characters who contradicted each other and even themselves, The Book of Disquiet likewise multiplied without ceasing, being first one book and then another, told by this voice then that voice, then another, still others, all swirling and uncertain, like the cigarette smoke through which Pessoa, sitting in a café or next to his window, watched life go by.

  Pessoa’s three major poetic heteronyms – the Zennish shepherd called Alberto Caeiro, the classicist Ricardo Reis, and world traveller Álvaro de Campos – burst on to the stage of Pessoa’s life together, in 1914. The Book of Disquiet was born one year before that, with the publication of Pessoa’s first piece of creative writing, called ‘In the Forest of Estrangement’, where the ‘[h]alf awake and half asleep’ narrator, stagnating ‘in a lucid, heavily immaterial torpor, in a dream that is a shadow of dreaming’, reports on his imaginary stroll with his unreal female double:

  And what a refreshing and happy horror that there was nobody there! Not even we, who walked there, were there… For we were nobody. We were nothing at all… We had no life for Death to have to kill. We were so tenuous and slight that the wind’s passing left us prostrate, and time’s passage caressed us like a breeze grazing the top of a palm.

  Written under his own name, this long and languid prose text was presented in a literary magazine as an excerpt ‘from The Book of Disquiet, in preparation’. Pessoa worked on this book for the rest of his life, but the more he ‘prepared’ it, the more unfinished it became. Unfinished and unfinishable. Without a plot or plan to follow, but as disquiet as a literary work can be, it kept growing even as its borders became ever more indefinite and its existence as a book ever less viable – like the existence of Fernando Pessoa as a citizen in this world.

  By the early part of the 1920s the directionless Book seems to have drifted into the doldrums, but at the end of that decade – when little more was to be heard from Alberto Caeiro (or from his ghost, since the shepherd supposedly died of TB in 1915) and nothing at all novel from Ricardo Reis (stuck in his role as a ‘Greek Horace who writes in Portuguese’) – Pessoa brought new life to the work in the person of Bernardo Soares, its ultimate fictional author. Over half of The Book of Disquiet was written in the last six years of Pessoa’s life, competing for his attention, and we may even say affection, with the irrepressible Álvaro de Campos, the poet-persona who grew old with Pessoa and held a privileged place in his inventor’s heart. Soares the assistant bookkeeper and Campos the naval engineer never met in the pen-and-paper drama of Pessoa’s heteronyms, who were frequently pitted against one another, but the two writer-characters were spiritual brothers, even if their worldly occupations were at odds. Campos wrote prose as well as poetry, and much of it reads as if it came, so to speak, from the hand of Soares. Pessoa was often unsure who was writing when he wrote, and it’s curious that the very first item among the more than 25,000 pieces that make up his archives in the National Library of Lisbon bears the heading A. de C. (?) or B. of D. (or something else).

  Bernardo Soares was so close to Pessoa – closer even than Campos – that he couldn’t be considered an autonomous heteronym. ‘He’s a semi-heteronym,’ Pessoa wrote in the last year of his life, ‘because his personality, although not
my own, doesn’t differ from my own but is a mere mutilation of it.’ Many of Soares’s aesthetic and existential reflections would no doubt be part of Pessoa’s autobiography, had he written one, but we shouldn’t confound the creature with his creator. Soares was not a replica of Pessoa, not even in miniature, but a mutilated Pessoa, with missing parts. Soares had irony but not much of a sense of humour; Pessoa was endowed with large measures of both. Though shy and withdrawn, Pessoa wouldn’t say he felt ‘like one of those damp rags used for house-cleaning that are taken to the window to dry but are forgotten, balled up, on the sill where they slowly leave a stain’ (Text 29). Like his semi-heteronym, Pessoa was an office worker in the Baixa, Lisbon’s old commercial district, and for a time he regularly dined at a restaurant on the Rua dos Douradores, the site of Soares’s rented room and of Vasques & Co., the firm where he worked. But whereas Soares was condemned to the drudgery of filling in ledgers with the prices and quantities of fabric sold, Pessoa had a comparatively prestigious job writing business letters in English and French, for firms that did business abroad. He came and went pretty much as he wanted, never being obliged to work set hours.

  As for their respective inner lives, Soares takes his progenitor’s as a model: ‘I’ve created various personalities within… I’ve so externalized myself on the inside that I don’t exist there except externally. I’m the empty stage where various actors act out various plays’ (Text 299). Coming from Soares, this is a strange declaration. Are we supposed to believe that the assistant bookkeeper, one of the actors who played on the stage of Pessoa’s life, had his own troupe of heteronyms? If so, should we then suppose that these subheteronyms had sub-subheteronyms? The notion of an endless heteronymic lineage might have amused Pessoa, but the reason for his alter egos was to explain and express himself, and perhaps to provide a bit of reflective company. Soares, in the passage cited, is describing Pessoa’s own dramatic method of survival. And whatever he may be saying about himself, Soares is clearly speaking for Pessoa in the passage that begins ‘Only once was I truly loved’ (Text 235), written in the 1930s, not long after Pessoa broke up with Ophelia Queiroz, his one and only paramour. Surely it is Pessoa who believes, or wants to believe, that ‘Literature is the most agreeable way of ignoring life’ (Text 116). And isn’t it he, after all, who one day happened to look at his neighbour’s window and identified with a crumpled rag left on the sill?