By Fernando Pessoa
Title note: unique name O Livro do Desassossego
Contributor note: ahead via William Boyd
Publish 12 months note: First released in 1982
Sitting at his table, Bernardo Soares imagined himself loose without end of Rua dos Douradores, of his boss Vasques, of Moreira the book-keeper, of the entire different staff, the errand boy, the put up 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 may he do? simply because he must do whatever. And what go well with could 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 fact of his existence, The booklet of Disquiet is a vintage of existentialist literature.
Fernando Pessoa, one of many founders of modernism, was once born in Lisbon in 1888. such a lot of Pessoa's writing used to be now not released in the course of his lifetime: The booklet of Disquiet was once first released in Portugal in 1982.
"Readers with a specific curiosity in modernism will locate this paintings indispensable."—Publishers Weekly
"Pessoa's striking character is as beguiling and mysterious as his exact poetic output."—William Boyd
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Extra resources for The Book of Disquiet (Serpent's Tail Classics)
Sebald (Göttingen: Wallstein, 2012); Peter Schmucker, Grenzübertretungen: Intertextualität im Werk von W. ]: de Gruyter, 2012). (Spectrum Literaturwissenschaft, 28); Ben Zimmermann, Narrative Rhythmen der Erzählstimme. Poetologische Modulierungen bei W. Sebald (Würzburg: Königshausen & Neumann, 2012). 80 Long, W. Sebald, 174 (first italics mine). 81 In addition to the historical, Long makes a point of emphasizing both metaphysical and geophysical dimensions in Sebald’s works. , 21. ” Zur Poetik der Erinnerung in W.
105 and 120. 13 It is significant that Ermarth points to the way in which history should aspire to literature, yet she holds the discourses distinct: “We need a history that can do what literature can do, once it is freed from historical imperatives: recognize and give priority to the multiplicity of systems and to the volatility of meaning. , 115). 14 See Daniel Fulda and Silvia Serena Tschopp, “Einleitung. Literatur und Geschichte: Zur Konzeption des Kompendiums,” Literatur und Geschichte. Ein Kompendium zu ihrem Verhältnis von der Aufklärung bis zur Gegenwart, eds.
104 The various comparative taigh (Amsterdam, Netherlands: Rodopi, 2000) 153–164; Ann Parry, “Idioms for the Unrepresentable: Postwar Fiction and the Shoah,”The Holocaust and the Text. Speaking the Unspeakable, eds. Andrew Leak and George Paizis (Basingstoke, England; New York, NY: Macmillan; St. Martin’s, with Institute for Romance Studies and Institute for English Studies, School of Advanced Study, University of London, and Wiener Library, 2000) 109–124, et al. 102 See chapter three for a discussion of Sebald’s use of images and chapter six for a discussion of intermedial translation.