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By K. David Jackson

Poet, short-story author, feverish inventor--Fernando Pessoa was once probably the most cutting edge figures shaping ecu modernism. recognized for a repertoire of works penned via a number of invented authors--which he termed heteronyms--the Portuguese author gleefully subverted the proposal of what it ability to be an writer. adversarial Genres in Fernando Pessoa deals an advent to the fiction and the "profusion of selves" that populates the enigmatic author's uniquely imagined oeuvre.

To consultant readers during the eclectic paintings formed by means of Pessoa's heteronyms, okay. David Jackson advances the belief of "adverse genres" revealing style clashes to be primary to the author's paradoxical and contradictory corpus. during the invented "coterie of authors," Pessoa inverted the standard relationships among shape and content material, authorship and textual content. In an encouraged, paradoxical, and every now and then absurd blending of cultural referents, Pessoa chosen genres from the eu culture (Ricardo Reis's Horatian odes, Álvaro de Campos's worship of Walt Whitman, Alberto Caeiro's pastoral and metaphysical verse, and Bernardo Soares's philosophical diary), into which he inserted incongruent modern principles. through developing a number of layers of authorial anomaly Pessoa breathes the energy of modernism into conventional old genres, extending their expressive range.

Through examinations of "A Very unique Dinner," the "Cancioneiro," love letters to Ophelia Queirós, "The experience of the Anarchist Banker," Pessoa's number of quatrains derived from Portuguese renowned verse, the publication of Disquietude, and the key poetic heteronyms, Jackson enters the orbit of the artist who exchanged a regular existence for a global of the mind's eye.

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Extra info for Adverse Genres in Fernando Pessoa

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As all well-considered classifications, this one is useful and clear; as all classifications, it is false. Genres cannot be separated with such intimate ease” (Dividiu Aristóteles a poesia em lírica, elegíaca, épica e dramática. Como todas as classificações bem pensadas, é esta útil e clara; como todas as classificações, é falsa. Os géneros não se separam com tanta facilidade íntima). The substitution of adverse for conventional content constitutes the incongruent use of form. 64 And, ultimately, Pessoa foresees a poet who writes through difference, such as a dramatic poet writing lyric poetry.

79 Pessoa’s creative method gives full dimension to the poetic statement on literary invention by his companion in ORPHEU, José Almada Negreiros (1893–1970), that illuminates the synthetic yet fragmentary method of modernist poetics: “Our century is not one that invented words. Words had already been invented. Ours is the century that will reinvent the words that had already been invented” (Nós não somos do século de inventar as palvaras. As palavras já foram inventadas. 80 As Álvaro de Campos writes in the 1915 “Ode Triunfal”: I sing the present, and also the past and future, Because the present is all the past and all the future.

He erased his account of changing a brief and insignificant moment into one of permanence and significance, eliminating in the process the “emotional and psychic truth” of his experience, which was plainly retained in his Notebooks but missing from his Immortality Ode. ”96 Regardless of the motive, genre was separated from its emotional and psychic roots, and the author wrote from a position of disguise. ”98 In literary theory, adverse genres can be placed within a historical current of hybridity in Western literature.

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