Neste livro tão sedutor quando surpreendente, Fernando Pessoa dá voz a Bernardo Soares, ajudante de guarda-livros na cidade de Lisboa, uma personalidade literária que ora coincide com o seu criador, ora se distancia, através de fragmentos em que se cruzam temas e vozes dos múltiplos heterónimos. O Livro do Desassossego surge como diário íntimo feito de impressões, devaneios, apontamentos, entre a poesia do quotidiano mais banal e a reflexão metafísica. Qualificada pelo autor como "autobiografia de quem nunca existiu", é uma obra imprescindível para a compreensão do poeta e que oferece alguma da mais bela prosa da língua portuguesa.

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 When he died in 1935, Pessoa left behind a trunk filled with unfinished and unpublished writings, among which were the remarkable pages that make up his posthumous masterpiece,
, 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,
is one of the greatest works of the twentieth century.

我經常受周於鬱悶。鬱悶是沒有思想的思想，卻需要人們竭盡全力投入思想；是沒有感覺的感覺，卻攪得正常捲入的感覺痛苦不堪；是無所期待時的期待，並且受害於對這種無所期待的深深厭惡。
鬱悶....也許，基本上是一種在我們靈魂最深處有所不滿的表現，不是給予我們並且迫使我們相信的東西。它是我們所有人都深陷其中的孩子式的孤獨，也許是人們需要一隻援手來引導出路的不安，在感情深處的黑暗道路上無所意識的茫然，更是人們無能思考的寂靜夜晚，是人們無能感覺的荒蕪野道....。─費爾南多．佩索亞〈說鬱悶〉
佩索亞的經驗吻合現代偉大詩人的傳統，他的作品將讀者引領向未知之境。充滿熱情。─帕斯(Octavio Paz)，諾貝爾文學獎得主
無可否認，佩索亞對今天葡萄牙文學能受到外國文壇注目並產生了影響有決定性的作用，且這影響與作用將繼續....沒有任何葡萄牙作家能夠企及佩索亞的那種偉大。─薩拉馬戈(Jose\’ Saramago)，諾貝爾文學獎得主
倘若佩索亞從未誕生在我們的世界，那麼波赫士恐怕就得虛構出這樣一號人物來....佩索亞的作品簡潔、優雅，卻內蘊著撼動現代人心的力量。─約翰．霍蘭德(John Hollander)，美國當代重要詩人、評論家

For the first time―and in the best translation ever―the complete Book of Disquiet, a masterpiece beyond comparison
The Book of Disquiet is the Portuguese modernist master Fernando Pessoa’s greatest literary achievement. An “autobiography” or “diary” containing exquisite melancholy observations, aphorisms, and ruminations, this classic work grapples with all the eternal questions. Now, for the first time the texts are presented chronologically, including over 150 pages that have never appeared in any previous English edition. Most of the texts in The Book of Disquiet are written under the semi-heteronym Bernardo Soares, an assistant bookkeeper. This existential masterpiece was first published in Portuguese in 1982, forty-seven years after Pessoa’s death. A monumental literary event, this exciting, new, complete edition spans Fernando Pessoa’s entire writing life.

"Readers with a particular interest in modernism will find this work indispensable."— Publishers Weekly "Pessoa's amazing personality is as beguiling and mysterious as his unique poetic output."—William Boyd A self-deprecating reflection on the sheer distance between the loftiness of feelings and the humdrumreality of life, The Book of Disquiet is a classic of existentialist literature. Fernando Pessoa , one of the founders of modernism, was born in Lisbon in 1888. Most of Pessoa's writing was not published during his lifetime: The Book of Disquiet was first published in Portugal in 1982.

This volume brings together the best English poetry written by Pessoa across his entire writing career, from 1904 to 1935.
selected & introduced by Richard Zenith

This is the largest and richest volume of poetry by Pessoa available in English. It includes generous selections from the three poetic alter egos that the Portuguese writer dubbed "heteronyms" - Alberto Caeiro, Ricardo Reis and Alvaro de Campos - and from the vast and varied work he wrote under his own name.

Această carte aproape mitică, probabil opera cea mai seducătoare a lui Fernando Pessoa, e un monolog de o tristețe indicibilă, care surprinde cu o minuție halucinantă interiorul cu mii de fațete al unuia dintre numeroși săi heteronimi, Bernardo Soares.
„Cine este Fernando Pessoa?" se întreba Octavio Paz, adeverind încă o dată că opera unuia dintre cei mai importanţi, prolifici şi proteiformi autori ai secolului XX, „investigatorul solemn al lucrurilor futile", declină personalităţile virtuale coexistând în sine şi revelate graţie scriiturii ce atribuie fiecăreia o realitate fictivă. Scrisă între 1913 şi 1935 sub formă de panseuri, maxime, aforisme, Cartea neliniştirii, pseudojurnalul pessoan, este o cronică a deziluziei şi a deriziunii izvorâte din convingerea că viaţa e lipsită de noimă, iar arta nu-i conferă nici un sens. Ferit de privirile contemporanilor, cultivându-şi sistematic forţa imaginaţiei, Pessoa îşi construieşte un dublu - Bernando Soares - pe care-l aşază într-un univers personal ireal şi cu toate astea mai adevărat, pentru el, decât lumea reală. Soares, un umil funcţionar în costume cenuşii, alege să-şi petreacă viaţa într-o izolare aproape monahală, mai degrabă visând-o decât trăind-o, privind-o fără pretenţia de a o descifra şi proiectând asupra ei propriile emoţii pe care le încearcă închis între pereţii camerei unde îşi aşterne pe hârtie disperarea. Soares scrie cu luciditate, îndârjire şi furie, împingând introspecţia până la limita incomunicabilului. Dar dincolo de zidurile care-l împrejmuiesc se zăreşte urbea. Peisajul citadin este atât de prezent în toată cartea, încât fragmentele de însemnări încheagă un roman al oraşului cu care, de fapt, Pessoa are o legătură profundă, în genul aceleia pe care Baudelaire o are cu Parisul, Joyce, cu Dublinul şi Kafka, cu Praga. Şi poate tocmai aceste privelişti din fascinanta Lisabonă, cu străduţele ei întortocheate pulsând de viaţă, poartă cu ele speranţa unei posibile evadări.

'But no, she's abstract, is a bird
Of sound in the air of air soaring,
And her soul sings unencumbered
Because the song's what makes her sing.'
Dramatic, lyrical and ranging over four distinct personae, these poems by one of Portugal's greatest poets trace a mind shaken by intense suffering and a tireless search for meaning.

The rediscovery in the 1990s of the Portuguese writer Fernando Pessoa (1888 -- 1935) is reminiscent of the rediscovery of Kafka in the 1950s. Like Kafka, Pessoa left his work in disarray, much of it to be published only posthumously. And Pessoa has become a literary icon of post-modernism, as Kafka was of modernism. Pessoa is best known for his unique practice of writing under "heteronyms, " distinct personalities whom he supplied with differing tastes, literary influences, even horoscopes. Pessoa was a multitude of writers.Exact Change's edition of Pessoa's major prose work, The Book of Disquiet, has been one of our bestsellers, and extensive articles on Pessoa have now appeared in the New York Times Book Review, New York Review of Books, Los Angeles Times Book Review, Voice Literary Supplement, and Washington Post. The Book of Disquiet even showed up in an ad for bn.com, as one of Susan Sontag's "Favorite 20th Century Books in Translation."And the discovery continues. In 1999, translator Richard Zenith made a new find in the Pessoa archive in Lisbon: a group of prose writings by a previously unknown heteronym, the "Baron of Teive." Zenith edited the Portuguese volume of these writings, which were received as a crucial piece of the puzzle that is Pessoa's oeuvre. The Education of the Stoic is the unique work left by the Baron of Teive, who, after destroying his previous literary attempts and before destroying himself, explains "the impossibility of producing superior art." It is the dark companion piece to The Book of Disquiet. This is its first complete publication in English.

This is the only integral collection of Pessoa's Caeiro heteronym in English, and the poems are accompanied by the introductions of Ricardo Reis and a memoir by Álvaro de Campos, two of Pessoa's other major poetic heteronyms, as well as a poem dedicated to Caeiro by Coelho Pacheco, believed by many commentators to be another one-off heteronym. Ricardo Reis says: "Alberto Caeiro da Silva was born in Lisbon on April 16, 1889, and died of tuberculosis in the same city on (. . .), 1915. He spent nearly all his life in a village in Ribatejo, and only returned to the city of his birth in his final months. In Ribatejo he wrote nearly all his poems . . ." Fernando Pessoa was educated in English in Durban, as the stepson of a Portuguese diplomat, and was completely bilingual. During his lifetime he was to publish only one collection of his poems in Portuguese, although many appeared in literary journals, under a number of alter egos, or heteronyms, chief amongst them Alberto Caeiro, Alvaro de Campos and Ricardo Reis. At his death in 1935, Pessoa left more than 20,000 manuscripts - poetry and prose - in a large trunk, the contents of which are still being transcribed and deciphered to this day. He is the greatest modern poet in the Portuguese language, but always considered himself a poet in the English tradition.

Fernando Pessoa is Portugal's most important contemporary poet. He wrote under several identities, which he called heteronyms: Albet Caeiro, Alvaro de Campos, Ricardo Reis, and Bernardo Soares. He wrote fine poetry under his own name as well, and each of his "voices" is completely different in subject, temperament, and style. This volume brings back into print the comprehensive collection of his work published by Ecco Press in 1986.

With its astounding hardcover reviews Richard Zenith's new complete translation of THE BOOK OF DISQUIET has now taken on a similar iconic status to ULYSSES, THE TRIAL or IN SEARCH OF LOST TIME as one of the greatest but also strangest modernist texts. An assembly of sometimes linked fragments, it is a mesmerising, haunting 'novel' without parallel in any other culture.

Here, in Margaret Jull Costa and Patricio Ferrari’s splendid new translations, are the complete poems of Alberto Caeiro, the imaginary master of the “heteronym” coterie created by the Portuguese modernist Fernando Pessoa. Pessoa conceived Caeiro around 1914 and may have named him loosely after his friend, the poet Mário de Sá-Carneiro. What followed was a collection of some of Fernando Pessoa’s greatest poems, grouped under the titles The Keeper of Sheep, The Shepherd in Love, and Uncollected Poems. This imaginary author was a shepherd who spent most of his life in the countryside, had almost no education, and was ignorant of most literature; yet he (Pessoa) wrote some of the most beautiful and profound poems in Portuguese literature. This edition of The Complete Works of Alberto Caeiro is based on the magnificent Portuguese Tinta-da-china critical edition, published in Lisbon in 2016, and contains an illuminating introduction by the editors, Jerónimo Pizarro and Patricio Ferrari, some facsimiles of the original Portuguese texts, and prose excerpts about Caeiro and his work written by Fernando Pessoa as well as his heteronyms Álvaro de Campos and Ricardo Reis, and other fictitious authors such as Antonio Mora and I. I. Crosse.

Message ("Mensagem") was the only book of verse in his own language that Pessoa saw through the press in his lifetime. On the face of it, a patriotic sequence steeped in 'Sebastianismo', the poems offer much more than this, the Kings and navigators of the Portugal's history standing as avatars of the poet's self, their explorations and heroic deeds projections of the poet's inner creative life. Although Pessoa is famous for the many heteronyms under which he composed verse in wildly different styles, this volume was published under his own name - the 'orthonym', as he defined it - and it remains one of his great masterpieces. This edition brings Jonathn Griffin's fine translation (originally published by the Menard Press in 1992) back into print, as part of Shearsman's Pessoa edition.

Sitting at his desk, Bernardo Soares imagined himself free forever of Rua dos Douradores, of his boss Vasques, of Moreira the book-keeper, of all the other employees, the errand boy, the post boy, even the cat. But if he left them all tomorrow and discarded the suit of clothes he wears, what else would he do? Because he would have to do something. And what suit would he wear? Because he would have to wear another suit.

A self-deprecating reflection on the sheer distance between the loftiness of his feelings and the humdrum reality of his life, The Book of Disquiet is a classic of existentialist literature.

The Book of Disquiet is one of the great literary works of the twentieth century. Written over the course of Fernando Pessoa's life, it was first published in 1982, pieced together from the thousands of individual manuscript pages left behind by Pessoa after his death in 1935. Now this fragmentary modernist masterpiece appears in a major new edition that unites Margaret Jull Costa's celebrated translation with the most complete version of the text ever produced. It is presented here, for the first time in English, by order of original composition, and accompanied by facsimiles of the original manuscript. Narrated principally by an assistant bookkeeper named Bernardo Soares - an alias of sorts for Pessoa himself - The Book of Disquiet is 'the autobiography of someone who never existed', a mosaic of dreams, of hope and despair; a hymn to the streets and cafés of 1930s Lisbon, and an extraordinary record of the inner life of one of the century's most important writers. This new edition represents the most complete vision of Pessoa's genius.