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"At last, at last, at last, Pessoa again! More Pessoa! One of the
very great poets of the twentieth century, again and more! And one
of the fascinating figures of all literature, with his manifold
identities, his amazing audacities, his brilliance and his shyness.
I think I have under control the reluctance I feel in having to
share Pessoa with the public he should have had all along in
America: until now, only the poets, so far as I can tell, have even
heard of him, and delighted and exulted in him. He is, in some
ways, the poet of modernism, the only one willing to fracture
himself into the parcels of action, anguish, and nostalgia which
are the grounds of our actual situation." --C. K. Williams "Pessoa
is one of the great originals (a fact rendered more striking by his
writing as several distinct personalities) of the European poetry
of the first part of this century, and has been one of the last
poets of comparable stature, in the European languages, to become
known in English. Edwin Honig's translations of Spanish and
Portuguese poetry have been known to anyone who cares about either,
since his work on Lorca in the forties, and his Selected Poems of
Pessoa (1971) was a welcome step toward a long-awaited larger
colection." -- W. S. Merwin "Fernando Pessoa is the least known of
the masters of the twentieth-century poetry. From his heteronymic
passion he produced, if that is the word, two of our greatest
poets, Alberto Caeiro and Alvaro de Campos, and a third, Ricardo
Reis, who isn't bad. Pessoa is the exemplary poet of the self as
other, of the poem as testament to unreality, proclamation of
nothingness, occasion for expectancy. In Edwin Honig's and Susan
Brown's superb translations, Pessoa and his "others" live with
miraculous style and vitality." --Mark Strand 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.
This volume brings together four long out-of-print Honig
translations: Secret Vengeance for Secret Insult, Devotion to the
Cross, The Phantom Lady, and The Mayor of Zalamea, joined by the
ever popular Life is a Dream and the newly translated, never before
published version of The Crown of Absalom. Six Plays will make
Calderon's work available to a new generation of readers.
Dark Conceit is the first book in English to treat allegory
seriously in terms of literary creation and criticism. The study
explores the methods and ideas that go into the making of allegory,
discusses the misconceptions that have obscured the subject, and
surveys the changing concept of allegory. The greater part of the
book concerns the typical features of allegorical fiction, focusing
on a group of Romantic and contemporary writers, including
Melville, Hawthorne, and Kafka, who continue the allegorical
tradition in literature. Such writers, along with Lawrence, James,
and Joyce, are taken to be the modern counterparts to an earlier
group of pastoral, evangelical, and satirical writers represented
by Spenser, Bunyan, and Swift. Honig's thesis is that literary
allegory, while symbolic in method, is realistic in aim. Its very
power lies in its giving proof to the physical and ethical
realities of life objectively conceived.
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