There's No Word for Saudade contains twenty-one essays aimed at a readership interested in cultural and historical materials, including those related to Portuguese America. Significant figures covered include John Dos Passos, Charles Reis Felix, Julian Silva, John Philip Sousa, Mark Twain, Herman Melville, James Merrill, and the Azorean John Francis, businessman, patron, and friend to the fabled Provincetown Players. Concluding essays scrutinize and judge the phenomenon of the Portuguese movie in the 1930s and 1940s, and trace the history of the tricky but persistently present Portuguese concept of saudade.

Caldo Verde Is Not Stone Soup identifies elements of an emerging Portuguese American culture in the United States. The book discusses subjects and themes that reflect the richness and diversity of this culture. Included are analyses of the Portuguese fondness for nicknames over surnames, pejorative terms ("portugee," "Gee"), beau ideal heroes (John Philip Sousa, John Dos Passos, and Peter Francisco), now forgotten early emigrants, foreign visitors to the Azores (Samuel Longfellow and Thomas Wentworth Higginson), proverbs from the oral and literary traditions, the Portuguese sailor on American ships, and the saga of English As She Is Spoke, a serious-minded textbook that became a comic phenomenon.

Ernest Hemingway revolutionized the American short story, establishing himself as a master of realist fiction in the tradition of Guy de Mauppasant. Yet none of Hemingway's many emulators has succeeded in duplicating his understated, minimalist style. In his Iceberg Theory of fiction, only the tip of the story is seen on the surface - the rest remains submerged out of sight. This study surveys the scope of Hemingway's mastery of the short story form, enabling a fuller understanding of such works as ""Indian Camp,"" ""Big Two-Hearted River,"" ""The Killers,"" ""The Mother of a Queen,"" ""In Another Country,"" ""Hills Like White Elephants,"" ""The Snows of Kilimanjaro,"" and ""The Mercenaries,"" among many others. All 13 stories from his underrated Winner Take Nothing collection are evaluated in detail.

Reading Henry James, looks to allusions, sources, echoes and affinities in the author's vast body of work as critical ways to discover and interpret his artistic purposes and literary intentions. It ranges over the vast corpus of his fiction, including stories, novelas and novels published in the leading journals of the day on both sides of the Atlantic. The considerations in individual chapters range from close analysis of Daisy Miller, The American, The Beast in the Jungle and The Wings of the Dove to James's creative fascinaton with the very successful literary career as well as the everyday life of the social animal who was the poet Robert Browning to James's complex but productive relationship with his cambridge friends Marian ""Clover"" Adams and her husband, the historian and autobiographer Henry Adams.

Longlisted for the PEN Award for Poetry in Translation Born on the island of Flores, between Europe and the United States, Pedro da Silveira captures the islander's longing for migratory movement, leading to departure and an inevitable return. These fresh and original poems, now available in this masterful translation, express a deep connection to place, particularly, the insular world of the mid Atlantic islands of the Azores. In Poems in Absentia & Poems from The Island and the World, we find yearning, hope, and loss in equal measure. In plain and direct language, we experience the emotions of dreaming and diminution as well as the discovery of illusions. Behind the poet's searing irony, we recognize a capacious and adventurous spirit.

"Wise old Virgil says in one of his Georgics, 'Praise large farms, stick to small ones,'" Robert Frost told a friend. "Twenty acres are just about enough." Frost started out as a school teacher living the rural life of a would-be farmer, and later turned to farming full time when he bought a place of his own. After a sojourn in England where his first two books--A Boy's Will and North of Boston--were published to critical acclaim, he returned to New England, acquired a new farm and became a rustic for much of the rest of his life. Frost claimed that all of his poetry was farm poetry. His deep admiration for Virgil's Georgics, or poems of rural life, inspired the creation of his own New England "georgics." This body of work can be seen as his answer to the haughty 20th-century modernism that seemed certain to define the future of Western poetry. Like the "West-Running Brook" in his poem of the same name, Frost's poetry can be seen as an embodiment of contrariness.

Eighteen short essays by the most distinguished international scholars examine Pessoa's influences, his dialogues with other writers and artistic movements, and the responses his work has generated worldwide. Portuguese writer Fernando Pessoa claimed that he did not evolve, but rather travelled. This book provides a state of the art panorama of Pessoa's literary travels, particularly in the English-speaking world. Its eighteen short, jargon-free essays were written by the most distinguished Pessoa scholars across the globe. They explore the influence on Pessoa's thinking of such writers as Whitman and Shakespeare, as well as his creative dialogues with figuresranging from decadent poets to the dark magician Aleister Crowley, and, finally, some of the ways in which he in turn has influenced others. They examine many different aspects of Pessoa's work, ranging from the poetry of the heteronyms to the haunting prose of The Book of Disquiet, from esoteric writings to personal letters, from reading notes to unpublished texts. Fernando Pessoa's Modernity Without Frontiers is a valuable introduction to this multifaceted modern master, intended for both students of modern literature and general readers interested in one of its major figures.

An undisputed giant of twentieth-century Portuguese letters, writer and literary critic Jorge de Sena (1919--1978) spent the most Productive decades of his life away from Portugal, teaching at the University of Wisconsin--Madison and the University of California, Santa Barbara. In the essays gathered in this collection, George Monteiro deftly weaves together his readings of Sena's poetry and prose, both literary and critical, with evidence drawn from the deep well of Sena's biographical archive, focusing in particular on his Brazilian and U.S. years. This expansive overview of Sena's unparalleled career, intended to commemorate the centenary of the writer's birth, is also a tribute to Monteiro's own remarkably voluminous and far-reaching body of work on the intersection of Portuguese and Anglo-American literary studies.

"A poem is best read in the light of all the other poems ever written." So said Robert Frost in instructing readers on how to achieve poetic literacy. George Monteiro's newest book follows that dictum to enhance our understanding of Frost's most valuable poems by demonstrating the ways in which they circulate among the constellations of great poems and essays of the New England Renaissance. Monteiro reads Frost's own poetry not against "all the other poems ever written" but in the light of poems and essays by his precursors, particularly Emerson, Thoreau, and Dickinson. Familiar poems such as "Mending Wall," "After Apple-Picking," "Birches," "Stopping by Woods on a Snowy Evening," "The Road Not Taken," and "Mowing," as well as lesser known poems such as "The Draft Horse," "The Ax-Helve," "The Bonfire," "Dust of Snow," "A Cabin in the Clearing," "The Cocoon," and "Pod of the Milkweed," are renewed by fresh and original readings that show why and how these poems pay tribute to their distinguished sources. Frost's insistence that Emerson and Thoreau were the giants of nineteenth-century American letters is confirmed by the many poems, variously influenced, that derive from them. His attitude toward Emily Dickinson, however, was more complex and sometimes less generous. In his twenties he molded his poetry after hers. But later, after he joined the faculty of Amherst College, he found her to be less a benefactor than a competitor. Monteiro tells a two-stranded tale of attraction, imitation, and homage countered by competition, denigration, and grudging acceptance of Dickinson's greatness as a woman poet. In a daring move, he composes -- out of Frost's own words and phrases -- the talk on Emily Dickinson that Frost was never invited to give. In showing how Frost's work converses with that of his predecessors, Monteiro gives us a new Frost whose poetry is seen as the culmination of an intensely felt New England literary experience.

Fernando Pessoa (1888--1935) is perhaps the most engaging of the great Western modernists of this century. Born in Portugal but raised and educated in southern Africa, Pessoa wrote poetry, fiction, and nonfiction.

George Monteiro provides refreshingly new interpretations of Pessoa's Mensagem (Message) and the modernist novella 0 Banqueiro Anarquista (The Anarchist Banker). But he is primarily interested in tracing Pessoa's influence on a wide range of contemporary writers.

Among those Monteiro finds putting Pessoa's work to their own surprising-and sometimes comic-uses are Joyce Carol Oates, Allen Ginsberg, John Wain, Lawrence Ferlinghetti, and earlier poets including Thomas Merton, Edouard Roditi, and Roy Campbell. In addition, the complete text of Campbell's pioneering biocritical study of Pessoa is published here for the first time.

Eugene O'Neill Remembered offers new views into the playwright's life by capturing the direct memories of those who were close to him through interviews, memoirs, and other recollections. These sixty-two remembrances create an unprecedented image of O'Neill. O'Neill is known principally as the author of some of the most significant plays in the American dramatic canon and as one of America's Nobel Laureates in literature. However, O'Neill's life has long been shrouded in myth. O'Neill rarely gave interviews and was not forthcoming about the details of his life. He also abetted some of the misconceptions about his youth by, for example, advocating the story that he was expelled from Princeton for throwing a rock through Woodrow Wilson's window or by exaggerating the amount of time he had spent at sea. The legend of the hard-drinking, tormented playwright with a grim view of life was further reinforced when Long Day's Journey into Night was produced in 1956, three years after his death instead of the twenty-five years he had insisted on. The portrayal of O'Neill as a tragic figure has been solidified in a number of biographies. The purpose of this collection, however, is to present O'Neill as others saw him and described him in their first-person accounts. In the course of these reminiscences, many of the vast and various narrators conflict with and contradict each other. Unlike other accounts of O'Neill's life, much of the focus is on impressions instead of facts. The result is a revealing composite portrait of a key figure in twentieth-century American literary history. This extensive collection offers insights unavailable in any other book and will hold massive appeal for scholars and students interested in American literature, Eugene O'Neill, and theater history, as well as anyone keen to uncover intimate details of the life of one of America's greatest writers.

This book brings together almost all of the known interviews Elizabeth Bishop gave over a period of thirty years. Included also are a few selected pieces based on conversations with her. All together they allow her ardent and admiring readers a rewarding, close-up encounter with one of America's great writers.

In this collection of conversations Bishop expresses her opinions about various types of poetry, describes her view of the geography of the imagination in the writing process, defends her often criticized feminist views, and discusses her role as teacher and poet.

Elizabeth Bishop (1911-1979) won many prizes for poetry, including a Pulitzer Prize and a National Book Award. She was graduated from Vassar, where she knew Mary McCarthy. She taught at Harvard, New York University, and the University of Washington and was a long-time resident in Brazil.

Da Gama, Cary Grant, and the Election of 1934 is the story of an election for mayor in a Massachusetts mill town in 1934 as seen through the eyes of a ten-year-old Portuguese boy, Seraphin. The incumbent, a Yankee, is challenged by candidates from five different ethnic groups-Irish, French Canadian, Polish, Portuguese, and Jewish. A portrait of each candidate is subtly drawn and we meet campaign workers like Teddy, who has enlisted to help secure a teaching position for his daughter, and Jimmy, a numbers runner who proudly passes out cards announcing his appointment as Assistant Campaign Manager, North End.
But the novel is more than just the story of an election. The specter of the Depression hovers over every scene. Laura, Seraphin's big sister, describes her job as a fruit-store clerk in every excruciatingly painful detail. And the allure of America is always present for Seraphin in his desire and longing to lead an American life. America also affects the remarkable Secundo B. Alves, the Portuguese candidate. Secundo's memories of the Azores are honest, authentic, and touching. But when he is defeated in the primary, he quickly bounces back as a supporter of the Frenchman's candidacy and rewrites his Vasco da Gama imagery. Secundo is showing the adaptability it takes to succeed in America. Da Gama, Cary Grant, and the Election of 1934 is a valuable historical document and an artistic triumph.

Of the great epic poets in the Western tradition, Luis Vaz de Camoes (c. 1524-1580) remains perhaps the least known outside his native Portugal, and his influence on literature in English has not been fully recognized. In this major work of comparative scholarship, George Monteiro thus breaks new ground. Combining textual analysis with cultural investigation, he focuses on English-language writers whose vision and expression have been sharpened by their varied responses to Camoes. Introduced to English readers in 1655, Camoes's work from the beginning appealed strongly to writers. His Os Lustadas so affected William Hayley's theory of the epic that he commissioned William Blake to paint Camoes's portrait and advised poet Joel Barlow to recast his New World epic along Camonean lines. Robert Southey's disappointment with Lord Strangford's translation of Camoes encouraged him to try his own versions. And the young Elizabeth Barrett's Camonean poems inspired Edgar Allan Poe to appropriate elements from the same source. Herman Melville's reading of Camoes bore fruit in his career-long borrowings from the Portuguese poet. Longfellow, T. W. Higginson, and Emily Dickinson read and championed Camoes. And Camoes as epicist and love poet is an eminence grise in several of Elizabeth Bishop's strongest Brazilian poems. Southern African writers have interpreted and reinterpreted Adamastor, Camoes's Spirit of the Cape, as a symbol of a dangerous and mysterious Africa and an emblem of European imperialism.

Eugene O'Neill Remembered offers new views into the playwright's life by capturing the direct memories of those who were close to him through interviews, memoirs, and other recollections. These sixty-two remembrances create an unprecedented image of O'Neill. Known principally as the author of some of the most significant plays in the American dramatic canon and as one of America's Nobel Laureates in literature, O'Neill rarely gave interviews and offered few details about himself. As a consequence, his life has long been shrouded in myth. He also abetted some of the misconceptions about his youth by, for example, advocating the story that he was expelled from Princeton for throwing a rock through Woodrow Wilson's window or by exaggerating the amount of time he had spent at sea. The legend of the hard-drinking, tormented playwright with a grim view of life was further reinforced when Long Day's Journey into Night was produced in 1956, three years after his death instead of the twenty-five years he had insisted on. The portrayal of O'Neill as a tragic figure has been solidified in a number of biographies. The purpose of this collection, however, is to present O'Neill as others saw him and described him in their first-person accounts. In the course of these reminiscences, many of the vast and various narrators conflict with and contradict each other. Unlike other accounts of O'Neill's life, much of the focus is on impressions instead of facts. The result is a revealing composite portrait of a key figure in twentieth-century American literary history. This extensive collection offers insights unavailable in any other book and will hold massive appeal for scholars and students interested in American literature, Eugene O'Neill, and theater history, as well as anyone keen to uncover intimate details of the life of one of America's greatest writers.