This article invites the reading of Fernando Pessoa’s Fausto as a rhizomatic work, via three different critical lenses that lead to plurality: Traditions, Transcriptions, and Translations. Regarding different Faustian traditions, instead of seeing Pessoa’s Fausto merely as a competition with Goethe (as proposed by Eduardo Lourenço in his pref…[Read more]

This article invites the reading of Fernando Pessoa’s Fausto as a rhizomatic work, via three different critical lenses that lead to plurality: Traditions, Transcriptions, and Translations. Regarding different Faustian traditions, instead of seeing Pessoa’s Fausto merely as a competition with Goethe (as proposed by Eduardo Lourenço in his pref…[Read more]

This article invites the reading of Fernando Pessoa’s Fausto as a rhizomatic work, via three different critical lenses that lead to plurality: Traditions, Transcriptions, and Translations. Regarding different Faustian traditions, instead of seeing Pessoa’s Fausto merely as a competition with Goethe (as proposed by Eduardo Lourenço in his pref…[Read more]

Questions of positionality permeate 21st-century poetics—and seem to come to a head around the intentional inclusion/exclusion of the reader in the speaker’s pronoun of choice, especially when the pronoun in question is “we.” This essay contrasts the fragmented lyric self of modernism with current approaches to a lyric “we” and puts three conte…[Read more]

Num dos envelopes do espólio pessoano, encontram-se 56 folhas dactilografadas, quase sem emendas, com o que aparenta ser boa parte de uma peça teatral em inglês. O problema: não há indicação de título, nem de autor. Será um inédito de Fernando Pessoa? Uma tradução inglesa de uma peça olvidada de outro dramaturgo português? Num momento em qu…[Read more]

Num dos envelopes do espólio pessoano, encontram-se 56 folhas dactilografadas, quase sem emendas, com o que aparenta ser boa parte de uma peça teatral em inglês. O problema: não há indicação de título, nem de autor. Será um inédito de Fernando Pessoa? Uma tradução inglesa de uma peça olvidada de outro dramaturgo português? Num momento em qu…[Read more]

There seems to be a continuum between Fernando Pessoa’s metadrama of heteronyms and his strict-sense plays, but this is more hypothesis than theory, because Pessoa’s dramas—notwithstanding the editions of Teatro Estático (2017) and Fausto (2018)—are still largely unknown. Written between 1903–1908, the tragedy of Marino is the earliest of Pessoa’…[Read more]

There seems to be a continuum between Fernando Pessoa’s metadrama of heteronyms and his strict-sense plays, but this is more hypothesis than theory, because Pessoa’s dramas—notwithstanding the editions of Teatro Estático (2017) and Fausto (2018)—are still largely unknown. Written between 1903–1908, the tragedy of Marino is the earliest of Pessoa’…[Read more]

There seems to be a continuum between Fernando Pessoa’s metadrama of heteronyms and his strict-sense plays, but this is more hypothesis than theory, because Pessoa’s dramas—notwithstanding the editions of Teatro Estático (2017) and Fausto (2018)—are still largely unknown. Written between 1903–1908, the tragedy of Marino is the earliest of Pessoa’…[Read more]

The English dramas of Fernando Pessoa are virtually unknown. Pessoa’s archive includes fragments of Marino, Prometheus Rebound (or Revinctus), and Duke of Parma—three dramatic projects that remain almost entirely unpublished. This paper is the first of two aiming to present Marino, the earliest of these English dramas. The editorial int…[Read more]