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 When he died in 1935, Pessoa left behind a trunk filled with unfinished and unpublished writings, among which were the remarkable pages that make up his posthumous masterpiece, The Book of Disquiet, an astonishing work that, in George Steiner's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, The Book of Disquiet is one of the greatest works of the twentieth century.

Nietzsche's notebooks, kept by him during his most productive years, offer a fascinating glimpse into the workshop and mind of a great thinker, and compare favorably with the notebooks of Gide and Kafka, Camus and Wittgenstein. The Will to Power, compiled from the notebooks, is one of the most famous books of the past hundred years, but few have studied it. Here, at last, is the first critical edition in any language.Down through the Nazi period The Will to Power was often mistakenly considered to be Nietzsche's crowning systematic labor; since World War II it has frequently been denigrated, just as fallaciously, as being not worth reading. In fact, it represents a stunning selection from Nietzsche's notebooks, in a topical arrangement that enables the reader to find what Nietzsche wrote on nihilism, art, morality, religion, the theory of knowledge, and whatever else interested him. But no previous edition—even in the original German—shows which notes Nietzsche utilized subsequently in his works, and which sections are not paralleled in the finished books. Nor has any previous edition furnished a commentary or index.Walter Kauffman, in collaboration with R.J. Hollingdale, brings to this volume his unsurpassed skills as a Nietzsche translator and scholar. Professor Kauffman has included the approximate date of each note. His running footnote commentary offers the information needed to follow Nietzsche's train of thought, and indicates, among other things, which notes were eventually superseded by later formulations, and where all German editions, including the very latest, depart from the manuscripts. The comprehensive index serves to guide the reader to the extraordinary riches of this book.

Arthur Schopenhauer's Die Welt als Wille und Vorstellung is one of the most important philosophical works of the nineteenth century, the basic statement of one important stream of post-Kantian thought. It is without question Schopenhauer's greatest work. Conceived and published before the philosopher was 30 and expanded 25 years later, it is the summation of a lifetime of thought.For 70 years, the only unabridged English translation of this work was the Haldane-Kemp collaboration. In 1958, a new translation by E. F. J. Payne appeared that decisively supplanted the older one. Payne's translation is superior because it corrects nearly 1,000 errors and omissions in the Haldane-Kemp translation, and it is based on the definitive 1937 German edition of Schopenhauer's work prepared by Dr. Arthur Hübscher. Payne's edition is the first to translate into English the text's many quotations in half a dozen languages. It is thus the most useful edition for the student or teacher.

'What if everything in the world were a misunderstanding, what if laughter were really tears?' Either/Or is the earliest of the major works of Søren Kierkegaard, one of the most startlingly original thinkers and writers of the nineteenth century, and the first which he wrote under a pseudonym, as he would for his greatest philosophical writings. Adopting the viewpoints of two distinct figures with radically different beliefs--the aesthetic young man of Part One, called simply 'A', and the ethical Judge Vilhelm of the second section--Kierkegaard reflects upon the search for a meaningful existence, contemplating subjects as diverse as Mozart, drama, boredom, and, in the famous Seducer's Diary, the cynical seduction and ultimate rejection of a young, beautiful woman. A masterpiece of duality, Either/Or is an exploration of the conflict between the aesthetic and the ethical--both meditating ironically and seductively upon Epicurean pleasures, and eloquently expounding the noble virtues of a morally upstanding life.This lightly abridged edition fully conveys the vigour and eloquence of the original. Alastair Hannay's introduction explains the philosophical background to the work and places it in the context of its times.

In this psychological study of Adam, Kierkegaard vindicates the Christian doctrine of original sin in terms that even secular scholars and psychologists find compelling, though not all are pleased with his surprising conclusion.This classic of existentialism argues that awareness of the possibility of sin is...sin. Dread is the unconscious fear of our own freedom. Throwing ourselves headlong into that which we fear most is a common route of escape, but proves to be no escape at all; it only elevates dread to "the demoniacal." Yet consciousness of dread is the very condition of salvation.In fine Kierkegaardian fashion, he begins by laying down rules of inquiry, then breaks them all. Like all SK's pseudonymous philosophical works, The Concept of Dread pushes the reader toward "the existential leap" by removing all alternatives.

The various kinds and conditions of love are a common theme for Kierkegaard, beginning with his early Either/Or, through "The Diary of the Seducer" and Judge William's eulogy on married love, to his last work, on the changelessness of God's love. Works of Love, the midpoint in the series, is also the monumental high point, because of its penetrating, illuminating analysis of the forms and sources of love. Love as feeling and mood is distinguished from works of love, love of the lovable from love of the unlovely, preferential love from love as the royal law, love as mutual egotism from triangular love, and erotic love from self-giving love.This work is marked by Kierkegaard's Socratic awareness of the reader, both as the center of awakened understanding and as the initiator of action. Written to be read aloud, the book conveys a keenness of thought and an insightful, poetic imagination that make such an attentive approach richly rewarding. Works of Love not only serves as an excellent place to begin exploring the writings of Kierkegaard, but also rewards many rereadings.

Librarian's note: An alternate cover edition can be found herePresented here in a new translation, with a historical introduction by the translators, "Fear and Trembling and Repetition" are the most poetic and personal of Soren Kierkegaard's pseudonymous writings. Published in 1843 and written under the names Johannes de Silentio and Constantine Constantius, respectively, the books demonstrate Kierkegaard's transmutation of the personal into the lyrically religious.Each work uses as a point of departure Kierkegaard's breaking of his engagement to Regine Olsen--his sacrifice of "that single individual." From this beginning "Fear and Trembling" becomes an exploration of the faith that transcends the ethical, as in Abraham's willingness to sacrifice his son Isaac at God's command. This faith, which persists in the face of the absurd, is rewarded finally by the return of all that the faithful one is willing to sacrifice. "Repetition" discusses the most profound implications of unity of personhood and of identity within change, beginning with the ironic story of a young poet who cannot fulfill the ethical claims of his engagement because of the possible consequences of his marriage. The poet finally despairs of repetition (renewal) in the ethical sphere, as does his advisor and friend Constantius in the aesthetic sphere. The book ends with Constantius' intimation of a third kind of repetition--in the religious sphere.

Announcing a major literary event: here is the first translation into English of a landmark precursor of Latin American magical realism, which has informed the work of contemporary writers from Garcia Marquez to Salman Rushdie. Macunaima, first published in Portuguese in 1928, and one of the masterworks of Brazilian literature, is a comic folkloric rhapsody (call it a novel if you really want) about the adventures of a popular hero whose fate is intended to define the national character of Brazil."Inventive, blessedly unsentimental," as Kirkus Reviews has it, and incorporating and interpreting the rich exotic myths and legends of Brazil, Macunaima traces the hero's quest for a magic charm, a gift from the gods, that he lost by transgressing the mores of his culture. Born in the heart of the darkness of the jungle, Macunaima is a complex of contradictory traits (he is, of course, "a hero without a character"), and can at will magically change his age, his race, his geographic location, to suit his purposes and overcome obstacles. Dramatizing aspects of Brazil in transition (multiracial, Indian versus European, rural versus urban life), Macunaima undergoes sometimes hilarious, sometimes grotesque transformations until his final annihilation and apotheosis as the Great Bear constellation in the heavens.

The Devil to Pay in the Backlands is generously and lushly multilayered: a soldier of fortune’s tale, historical saga, insurgent chronicles and even a delicate romantic mystery – and always at the highest narrative level.What is the nature of Devil? Is he the antagonist of God? Or is he just the other side of God? When you’re at war are you on the side of God or the Devil? When you’re in love is your love inspired by God or by the Devil?What is not of God is of the devil’s domain. God exists even when they say He doesn’t. But the devil does not need to exist to be – when people know that he does not exist, then is when he takes over. Hell is a limitless thing which cannot even be seen.There are plenty of dark moments and often The Devil to Pay in the Backlands subtly echoes Heart of Darkness by Joseph Conrad.As long as there is one fearful soul in the world, or a frightened child, everyone is in danger.Life is “neither mean nor kind, it takes away or gives, it pleases or embitters you, according as you treat it”.Life is what you make it…

A escrita encantatória de Valter Hugo Mãe chega ao conto como uma delicadíssima forma de inclusão. Estes contos são para todas as idades e são feitos de uma esperança profunda. Entre a confiança e o receio, cães e lobos são apenas um símbolo para a ansiedade perante a vida e a fundamental aprendizagem de valores e da capacidade de amar. Entre a confiança e o receio estabelecemos as entregas e a prudência de que precisamos para construir a felicidade. Com a participação plástica de: Ana Aragão | Cadão Volpato | Daniela Nunes | David de la Mano | Duarte Vitória | Filipe Rodrigues | Graça Morais | JAS | Joana Vasconcelos com Alice Vasconcelos | José Rodrigues | Luís Silveirinha | Nino Cais | Paulo Damião

Esta é a história de quem, no momento mais árido da vida, se surpreende com a manifestação ainda de uma alegria. Uma alegria complexa, até difícil de aceitar, mas que comprova a validade do ser humano até ao seu último segundo. a máquina de fazer espanhóis é uma aventura irónica, trágica e divertida, pela madura idade, que será uma maturidade diferente, um estádio de conhecimento outro no qual o indivíduo se repensa para reincidir ou mudar. O que mudará na vida de antónio silva, com oitenta e quatro anos, no dia em que violentamente o seu mundo se transforma? Valter Hugo Mãe nasceu em Saurimo, Angola, no ano de 1971. Licenciado em Direito, pós-graduado em Literatura Portuguesa Moderna e Contemporânea. Vive em Vila do Conde. Publicou três romances: o apocalipse dos trabalhadores (2008), o remorso de Baltazar serapião, Prémio José Saramago (2006) e o nosso reino (2004). A sua obra poética está revista e reunida no volume folclore íntimo (2008). valter hugo mãe é vocalista do grupo musical Governo (www.myspace.com/ogoverno) e esporadicamente dedica-se às artes plásticas.Críticas de imprensa«[...] com este livro, Valter Hugo Mãe aproxima-se a passos largos (e seguros) da maturidade plena.»Eduardo Pitta, Público«Um romance poderoso.»José Mário Silva, Expresso«Ler vhm é entrar numa viagem feita de imprevisibilidade enquanto estado humano de absoluta surpresa e espanto, de fortuitidade, de acaso, de percurso animado de múltiplos acidentes e peripécias que desviam a personagem de atingir o seu objectivo, atrasando-o, jogando-o por caminhos e situações insólitas e por sentimentos e estados interiores que lhe são totalmente desconhecidos, forçando-o a ceder ou a resistir, a recuar ou a avançar, a hesitar e a conciliar.»Miguel Real, JL

Some printings of this book has an invalid ISBN-13. The correct ISBN-13 for this edition is 9788525039514 instead of 9788525039519.Editora Globo relança o livro mais polêmico da tetralogia obscena de Hilda Hilst com as ilustrações originais e nova capa de Millôr Fernandes. Trata-se da obra mais polêmica de Hilda Hilst. O caderno rosa de Lori Lamby é o primeiro livro de sua tetralogia obscena - da qual fazem parte também os livros Contos d´escárnio. Textos grotescos, Bufólicas e Cartas de um sedutor - e consagra a fase pornográfica da escritora. A obra, lançada em 1990, chegou a ser recusada por editores e provocou espanto e indignação à época. A própria autora descreveu o livro como "uma divertida bandalheira" e afirmou que, cansada da impopularidade, escreveu o Caderno rosa com o intuito de conquistar o reconhecimento do público e vender livros. Em entrevista concedida à Revista E do SESC-SP, Hillda expõe o saldo de sua empreitada: "Gosto muito da Lori Lamby e ela colaborou para me deixar mais conhecida. Graças a Lori muita gente procurou meus outros textos." O livro, em grande parte escrito na forma de diário, apresenta uma menina de oito anos que vende seu corpo incentivada por seus pais proxenetas. A obra é, sim, obscena e põe em cheque a moralidade dos leitores, pois é quase impossível realizar uma leitura frígida dos relatos de Lori Lamby. Mas, apesar do impacto inicial causado pelo tema da pedofilia, o livro vai muito além.

The English-language debut of one of Brazil’s leading writers of the twentieth centuryThe Obscene Madame D is the first work by acclaimed Brazilian author Hilda Hilst to be published in English. Radically irreverent and formally impious, this novel portrays an unyielding radical intelligence, a sixty-year-old woman who decides to live in the recess under the stairs. In her diminutive space, Madame D—for dereliction—relives the perplexity of her recently deceased lover who cannot comprehend her rejection of common sense, sex, and a simple life, in favor of metaphysical speculations that he supposes to be delusional and vain."If Lispector's psychotic heroines careen towards Mars, Hilst's Madame D, in her flight from the body's 'unparalleled glimmer', implodes. Her god is too small, too obscene to halt her descent into Hell. This brief, lyrical and scalding account of a mind unhinged recalls the passionate urgency of Artaud and de Sade's waking dreams in which sex and death are forever conjoined and love's 'vivid time' irretrievably lost." --Rikki Ducornet"Like her friend and admirer Clarice Lispector, Hilda Hilst was a passionate explorer of the sacred and the profane, the pure and the obscene, and shows, in this discomfiting, hypnotic work, just how rarely those categories are what they seem. The translation is excellent - what a rare relief." --Benjamin Moser

Ler Clarice Lispector pode ser uma experiência análoga à de viver, a qual é feita de instantes - mais ou menos longos - em que lutamos para compreender o mundo; ou cedemos de tédio e indiferença por tudo; ou nos afundamos em dor e tristeza; ou vibramos de paixão; ou, serenamente, "nos deixamos ser"... felizes... com o que somos, com o que temos...Sempre que a leio não é por decisão prévia. Acontece, simplesmente. Tal como a vida, que só existe no presente e é sempre uma surpresa e uma dádiva - mesmo quando a consideramos monótona, ou menos boa. Um dia, li Uma aprendizagem ou o livro dos prazeres. Um tempo depois, A hora da estrela. Há dias, li dois contos: O ovo e a galinha e A quinta história. Periodicamente, passo pel'A descoberta do mundo e leio textos aleatoriamente. Agora, li A cidade sitiada e, de seguida, iniciei Um sopro de vida. Não obedeço a planos, ou regras, para ler Clarice. Gosto muito de alguns dos seus textos (romances, crónicas, contos) de outros quase nada. Mas gosto sempre de ler Clarice Lispector. Como gosto sempre de viver; quer seja a chorar, a sorrir ou a rir...Ler A Cidade Sitiada foi como comer uma maçã estaladiça mas pouco doce... A linguagem é muito bonita, intimista, impar. As personagens e o enredo não os senti (compreendi?).A sinopse refere tratar-se do "processo de libertação de uma mulher", em paralelo com a transformação da cidade onde mora. Será? À bruta, a história é assim (cuidado com os spoilers):Lucrécia namora com Filipe e com Perseu. Porque quer uma aliança no dedo, casa com Mateus. Vai para outra cidade e compra uns tecidos. Durante umas férias dá uns passeios com Lucas. Mateus morre e Lucrécia recebe uma carta da mãe onde diz que, lá na terra, há um homem muito bom que lhe viu um retrato e gostou. E Lucrécia parte para um segundo casamento. Não entendo que Lucrécia se liberte; apenas se conforma com o destino (naquela época - anos 20 - e numa cidade do interior) reservado às mulheres de ascendência humilde, sem instrução e de "tosco espírito" e "pensamento quase nunca utilizado". Mas posso estar enganada. A escrita de Clarice não é transparente. É muito simbólica, hermética, o que pode originar várias interpretações. O conto Ovo e a Galinha é um exemplo da dificuldade em entendê-la, pois até a própria Clarice disse não o entender bem. Claro que penso que ela não falava a sério. Eu, presunçosamente, estou convicta de o ter decifrado... na terceira leitura...

The recent publication by New Directions of five Lispector novels revealed to legions of new readers her darkness and dazzle. Now, for the first time in English, are all the stories that made her a Brazilian legend: from teenagers coming into awareness of their sexual and artistic powers to humdrum housewives whose lives are shattered by unexpected epiphanies to old people who don’t know what to do with themselves. Lispector’s stories take us through their lives—and ours.From one of the greatest modern writers, these stories, gathered from the nine collections published during her lifetime, follow an unbroken time line of success as a writer, from her adolescence to her death bed.

A mystical dialogue between a male author (a thinly disguised Clarice Lispector) and his/her creation, a woman named Angela, this posthumous work has never before been translated. Lispector did not even live to see it published.At her death, a mountain of fragments remained to be “structured” by Olga Borelli. These fragments form a dialogue between a god-like author who infuses the breath of life into his creation: the speaking, breathing, dying creation herself, Angela Pralini. The work’s almost occult appeal arises from the perception that if Angela dies, Clarice will have to die as well. And she did.

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