The purpose of this book is to shed light on the rather unexplored "English facet" of Fernando Pessoa, considered one of the major Portuguese poets of the twentieth century. The originality of this study also lies in its extensive use of unpublished documents. Out of the bulk of Pessoa's English writings, The Mad Fiddler has been selected; it offers not only poems of better quality than most of his writings in English but it also has the advantage of being a complete and coherent suite of " mystical " poems. A systematic comparative study of the themes in The Mad Fiddler and in the poems by the four Portuguese heteronyms reveals a claer continuity and shows that Pessoa's bilingual Poetry is based on his main ontological quest, which he tried to solve by means of his dramatic scattering into " masks ". After this comparative analysis, the individuality of The Mad Fiddler is defined. Following an overwiew of the unpublished English writings found in the Pessoan legacy, The Mad Fiddler is analysed by means of Pessoa's own unpublished comments. An investigation of Pessoa's private French library and of his un published Literary Appreciations proves how fully he understood the impact of Symbolism on the evolution of Modern Art. The Mad Fiddler could indeed be viewed as an English echo of Pessoa's interest in modern trends in Literature and as a kind of " English microcosm " of Pessoa's aesthetic theory.

W. B. Yeats and Fernando Pessoa (1888-1935) regarded style as a tool for metaphysical inquiry and, consequently, they adopted distinct poetic styles to convey different attitudes towards experience. Silva-McNeill's study examines how the poets' stylistic diversification was a means of rehearsing different existential and aesthetic stances. It identifies parallels between their styles from a comparative case studies approach. Their stylistic masks allowed them to maintain the subjectivity and authenticity associated with the lyrical genre, while simultaneously attaining greater objectivity and conveying multiple perspectives. The poets continuously transformed the fond and form of their verse, creating a protean lyrical voice that expressed their multilateral poetic temperament and reflected the depersonalisation and formal experimentalism of the modern lyric.

Colorado is steeped in stories as unique as the people who settled it. Each wave of exploration and settlement brought new tales to explain the mysteries of this incomparable place. With extreme weather and breathtaking landscapes, it seems only natural that Colorado could play host to UFOs, stripper lightning and the Fountain of Love. From creation myths and rumored Aztec treasure to snow snakes and drunken house flies, professional yarn-spinner Stephanie Waters turns an eye to the ancient lore of the Centennial State.

Fernando Pessoa is one of the greatest poets of the 20th century. Until some years ago known in the English-speaking world only among a minority of connaisseurs, his work is finally becoming available in English translations, and more are in the process of reaching the literary public. Born in Lisbon in 1888, Pessoa was only forty-seven when he died, but he left behind a staggering number of unpublished manuscripts that are still being screened and brought to light. George Steiner heralded the day Pessoa discovered his major Portuguese heteronyms, for no country had ever seen the birth of four great poets in a single day. That was a reference to the personae Pessoa created, the famous heteronyms Alberto Caeiro, Alvaro de Campos, and Ricardo Reis, besides the man himself -- all poets in their own right with their biographies and even critical exchanges among themselves. Today well over a hundred Pessoa heteronyms are known, including, notably, the semi-heteronym Bernardo Soares, author of The Book of Disquiet, presently available in two English translations. Lately, another Pessoa is emerging -- an English writer, as well as a thinker. Indeed, having been educated in Durban, South Africa, where his stepfather was the consul of Portugal, the poet had a strong English education that shaped his life and thought. George Monteiro has been in the forefront of the uncovering of this side of Pessoa. Author, among many other works, of The Presence of Pessoa: English, American, and Southern African Literary Responses, and Fernando Pessoa and Nineteenth-Century Anglo-American Literature, in this volume Monteiro continues to explore and interpret the world of Pessoa to English-speaking readers.

The multifaceted and labyrinthine oeuvre of the Portuguese poet Fernando Pessoa (1888-1935) is distinguished by having been written and published under more than seventy different names. These were not mere pseudonyms, but what Pessoa termed 'heteronyms,' fully realized identities possessed not only of wildly divergent writing styles and opinions, but also of detailed biographies. In many cases, their independent existences extended to their publication of letters and critical readings of each other's works (and those of Pessoa 'himself'). Long acclaimed in continental Europe and Latin America as a towering presence in literary modernism, Pessoa has more recently begun to receive the attention of an English-speaking public. Embodying Pessoa responds to this new growth of interest. The collection's twelve essays, preceded by a general introduction and grouped into four themed sections, apply a range of current interpretative models both to the more familiar canon of Pessoa's output, and to less familiar texts – in many cases only recently published. As a whole, this work diverges from traditional Pessoa criticism by testifying to the importance of corporeal physicality in his heteronymous experiment and to the prominence of representations of (gendered) sexuality in his work.