By JARID ARRAES
Translated by MARGUERITE ITAMAR HARRISON
tell me
about how tough everything is
and even the beer’s out of reach
and even writing has dried up
tell me
The royal palms bathe in the soft warm air
of February and everywhere I look there is the play
of glittering afternoon light—on store windows
and metal bistro tables, on the well-polished
always white Mercedes and Lexuses, on the sorbet
pinks and oranges and lime greens of faux-Spanish
buildings. The most ordinary things here seem
By PETER COOLEY
So much for the wound in me
seeking a piebald answer
in the tulip’s streak cataracted by first frost,
the blue jay flapping across the grass,
one-winged, his flying
this crawl through blades he hues,
tenor and vehicle this bird and me,
both of us trying to accept
such ritual exchange.
She had been dead nearly a decade before she sought me out. I was in my late twenties when she first came to me; then, again and again over a period of several years, whenever I came home to visit and always in the middle of the night as I slept in my old room. Before it was mine, it was hers. In the recurring dream or vision, I opened my eyes to darkness and knew I was not alone. She stood in the far corner by the closet, waiting for something. The air between us, a conduit—even from across the room, I felt her body tingling my skin. You don’t always have to see a thing to know it exists.
In 1969, my grandfather gave the keynote address to the Master Brewers Association of America. He was not a brewer himself, but he had worked thirty years as a consultant to the industry, and by this time he had provided advice to breweries in every state of America and seventy countries.
The title of his speech was “How to Make Beer That Sells—with What You’ve Got!” He focused first on the importance of quality and outlined the industry standards: 1) Beer must be “clean and pleasing in flavor” as well as 2) “pleasing in appearance”; and 3) “it should not vary in flavor or appearance from day to day.” While beer drinkers today, myself included, wouldn’t agree with his definition of “pleasing” as “a complete absence of distinctive flavor components,” I suppose he can be forgiven for being at the mercy of the era’s bland American palate. As an industrial engineer, his main focus was on cleanliness, efficiency, and reproducibility; he did not seek to be a tastemaker, nor did he encourage this in his clients.
By MATILDE CAMPILHO
Translated by HUGO DOS SANTOS
for José
On the night Billy Ray was born
(New York, 28th and 7th)
not one soul contemplated the geraniums
There was, however, the sound of the world falling
like multiple stalactites
in the area surrounding the hospital
The apricot tree in my childhood yard would sieve the night. Pouring through the openwork of the leaves, the moonlight littered the ground with patches shaped like bats. Because we lived in the Sunset District of San Francisco, sea drafts kept ruffling the leaves, so the bats were always fluttering their wings. Sometimes I would lie down and let the light-bats tap all over me. We lived in the bottom flat of a spindly three-story house, and there was a fig tree too, and blackberries on brambles thick as the Lord’s crown of thorns, right in the heart of the city. We had picnics with the queijadas my father made—the coconut tarts that were a specialty of his family’s bakery on the island of Terceira in the Azores. His job while raising me, his only child, was fulfilling dessert orders for restaurants, and he rented a tiny industrial kitchen in Chinatown from three to nine in the morning. Once, a triumph, the Tadich Grill requested his alfenim to decorate their pastry cart—the white sugar confection molded into doves or miniature baskets.
By JOSÉ LUÍS PEIXOTO
Translated by HUGO DOS SANTOS
Alone, I arrive in a looted city
and walk slowly, my arms hanging
loosely, I look through open doors,
By ANANDA LIMA
I close my right eye meu olho direito
and see everything tudo que
my mother my father meus pais no meu país
didn’t
know não sabiam
to do tudo
then que fazer?
e hoje, minha vista cansada
from Pessoa: A Biography
The following chapter from Pessoa: A Biography, forthcoming from Norton/Liveright, tells the story of how Alberto Caeiro, Fernando Pessoa’s first major heteronym, came into existence. The other full-fledged heteronyms, Álvaro de Campos and Ricardo Reis, would emerge three months later. (The heteronyms, Pessoa claimed, were not mere pseudonyms, since they thought and felt and wrote differently from their creator.) Although he had published some critical essays and a passage from The Book of Disquiet, Pessoa was still virtually unknown as a poet. Literature, moreover, was not Pessoa’s only interest. Throughout his adult life, he wrote prolifically about philosophy, religion, psychology, and politics.
The story of Caeiro is preceded by a brief sketch of the political climate in Europe before World War I, especially in Portugal, where, less than four years earlier, a revolution had toppled a much–discredited monarchy, replacing it with a tumultuous republic.
For this publication in The Common, I have excluded most of the notes of the book version (bibliographical information, mainly) while adding other notes to clarify references to people and events mentioned in earlier chapters.
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