5, our translation) (17), which implies interaction among the five domains (speaking, reading, writing, literary education and grammar), in the context of the 12th grade, in the domain of literary education, recommends the study of poems by Alberto Caeiro (Buescu et al., 2014), in particular, and of the poetry attributed to the
heteronyms of Fernando Pessoa, in general (Buescu et al., 2014).
Beyond Bahia's stated reasons for creating her
heteronyms, this essay aims to contextualize Bahia's project in a line of continued, and still needed, challenges to the ongoing hegemonic masculinity of the art world.
I laid in that blind trying to think of as many
heteronyms as I could.
Within the vast range of
heteronyms created by Fernando Pessoa, Alberto Caeiro was supposed to be the master, who argues for an absolute nominalism by which he claims to have eliminated metaphysics and revealed what is false in philosophy and poetry.
For the first time a full volume (493 pages) was dedicated to the
heteronym Caeiro, including essays by Mendes, Jackson, Ken Krabbenhoft, Antonio Ladeira, George Monteiro, Darlene Sadlier and Richard Zenith; I supplied a bibliography in Portuguese and a list of English translations of Caeiro's poetry.
(8) Benedetti says of this epigraph by Gelman's
heteronym Jose Galvan: " [...] por cierto podria server como definicion general de la obra de Gelman" ("Gelman hace delirar" 55).
The simultaneous wonder and difficulty of any consideration of Pessoa's career lies in tracing the distinct personalities of his many writerly personae, or '
heteronyms'.
Alvaro de Campos, last of the
heteronym trilogy, described by
Alma Rubens, the feminine
heteronym of Jose Manuel Poveda (1888-1926), has been recognized as an important voice in twentieth-century Cuban poetry.
Once again, it is as if Max Stirner was commenting on Pessoa--and at the same time, bitterly, on the failings of his
heteronym the Baron of Teive--when he wrote:
Written in 1900, and now translated by Gregory Rabassa, the reader will here discover a playful
heteronym of the great realist, smitten by (or mocking) the stylistic bravado of the French Symbolists, their precursors, and their followers: Hugo, Leconte de Lisle, Baudelaire, Coppee, Mallarme, et al.
Pessoa was introduced at the beginning of the chapter, marked by a jagged flashback to an initial thematization of melancholy: "La Saudade, diceva Maria do Carmo, non e una parola, e una categoria dello spirito, solo i portoghesi riescono a sentirla, perche hanno questa parola per dire che ce l'hanno, lo ha detto un grande poeta" (12); then she leads the narrator between the haunts of one
heteronym and another, before launching into her childhood reminiscences.
