It begins with her saying I’ve never told anyone and ends with me saying Neither have I. And in between, a single sentence on how the love we feel for a child is not necessarily immediate, on how we need time to get to know and fall in love with another being, even though they were once inside us. We talk over the phone; this may never have happened face-to-face, or as we looked one another in the eye.
The sea was unfurling bolts of cotton on the beach.
But now, at least in this cove, the sea is muddy. The waves sprawling on the sand, under the spotlight of an intense sun, exhibit a strange hue—a corrupt, corrosive red that might be called ocher, as if the sea, in its incessant flow, had passed through steep, muddy ravines before subsiding here, and dislodged clumps of earth that dissolved to contaminate green water, bluish water.
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.
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.
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 sketchof the political climatein 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 peopleand events mentioned in earlier chapters.