Tag Archives: Pessoa

The curse of consciousness

28 Feb

When Ricardo Reis writes of having ‘no better knowledge’, he is presumably referring to the consciousness of one’s lot, a topic that can be found in much of Pessoa’s work. Perhaps not unusually for an artist of his time, Pessoa often applies a somewhat patronizing tone to the ‘normal people’ he writes about. The poet is always the suffering artist, who no one else can understand and whose sufferings they, in the simplicity of their everyday lives, cannot imagine. This is true even of the Whitmanesque Álvaro de Campos, in whose celebrations of collectivity there can always be sensed an obverse impossibility for the poet himself to fully participate in the collective. The reflective middle section of Campos’s ‘Maritime Ode’ demonstrates this, as does the concluding section of the poem when the possibilities opened up by the opening hymn are left unrealized. The sense of removal from the world he is describing is more explicit in the later poetry. In the poem that begins ‘At the wheel of the Chevrolet on the road to Sintra’, Campos describes passing a ‘humble’ cabin in the countryside and thinking ‘Life there must be happy, just because it isn’t mine’. In a poem from 1934, he writes of the people in the building across the street from him, ‘They’re happy, because they’re not me’.

Sometimes Pessoa does attempt to place himself among the people: ‘How many, under their de rigueur jackets, / Feel, like me the horror of existence!’  But often people he observes labour under a false consciousness, or, in Pessoan terms, a permanent ‘unconsciousness’. In ‘Almost’ we read of a:

Peddler crying out her wares like an unconscious hymn,
Tiny cogwheel in the clockwork of political economy,
Present or future mother of those who die when Empires crumble,
Your voice reaches me like a summons to nowhere, like the silence of life…
Under Pessoa’s own name, hearing a woman reaper sing:
Ah, to be you while being I!
To have your glad unconsciousness
And be conscious of it!

Or he might try to project his feelings of difference on to others. In ‘Sintra’, he imagines a child gazing back from the window of the cabin at him driving by: ‘Perhaps … I looked (with my borrowed car) like a dream, a magical being come to life’. But he is still the centre of this, ‘the prince of every girl’s heart’.  To a certain extent, we might recognize an echo of the tension between Pessoa the poet and the people who populate his poetry in the distinction often drawn between the erudite and the vernacular in fado, and between the fado castiço and the fado canção. We are made aware of this when confronted with the ‘povo’ of ‘Povo Que Lavas no Rio’, in which Amália took on the voicing of Pedro Homem de Melo’s imagination of the people. We might recognize in Homem de Melo’s lyric something of the man in a Ricardo Reis poem who ‘enjoys, uncertainly, / The unreflected life’.  The question that subsequently emerges is to what extent a version of witnessing that considers the everyday might help to resolve some of this tension.

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Fate

26 Feb

Of all Pessoa’s creations, Ricardo Reis is both the most classically-minded and the one who dwells closest to the classical sense of fate that fado seems to echo. ‘Each man fulfils the destiny he must fulfil’, he writes:

Like stones that border flower beds
We are arranged by Fate, and there remain,
Our lot having placed us
Where we had to be placed.
Let’s have no better knowledge of what
Was our due than that it was our due.

The images of collapse, resignation and decay in fado – homologically registered in  falling vocal lines (what Rodney Gallop called fado’s ‘drooping cadences’) – cannot help but associate fado with an absence of agency, the mirror image of a ‘collapsed’ and fatalistic people. But in placing fado against political ideology it is never altogether clear how the music ‘sizes up’. In hymning decay/decadence, could the music in fact have been a retort to an Estado Novo whose very raison d’être was to arrest further decay? What is the significance in the fact that the State was unable to completely adopt and assimilate fado, that it was unable to paper over the cracks that fado revealed? Is it conceivable that fado could be what Roland Barthes called an ‘acratic language’ in its refusal to be assimilated?

António Osório, the author of A Mitologia Fadista, would vehemently deny such a claim. For Osório fado, in addition to idealizing poverty and objectifying women, hymned a defeatism bound up in ‘saudosismo, “the fumes of India”, Sebastianismo, the “spectres of the past”, the petulance of Marialva, a lachrymose predisposition, … narrow-mindedness … [and] a distaste for life’.  Going on to parody the famous Amália Rodrigues song ‘Tudo Isto É Fado’, Osório wrote:

Misery, prostitution, sickness, dishonour, debasement, all this is ‘fado’. It explains and, indirectly, absolves all ills. Before the ‘laws of destiny’, willpower shows itself to be non-existent; the ‘philosophy’ of fado condenses into an inexorable fatalism, ultimately nothing more than the fatum mahumetanum defined by Leibniz:  free will can never be because men and events are automatically governed by the ‘force of things’. The corollary can be instantly deduced – no one is responsible for anything.

Such an opinion was undoubtedly persuasive in Portugal in 1974, when Osório was writing. Apathy in the face of authoritarianism had festered for too long and change was needed. Fado was discouraged but refused to crawl away and die in a pool of its own tears. Why? One suggestion is that the power of fado’s mythemes and the ease with which it can be connected to ideas of Portugueseness – however problematic such a concept remains – enforce its appropriateness and effectiveness as a staging of a traumatic jouissance that has meaning far beyond the world of fado music. It could be argued that Osório overstated his case and, effectively, centred fado and the ‘fadista mythology’ as a cause rather than a reflection, as a constitutive element in the formation of subjectivity rather than the recognition of a subjectivity already constituted around a radical loss. He does seem to recognize this possibility at certain points, such as his consideration of how a similar experience is to be found in modern literature:

[M]an’s impotence in the face of circumstance, the central experience of fado, does not only permeate the work of contemporary Portuguese writers, because it is at the heart of Kafka, of Beckett, of all the representative writers of our time. The seeds of dejection proliferate in these times of oppression and individual paralysis.

Locating ideology within a framework suggested by Jacques Lacan and Slavoj Žižek may help us here. In doing so, we can posit the Symbolic as the realm of language, or discourse, that attempts to ‘explain’ the Real but which never can, for the Real remains that which cannot be symbolized. Yet that very lack in the Symbolic Order constitutes a gap and it is because of this gap, if we follow Žižek, that ideology is needed.  To use a metaphor not entirely inappropriate with Lisbon in mind, if the Symbolic acts as a wall to obscure the Real, a wall that has, however, seen better days and which threatens to allow the chill of the Real in through its cracked tiles and holed plaster (to be punctured, as it were, by the Real), then ideology is the sheen of new plaster needed to fill those fissures. A music more concerned with crumbling, decay, collapse and the wounds that rupture the sheen of everyday ‘bearing up’, a music, moreover, which dwells on melancholy and which actively seeks to remain unreconciled to the world can perhaps be a music closer to challenging ideology than might at first be imagined.

Can it be that fado operated, then and occasionally still, as a sublimation of the forces operating on the modern subject, that, furthermore, it has occupied the place of what Catherine Belsey calls an ‘abolished particularity’? Belsey suggests that ‘the abolished particularity returns as resistance, marking the speaking being’s loss of the unnameable real, which is still there, but no longer there-for-a-subject. This resistance makes itself felt not only in individual experience, but also as incoherences in the apparent homogeneity of culture itself.’  The stubbornness of fado’s mythemes, the persistence in which the same elements of Lisbonness, shame, jealousy, collapse, flight, the seasons and saudade are endlessly and imaginatively recombined, suggests an unwillingness to move on from the objectification of loss, a process akin to Freud’s definition of melancholy. But what does it mean to be ‘cured’ of this stubbornness except to be taken once more into the Symbolic realm, a realm one might be unwilling to recognize as one’s own?

Disquiet

22 Jul

Fernando Pessoa, Book of Disquiet

To express something is to conserve its virtue and take away its terror. Fields are greener in their description than in their actual greenness. Flowers, if described with phrases that define them in the air of the imagination, will have colours with a durability not found in cellular life.
What moves lives. What is said endures. There’s nothing in life that’s less real for having been well described. Small-minded critics point out that such-and-such poem, with its protracted cadences, in the end says merely that it’s a nice day. But to say it’s a nice day is difficult, and the nice day itself passes on. It’s up to us to conserve the nice day in a wordy, florid memory, sprinkling new flowers and new stars over the fields and skies of the empty, fleeting outer world.
… The grand, tarnished panorama of History amounts, as I see it, to a flow of interpretations, a confused consensus of unreliable eyewitness accounts. The novelist is all of us, and we narrate whenever we see, because seeing is complex like everything.

(Fernando Pessoa, The Book of Disquiet, tr. Richard Zenith (Harmondsworth: Penguin, 2001), p. 30)

In summoning The Book of Disquiet to provide examples for Fado and the Place of Longing (the original title of which was to be Songs of Disquiet, a title I retained for the opening chapter), I wanted to connect fado to the Pessoan project of estranging the world, of locating its disquiet. This line of thinking stresses the links to modernity that one finds in both Pessoa and fado while also opening a dialogue with existentialism and phenomenology, highlighting fado’s links to perception and to lived experience, space and place.

It is also worth commenting on the fragmented nature of Pessoa’s most famous prose work. These fragments seem crucial to the growth in the twentieth century of archived knowledge, written texts, museum exhibits and recorded sounds: at once parts of a whole they can never fully catalogue and desperate attempts to salvage the present as it slips from view and earshot. They anticipate a whole range of fragmented experiences of the twentieth century: the ‘fragments I have shored against my ruin’ in T.S. Eliot’s The Waste Land; the wealth of ethnomusicological collections made possible by advances in recording technology; the broadcast media and its love of the soundbite; David Harvey’s ‘museum of modern knowledge’; the internet and its hyperlinked web of information.

Fernando Pessoa in Lisbon

The Book of Disquiet is also a book about Lisbon and about the ways of living made possible by city life. The role of the observer and chronicler is crucial and Pessoa creates a special character, Bernardo Soares, to achieve this task for him. Soares interweaves his own existential confusions into his descriptions of other city dwellers who walk past his place of work, his rooms or the cafes in which he spends much of his free time. A self-described dweller on the fringe of society, Soares represents what had by this time become a defining trope in western literature, from Poe’s ‘The Man of the Crowd’ (1840, rev. 1845) through Baudelaire’s ‘The Painter of Modern Life’ (1863) to Rilke’s The Notebooks of Malte Laurids Brigge (1910). A strong sense of alienation amongst the crowd comes into play in Pessoa’s work, leading to yearning for a past in which individuals were more noticeable. In this way, Pessoa’s book speaks to earlier modern works on the city. The excitement that Walter Benjamin finds in the Baudelairean city, for example, is present in Pessoa yet it is an excitement that mixes uneasily with a sense of estrangement.

From where does this disquiet emerge? Perhaps it is from what Italo Calvino, writing on Balzac, calls the ‘intuition of the city as language, as ideology, as the conditioning factor of every thought and word and gesture … as monstrous as a giant crustacean, whose inhabitants are no more than motor articulations’. The imposition of (the idea of) the city upon the citizen is alluded to by Svetlana Boym when she identifies the prevalence in the modern world of an urban identity which, while not vanquishing national identity, has taken over some of nationalism’s most pertinent features, yet which ‘appeals to common memory and a common past but is rooted in a man-made place, not in the soil: in urban coexistence at once alienating and exhilarating, not in the exclusivity of blood.’ This mixture of communal and alienating aspects is crucial to fado, where the modern disquiet of the city dweller so well captured by Pessoa is always already entangled in the responsibilities of communal living that urban society demands. If this disquiet is to be seen as one symptom of late modernity, it is possible to link the longing for freedom from the trappings of the past as another, something Boym seems to have in mind when she writes that the city is ‘an ideal crossroads between longing and estrangement, memory and freedom, nostalgia and modernity’. (Svetlana Boym, The Future of Nostalgia (New York: Basic Books, 2001), p. 76.)

Furthermore, there is a sense in The Book of Disquiet of the attempt of the individual to overcome the monstrous in the city, to imprint his or her own trace upon the structured, symbolic city plan. Such is the case in José Saramago’s The Year of the Death of Ricardo Reis, where the figure of Ricardo Reis is witnessed in an ongoing process of walking the streets of Lisbon; even as he is marked for disappearance, Reis leaves his trace on the city, on the dead poet who haunts him and on the readers of Saramago’s text. Citizens are able to take partial ownership of the city. Yet that partiality only leads to a new type of symbolic ownership and, though the culturally-scripted city has been challenged by this new symbolic city, the new symbolic city becomes both familiar and fantastic.

With its always-threatened loss the symbolic city becomes an object of nostalgic desire, forever in danger of obliteration by the real city, which cannot be symbolized or familiarized. Into what we might term, following Barthes, the studium of the Symbolic irrupts the punctum of the Real, penetrating the studied and reliable, ostensibly ‘known’ city and lending an aura of disquiet to what was supposedly familiar. This disquiet, in turn, nags at any comfortable sense of nostalgia that contemplation of the familiar, familial, home might otherwise suggest, for there is a danger present: that the object of nostalgia might not, after all, be lost. This is dangerous because the object of nostalgia seeks to find its greatest effect in the safety promised by its inability to return and contradict the nostalgic subject. The lost and mourned object does not reply and this is part of what comforts the loser and the mourner. Yet at the same time that the mourner takes comfort in this stable situation, the danger is never altogether absent that the tranquillity so longed for will not be pierced by a punctum, a reminder of the reason for mourning (I can think of few more evocative examples than Stanislaw Lem’s novel Solaris and Andrei Tarkovsky’s film adaptation of it).

A still from Andrei Tarkovsky’s Solaris (USSR, 1972): 'the danger is never altogether absent that the tranquillity so longed for will not be pierced by a punctum, a reminder of the reason for mourning'.

Above all, The Book of Disquiet is a book of witnessing. Pessoa introduces Soares in his preface as someone who was looking for a witness, someone who would carry his story to the world. Soares himself describes the book as ‘a factless autobiography’, suggesting that it will be a biography without biographemes. It is arguably more like biography as a process of writing, a life produced by writing:

For a long time … I haven’t recorded any impressions; I don’t think, therefore I don’t exist. I’ve forgotten who I am. I’m unable to write because I’m unable to be. Through an oblique slumber, I’ve been someone else. To realize I don’t remember myself means that I’ve woken up.

(Pessoa, Book of Disquiet, p. 314.)

But, if writing is presented by Soares as an affirmation of existence, he is not always convinced that the message can be transmitted to another:

What is there to confess that’s worthwhile or useful? What has happened to us has happened to everyone or only to us; if to everyone, then it’s no novelty, and if only to us, then it won’t be understood. If I write what I feel, it’s to reduce the fever of feeling.

(Pessoa, Book of Disquiet, p. 21.)

It would be unfair of us to expect a work as fragmentary and unstructured as The Book of Disquiet to provide a consistent viewpoint about the processes of witnessing as both seeing and saying. Rather, it is a book plagued by doubts such as those just cited, an internal conflict between the desire to record and an uncertainty as to whether the record should be passed on. Bernardo Soares realizes (as does the Pessoa who, having written as Soares, then stores the writings in an enormous case destined to some kind of future revelation) that between the extremes of ‘everyone’ and ‘I’, there is a community of like-minded people to whom he is speaking: ‘It sometimes occurs to me, with sad delight, that if one day (in a future to which I won’t belong) the sentences I write are read and admired, then at last I’ll have my own kin, people who “understand” me, my true family in which to be born and loved.’ And shortly after: ‘It seems that civilizations exist only to produce art and literature; words are what speak for them and remain.’ Soares is writing for a community that will come later, which is no doubt why he wants his manuscript to be taken by Pessoa and disseminated.

Ricardo Reis contemplates the city

25 Jun

Alfama Rooftops

Ricardo Reis crosses the park to take a look at the city, the castle with its walls in ruins, the terraced houses collapsing along the slopes, the whitish sun beating on the wet rooftops. Silence descends on the city, every sound is muffled, Lisbon seems made of absorbent cotton. soaked, dripping. Below, on a platform, are several busts of gallant patriots, some box shrubs, a few Roman heads out of place, so remote from the skies of Latium, as if one of Rafael Bordalo Pinheiro’s native rustics had been set up to make a rude gesture to the Apollo Belvedere. The entire terrace is a belvedere as we contemplate Apollo, then a voice joins the guitar and they sing a fado. the rain appears to have finally disappeared.

(José Saramago, The Year of the Death of Ricardo Reis, p. 49.)