Literary Criticism

An Unwritten Novel: Fernando Pessoa's The Book of Disquiet by Thomas Cousineau

By Thomas Cousineau

"Anything and every thing, looking on how one sees it, is a surprise or a situation, an all or a not anything, a course or a problem," says Bernardo Soares, the putative writer of Fernando Pessoa's vintage The e-book of Disquiet. Thomas Cousineau's An Unwritten Novel deals the final reader, in addition to scholars and academics, an "Ariadne's thread" that would support them to discover their means via this labyrinthine masterpiece: a self-proclaimed "factless autobiography" within which the entire anticipated parts of the modern novel stay "unwritten."

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Additional info for An Unwritten Novel: Fernando Pessoa's The Book of Disquiet

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The etymology is misleading if it leads us to conclude that aletheia in archaic poetry ever denotes only a nonreferential “unforgetfulness” or “that which is remembered,” making the word aletheia a virtual synonym of the English word memory. 8 Aletheia always excludes falsehood and deception, and in some instances the presence of memory may be entirely irrelevant to the speaking of aletheia. 10–15, Telemachus gives the following advice to the swineherd regarding his beggarly guest (also present and listening): Send the wretched stranger to the city, so that there he can beg for his dinner.

The Iliad is not centered on the deaths of Asios or Dolon; the interest, pathos, and tension produced by the foretelling of relatively unimportant incidents, though forceful while they last, are evanescent. ” Patroklos is mentioned occasionally beforehand, but it is not until Book 11 that he becomes important in the plot, and his emergence into the foreground is marked by an intimation of his death. Achilleus has been watching the battle and decides to send Patroklos to find out who has been taken wounded to Nestor’s tent: At once he spoke to his companion, Patroklos, calling from his ship; and he heard from his hut Special Abilities 33 and came out, equal to Ares, and this was the beginning of his evil.

9. An oral performance makes the auditory aspect of the action more vivid than a silent reading does only when what is heard has been cited in direct speech. 10. Il. 391. 11. Il. 437; Od. 768. 12. II. 771; Od. 297. Note that a god hearing a prayer is a common instance of this change of scene that turns out not to be a change. At Il. 677 it is unclear whether Hermes is in fact in a different location. The three times when a second messenger is delayed in his mission in the text until the first is carried out (Il.

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