Publishing a novel in Brazil has never been an easy task. According to research published by the National Syndicate of Book Publishers , the sale of books in Brazil grew Favela em Pauta mapped favela residents who have published books on various themes. Below, you will find authors from different favelas and of different ages with many stories to tell:.
Washing, running, scrubbing, doing push-ups… The military routine was tough, but brought friends and purpose with it. People deal with depression in different ways. Some shy away from society by staying in a dark room. Paulo is 17 years old and after losing his mother and falling apart from his father, he finds himself living with his grandparents, a life that is not easy, but also not as difficult as he imagined it would be. Even so, he dabbles with the infamous Blue Whale game.
Could Alice be a miracle in his life? Was her appearance pure coincidence or totally intentional? This book was inspired by the societal problems observed by the author, primarily in his own community. Even so, the book ends up being a portrait of the whole of Brazilian society. Paris: Editions de la Difference, Apr eciafies literdrias de Fernando Pessoa.
Edited by Pauly Ellen Bothe. Prouerbios Portugueses. Edited by Jeronimo Pizarro and Patricio Ferrari. Lisbon: Atica, Sensacionismo e outros ismos. Edited by Jeronimo Pizarro. Lisbon: Imprensa Nacional-Casa da Moeda, Edited by Manuela Parreira da Silva. Cartas entre Fernando Pessoa e os directores da presence. Edited by Enrico Martines. Poemas de Aluaro de Campos. Edited by Cleonice Berardinelli. Pizarro, Jeronimo. Edited by Mariana Gray de Castro. Woodbridge: Tamesis, Lisbon: Atica, , Lisbon: D. Quixote, , Vol. Quental, Antero. Os Sonetos completos de Antero de Quental.
With a partial English translation by Fernando Pessoa. Preface to the complete sonnets by J. Oliveira Martins. Edition and postface by Patricio Ferrari. Uribe, Jorge. Weir, Thomas Hunter. Omar Khayyam, The Poet. London: John Murray, Whalley, George. I, xxiii-lv. Zenith, Richard. Pessoa tradutor de Wilde. Quixote , and Eu sou uma antologia: autoresjicti- cios Lisbon, Tinta-da-China He has published articles on metrics, textual criticism, and marginalia in various peer-reviewed journals United States, United Kingdom, France, Spain, Germany.
A Biblioteca particular de Fernando Pessoa was published by D. Quixote in Pizarro was editor-in-chief of two new Atica series Fernando Pessoa: Works; Fernando Pessoa: Stud- ies , and he contributed to more than ten volumes. He can be reached at j. In the case of verse, mar- ginal line numbers in bold italic refer to genetic notes to the poem.
Pessoa completely changed the story, however, and partly sub- verted the genre. The various issues of the newspapers have been reproduced, partially transcribed, and discussed by Teresa Rita Lopes, 3 Darlene Sadlier, 4 and others. I will merely mention here that 0 Palrador was the more complex of the two journalistic enterprises.
It entailed a large team of fic- titiously named contributors and included the names of equally fictitious editors and staff writers on its masthead. Effield, a preheter- onym supposedly born in Boston. Some of the names on the masthead remained, but their titles and duties had changed. Pancracio, literary editor of the last issue, became the pseudonym of a new staff member, Francisco Pau, responsible for the humor section.
Pad Ze, for- merly the pseudonym of Pedro da Silva Salles, was now the pen name of Roberto Kola, in charge of riddles. There were nine other editors and subeditors, one handling a sports section and another a short story section. The elaborate edito- rial scaffold was probably conceived with future issues in mind, but these never materialized. Volume 1, Issue 1 of the new 0 Palrador was the only issue. And Pessoa wrote virtually nothing else in Portuguese until he returned to Lisbon for good, in The Durban issue of 0 Palrador appears to be the only example of Portuguese creative writing produced by Pessoa during the years he spent in South Africa.
But upon inspection, it turns out to be a conceptually English production. The first chapter, to which I will return, describes the vil- lage and the school named after it. The second and last chapter of the install- ment narrates the rude reception that three veteran students give to several new arrivals. The story has been the object of differing critical treatments, and I will summarize some of the resulting observations and interpretations before pre- senting hypotheses and conclusions from my own research. According to his reading, the Barrowby headmaster was a composite of the headmaster of D H s and the direc- tor of the Commercial School where Pessoa studied in , while the abuse endured by Zacharias, a new Barrowby student who is Jewish, was a caricature of what Fernando himself had endured.
Though the tradition of fagging — whereby younger schoolboys act as servants fags for the older boys — is not explained, it is illustrated by the authoritarian attitude of the older students toward Zacharias and other newcomers. Blue eyes, for instance, are said to indicate forthright- ness. He would publish a best-selling book about his uni- versity days in and become a militant republican, but he had founded a satirical student magazine, Reirista do Civil, as early as and achieved some notoriety by the time Pessoa founded 0 Palrador in Lisbon.
There is no substantive link, however, between Coimbra and Os Rapazes de Barrowby. According to its fictional setting and to the explicit indications of Adolph Moscow, Barrowby is a story of social behaviors among English high school students. He suggests that Barrowby could be a hybrid name combining Harrow and Rugby, two prominent public schools. He does not speculate on where Pessoa obtained his information — whether through reading or through direct experience — or on what motivated him to mold it into a story.
Because it took a month for British publications to reach Durban, Pessoa could have read no more than ten installments the eleventh was published on June 20 when he began writing his own Portuguese version for 0 Palrador. But how much of The Boys of Barrowby , beyond its title, did Pessoa steal? A classmate named George Honey becomes Mel, but this is only a nickname, which Moscow explains by noting that the boy has a sweet tooth.
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Pessoa would write about and repeatedly allude to Ford in his adult writings. Another school chum is called Slater in both sto- ries, but Pessoa endows him with a first name, Godfrey, and a nickname: Gyp. Adult names are also translated. A teacher named Mr. The Boys ofBarrowby is full of student pranks and scuffles, with some mention of fags and fagging, but with no scenes of incoming students being subjected to hazing; quite the contrary. He is, after all, a prince. Os Rapazes de Barroioby is a different story. The second chapter is specifically about the harassment that Mel Henry Ford , Lung-Hi, and Gyp Slater mete out to the large-nosed Jewish boy, whose full name is Zacharias Phumtumpum, and to another youngster named Ralph Tig.
Both boys are newcomers to the school and newcomers to the fictional cast of characters, with no corresponding prototypes in the British Ur-story. Zacharias is intimidated but not roughed up, except for a single, ritual punch in the nose; and Ralph, refusing to be intimidated, fights Gyp and gets the better of him. It is possible that Fernando, timid and not at all athletic, was teased by other stu- dents at dhs, and perhaps knocked around by older boys, in which case Ralph may have served as a vehicle for him to get at least some literary revenge.
But it seems doubtful that Fernando identified with Zacharias, who is portrayed as a ridiculous specimen of a racist Jewish stereotype. The boy is covered with phony jewelry: three fake diamond and gold rings, a gold-painted tie clasp decorated with a fake emerald, and a fake silver pocket watch. Whether Pessoa was actually a victim of intimidation and hazing — and there is no concrete evidence to that effect — he would have known about the practices at schools like Harrow and Rugby precisely through his readings of other serial- ized novels for boys. School life, in this juvenile genre, was naturally one of the major themes.
He used his story, as Frias has pointed out, to expound on some of the tra- ditions of British public schools.
Pessoa also used his reinvented Barrowby to convey, or perhaps to show off, his newly acquired awareness of physiognomy. Pessoa-qua-Moscow mentions not only Lavater but also a second physiognomist, an Englishman named Kisch , who is himself a fic- tion. Not only that, but the nonexistent Kisch gets a much more detailed foot- note than Lavater.
Moscow invents a location for a town about which he knows only the name Barrowby , and he pretends to invent the name and location of a town about which he knows both things Lynmouth. Without a good gazet- teer at his disposal, he failed to find the village, which is in Lincolnshire County, near Nottingham, and he apparently concluded that Sidney Drew had dreamed up the place name.
And he may have concluded correctly. In fact, no such river exists. Furness is a penin- sula, and the correct name of the town is Barrow-in-Furness. It is a largely tongue-in-cheek performance, however, written to entertain, and in the end it even resorts to a classic gag, with Gyp taking a calamitous slide on a ba- nana peel. Various scholars, as noted earlier, have looked at Os Rapazes de Barrowby from contrasting points of view, affording us a critical picture of reasonable complex- ity. I hope to have elucidated a few points as well, but we may all be at risk of overinterpreting. Pessoa, after all, was going for laughs, and he probably had a specific audience in mind: his immediate family.
Whatever it was that prompted Fernando to produce another issue of 0 Palrador, he must have shown it to his parents and siblings, for he used several blank pages in the middle of the in-progress periodical to keep score for a parlor game in which they all partici- pated. With a healthy and natural life I was out of sympathy. My craving was not for the probable, but for the in- credible, not even for the impossible by degree, but for the impossible by na- ture. Despite a certain appetite for the literature of story pa- pers and dime novels to be succeeded, in his adult years, by crime novels , Pes- soa had no interest in or talent for writing effective but commonplace descrip- tions of rich nobles in their well-cushioned coaches and poor people shivering in the cold on snowy winter nights.
David Jackson — was to transgress the traditional rules and expectations of storytelling. Fernando had no qualms about filching a few ideas, characters, and even entire sentences from British serial novels, but an aesthetic if not ethical scruple seems to have prevented him from signing his own name to the stories that re- sulted from his borrowings.
Though they were written in Portuguese, he pre- ferred to attribute their authorship to Active Englishmen such as Adolph Mos- cow and Marvell Kisch. It was as if counterfeit authorship served, paradoxically, as a seal of authenticity for the writing itself, with Pessoa acting as the translator of what Moscow and Kisch purportedly authored. Even though Moscow has a definite narrative posture that affects the tone and framing of his story, it is perhaps better not to count him or Kisch as heteronyms, preheteronyms, or fictitious personalities.
NOTES 1. It was there that Pessoa lived and stud- ied until July of , when he embarked with his new family — which included children by the second marriage — for an extended holiday in Portugal, where they arrived in Au- gust. He returned to Durban on his own, a few months after the rest of the family, in Oc- tober of , and stayed there until August of , when he made his final, month-long voyage back to Lisbon, where he enrolled in the Curso Superior de Letras.
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See Alexandrino E. Eighteen poems from this period — all written in Portuguese — can be found in Pessoa, Obra essencial de Fernando Pessoa, Vol. Two additional poems in Portuguese, writ- ten almost certainly in , were transcribed and published by Jeronimo Pizarro in Fer- nando Pessoa, Cadernos, Vol.
Antologia pessoal - AbeBooks - Jorge Luis Borges:
I, ; Vol. Darlene J. Preheteronyms is a scholarly coinage for referring to literary personae invented by Pessoa before the emergence of his full-fledged heteronyms, in Pessoa, Eu sou uma antologia: autores ficticios Lisbon: Tinta-da-China, provides an account with additional information, additional names, and samples of their literary texts.
Zenith and J. The poem can also be found in Pessoa, Eu sou uma antolocjia: autores jicticios, I consulted only the latter. Jennings, Os dois exflios, Pizarro, Founded in in Lisbon, the university moved to Coimbra in Frias, See E. Belcher and G. The bookstore is located at West Street, Durban. But the geographical mistake remains. However Pessoa spelled the name of the town, references in the sonnets indicate that he believed Furness to be a river that flowed past it. Let me count the ways. Jennings, Os dois exilios, It is possible that the cited passage is autobiographical of Alexander Search rather than of Pessoa.
Although the passage is not exactly signed by Search, his signature appears more than once in a corner of the manuscript, suggesting that Pessoa — who often practiced his heteronymic sig- natures in the margins of his texts — was in Search mode, or mood. Clinton Collins. The Durban High School Record Drew, Sidney. London: Amalgamated Press, Frias, Anibal. Jackson, K. Adverse Genres in Fernando Pessoa. New York: Oxford University Press, Jennings, Hubert Dudley. Os dois exilios: Fernando Pessoa na Africa do Sul. Pessoa p or conhecer. Monteiro, George. Lexington: University Press of Kentucky, Obra poe'tica.
Edited, introduced, and notes by Maria Aliete Dores Galhoz. Rio de Janeiro: Jose Aguilar, i Pa'ginas intimas e de auto-interpretagao. Obra essencial de Fernando Pessoa. Edited by Richard Zenith. XI, Tome I. Teoria da heterommia. Eu sou uma antologia: autoresjtcticios. Lisbon: Tinta-da-China, Pessoa Collection coordinated by Jeronimo Pizarro.
Fernando Pessoa: Entre genio e Ioucura. Sabler, Antonio. Sadlier, Darlene J. Gainesville: University Press of Florida, Severino, Alexandrino E. Fernando Pessoa na Ajrica do Sul. Quixote, Vieira, Yara Frateschi. Sob 0 ramo da be'tula: Fernando Pessoa e 0 erotismo Vitoriano. Effield: O Pre-heteronimo de Boston.
He is writing a biography of Fernando Pessoa. He can be reached at rzenith gmail. Conversely, the memory and reception of Pessoa in South Africa have been slight, sustained by only a few individuals. It is here, not least, that we can trace the early formation of the imperial view of history that also becomes a strange limitation to his thinking. To what extent, we must ask ourselves, do the two cross paths in a meaningful way? Between and , young Fernando would live in this subtropical coastal town, with a population of under 30, at the time. And yet a common im- pression has been that little remains of this experience, both in public memory in South Africa and in the work of Pessoa himself.
In those days, each house reposed amidst several acres of fruit trees and flowers. As the Pessoas were neighbours of ours, on the Berea, they must have had a house and garden very much like ours. He corresponded with English journals, published poetry in English, and continued above all to write and read in English.
It is barely conceivable that this intellectual commerce with the Anglo- phone world would have occurred without those childhood years in Durban.
In a similar vein, it may be argued that Pessoa would never have become Pessoa without the migrant experience of being a Portuguese child in exile, edu- cated in the most excessively British, colonial part of southern Africa, not just at the peak of the British high-imperial period, but also during the dramatic years of the Anglo-Boer War The very conservative brand of Britishness of the Natal Colony, which contrasts both with the white liberalism of the Cape Colony and the Afrikanerdom of Transvaal and the Orange Free State, should be highlighted in this context.
If the colonial histories of other parts of South Africa had been rather checkered, and the boom town of Johannesburg founded in was rapidly becoming a cosmopolitan metropolis, the Natal Colony — where segregationist policies were implemented very early — was staunchly and self-consciously a part of the British Empire. In other words, it was a very specific, and specifically English, colonial African setting that Pessoa entered as a child.
Here we can trace the early formation of the imperial view of history that is so prominent in his work and, in its way, also becomes a strange limitation to his thinking. The empire as a frame of reference, an object of desire, a cause for ridicule, and a lofty ideal, would recur again and again in his writing. Tudo o mais e de segunda ordem. Whatever remains is of a sec- ond order. J Tu, cultura alema, Sparta podre com azeite de christismo e vinagre de nietzschizagao, colmeia de lata, transbordeamento imperialoide de servilismo engatado!
Nenhuma idea de uma estructura, nenhum senso do Edificio, nenhuma ansia do Organico-Creado! You, Italian ambition, lap-dog called Caesar! You, German culture, putrid Sparta with oil of Christianity and vinegar of Nietzscheanisation, tin-can beehive, imperialoid trangression of misguided servility! Not a single idea of a structure, no sense of an Edifice, no longing for Organic-Creation! Not even a small Pitt, not even a cardboard Goethe, not even a Nuremburg Napoleon! Pessoa was at this time experimenting with the literary persona Charles Robert Anon, who would later merge with Alexander Search.
Rus- sia does not now threaten our Eastern possession; and is it therefore that we laugh? The problem is certain attitudes and the conduct of the British, not the British Empire or imperial ambitions. What are men here that they should expel thee? What right of theirs, save power, makes others be The pawns, as if unfeeling, in their game?
Ireland and the Transvaal, ye are a shame On England and a blot! Oh, shall we see For ever crushed and held who should be free By human creatures without human name? Wherefore strength if not to oppress Wherefore might if not to make distress Wherefore [ ] So, men of England, continue your work And steal, steal, steal!
How should we assess these instances of rhetorical accusatio against Britain? If colonial propaganda, predictably, supported the war, as the stepson of a Portuguese consul, Pessoa would also have been exposed to the more common continental European perception that this was an unjust act of aggression against a small, freedom-loving people i. Irish volunteers had fought on the Boer side, identifying not with the Afrikaner ambition to maintain a quasi-feudal racist order, but with the nationalist David struggling against the imperialist British Goliath.
There was indeed little doubt, even on the British side, that the annexation of Transvaal had to do with anything other than economic interest. The conflict had been preceded by the infamous Jameson raid, a failed attempt in to take control of Johannesburg and the Transvaal. It had not directly involved Bri- tish troops, but the scheme had been devised by a group of influential British politicians and capitalists most prominent among them Cecil Rhodes and was aimed at provoking an interstate conflict.
We know today, of course, that not only was the raid carried out with the tacit blessing of Joseph Chamberlain — then British secretary of state for the colonies — but its ultimate outcome would be the outbreak of the war in October The ambivalence of this early work deepens yet further if we consider that the essay that won Pessoa the Queen Victoria Memorial Prize in — at the age of fifteen — was nothing less than a critical appraisal of the work of Thomas Babington Macaulay, these days routinely identified as a key figure in the artic- ulation of British imperialist ideology. There are four provisional conclusions we can draw from the discussion thus far.
One is that from the young to the mature Pessoa, there is a consistent pre- occupation with empires as political, supranational, and imagined constructs. The second conclusion is that this imperial preoccupation, already in Durban, is critical and contradictory. I would call this imperial ambivalence, and it is played out between heteronyms or preheteronyms as well as between heteronyms and the orthonymic poetry of Pessoa. The third conclusion is that — adopting a term from Laura Doyle — Pessoa al- ready at an early age cultivated an inter-imperial outlook.
And although Pessoa was in Durban at the same time that Mahatma Gandhi lived there, publishing Indian Opinion and promoting the rights of Indians in Natal, this does not enter his frame of reference at the time. On the contrary, he was — much like Roy Campbell — a fully representative product of Durban, in which white society created its own world, resolutely set apart from the African reality around it. This stakes out with grim finality the limits of the criticism articulated by the poems discussed in this article. Given that Pes- soa related to the world through writing and reading, one could well imagine that had he stayed longer in Durban, these more trenchant literary critiques of the colonial order in southern Africa would eventually have caught his attention.
But this is speculation. What we can say is that Durban made Pessoa imperial but never sufficiently colonial to engage seriously with the political and ethical dy- namics of Natal and southern Africa. This, in turn, also serves to explain why Pessoa is and probably will remain such a minority interest in South Africa itself.
Campbell produced some good translations of Pessoa, but his memory has been compromised by his lapse into fascism. Gray, who belongs to a younger generation, is a different case: a highly respected critic, his key contribution to literary studies in south- ern Africa has been to conceive of literature on a regional rather than a racial or linguistic basis.
Insofar as Pes- soa is one of the strongest examples we have of life being usurped by writing, then it is also through language and verse that it becomes possible to meet Pessoa on his own terms. Eglington the poet achieves in that way what critics, forced to approach Pessoa from the outside, will be unable to match. If I embrace this risk openly, it is for the simple reason that we cannot afford to ignore the cold historical horizon of my reading: the conflicted world that is the legacy of European imperialisms.
Jennings, The D. It should be noted that the correspondence be- tween Ormond and Pessoa has disappeared, if indeed it ever existed. Fernando Pessoa, Nouas poesias ineditas, ed. Obvious nuances can be added to this picture. Pessoa, Mensagem, First published in Portugal Futurista in My translation. See Fernando Pessoa, Eu sou uma antologia, ed. Fernando Pessoa, Pessoa ine'dito, ed.
Pessoa, Poemas Ingleses, Transcribed by Patricio Ferrari. Poem dated July Davenport, South Africa, For a discussion of ictic verse, see Martin J. For more on the essay, see Jennings, The D. Story, In a recent article, Leela Gandhi makes a point similar to mine but deliberately juxtaposes Pessoa and Gandhi, to see how Pessoan heteronymy and a Gandhian conception of democracy may resonate with one another. Hilary Owen and Anna M. Klobucka New York: Pal- grave Macmillan, , Stephen Gray, ed. Pessoa, Portugal e 0 Futuro. Lisbon: Gradiva, Blanco, Jose. Campbell, Roy. Johannesburg: Ad Donlcer, Davenport, T.
South Africa: A Modern History. London: Macmillan, Doyle, Laura. Dubow, Saul. Oxford: Oxford University Press, Duffell, Martin J. A New History of English Metre. Eglington, Charles Beaumont. Under the Horizon.
Cape Town: Purnell, Gandhi, Leela. Klobuclca, eds. New York: Palgrave Macmillan, Gray, Stephen, ed. London: Penguin, The D. Story Macaulay, Thomas Babington. Selected Writings. Edited by John Clive and Thomas Pinner.
Chicago: University of Chicago Press, Lisbon: Parceria Antonio Maria Pereira, Nouas poesias ineditas. Pessoa inedito. Edited by Teresa Rita Lopes. Lisbon: Livros Horizonte, Poemas Ingl eses: Poem as de Alexander Search. V, Tome II. Edited by Joao Diomsio. Lisbon: Imprensa Nacional- Casa da Moeda, Poemas de Fernando Pessoa: I, Tomo V.
Edited by Luis Prista. I, Tome V. Eu sou uma antologia: autoresjicttcios. Edited by Teresa Sobral Cunha. Obra Completa de Alvaro de Campos.
Eleven Books by Rio Favela Authors [BOOK REVIEW]
Edited by Jeronimo Pizarro and Antonio Cardiello. Rjbeiro, Antonio Sousa. Hanover: University Press of New England, He has pub- lished widely on southern African literature in English and Portuguese, Brazilian liter- ature, postcolonial theory, translation theory, and theories of world literature. He can be reached at stefan. Among its antecedents is the antimilitary poetry of the English poet A. Admittedly, war might come too close for this vision to be maintained.
But it is still essentially irrelevant. After all, Homer was not a participant in the war he wrote about in the Iliad, nor was Shakespeare at Agin- court. Without making any attempt to come out on either of the two sides of this issue, one can still note that the poets whose names come up in the discussion that follows were not participants in the battles referred to more or less directly in their poems. Housman, and Rupert Brooke. The best known of these and, perhaps, the most influential — even to those with a knowledge of the original languages — were done, first, by George Chapman, and then in the next century, by Alexander Pope.
This passion past, he gave command to his neare souldiers To put a Tripod to the fire, to cleanse the festred gore From off the person. Then they washt and fild the mortall wound With wealthy oyle of nine yeares old, then wrapt the body round In largenesse of a fine white sheete, and put it then in bed [. Much have I travelled in the realms of gold, And many goodly states and kingdoms seen ; Round many western islands have I been Which bards in fealty to Apollo hold. Oft of one wide expanse had I been told That deep-browed Homer ruled as his demesne ; Yet did I never breathe its pure serene Till I heard Chapman speak out loud and bold : Then felt I like some watcher of the skies When a new planet swims into his ken ; Or like stout Cortex when witli eagle eyes He stared at the Pacific — and all his 1 wild sur.
Similarly, it would be less than plausible to think, for that matter, that Pessoa was comfortable enough with ancient Greek to take on Homeric poetry in the original in any appropriative way. His soldier has met his death, his name silenced. The last of these poems is central to this essay: a poem that was written, most likely, sometime before the Portuguese government, succumbing to British political pressure and in defiance of Portuguese public opinion, agreed to send troops to support the English and the French in their war against the Germans and their allies.
Housman will take it out of the realm of disguised autobiography as Joao Gaspar Simoes would have it 9 and reveal its greater universality. Raia-lhe a farda o sangue. De bragos estendidos, Alvo, louro, exangue, Fita com olhar langue E cego os ceus perdidos. Tao jovem! Agora que idade tern? Dera-lhe a mae. Esta inteira E boa a cigarreira, Ele e que ja nao serve. De outra algibeira, alada Ponta a roqar o solo, A brancura embainhada De um lenqo. Jaz morto e apodrece O menino da sua mae.
Blood steeps his uniform. Blond, white, bloodless, His arms extended, He stares listlessly and Unseeingly at lost skies. He was so young! So young. The case is intact and in Good shape. He is not. From the other pocket, a Dangling edge, the hemmed White of a handkerchief flicking The ground — a gift from the old Nurse who carried him about.
Within days, England was deeply involved. Patriotism ran high. YetPessoa did not hold any brief for warfare itself. In fact, it was likely in that he wrote the most famous of his three or four great antiwar poems. Rather, he conveys the meaning that the soldier at eternal rest — the buried soldier — will always have for his country.
These laid the world away; poured out the red Sweet wine of youth; gave up the years to be Of work and joy, and that unhoped serene, That men call age; and those who would have been, Their sons, they gave, their immortality. Blow, bugles, blow! They brought us, for our dearth, Holiness, lacked so long, and Love, and Pain. Honour has come back as a king, to earth, And paid his subjects with a royal wage; And Nobleness walks in our ways again; And we have come into our heritage.
It offered the right sentiments, obviously, in the right words: During the last few months of his life, months of preparation in gallant comradeship and open air, the poet-soldier told with all the simple force of genius the sorrow of youth about to die, and the sure triumphant consola- tions of a sincere and valiant spirit.
The thoughts to which he gave expression in the very few incomparable war sonnets which he has left behind will be shared by many thousands of young men moving resolutely and blithely forward into this, the hardest, the crudest, and the least-rewarded of all the wars that men have fought. Lists with This Book. This book is not yet featured on Listopia. Community Reviews.
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