Special Collections for Latin America, the Caribbean, Lusophone Africa, Spain and Portugal

A facsimile edition was published by Campo de Letras, Porto, 2003. The four numbers are dated Outono de 1951, Inverno de 1951/52, Primavera e Verão de 1953, while the final number bears no indication whatsoever of the date of publication, though presumably it appeared in 1953. The literary editors were António Luís Moita, António Ramos Rosa, José Terra, Luís Amaro, and Raul de Carvalho. For the final number Egito Gonçalves joined the editorial board in substitution for António Luís Moita. The graphic editor was Luís Moita for the first three numbers, and Fernando Lanhas for the final number. Albano Martins and António Ramos Rosa concurred that the aim of the review was to create a space for Portuguese poetry against the existing currents of neo-realism, surrealism, and traditionalism. It should be noted that authors of these persuasions are nevertheless included, especially surrealists. The first issue contains essays “Esfinge ou a Poesia” by Eduardo Lourenço, “Sobre os Partidarismos em Poesias” by Álvaro Selema, and “Os Perigos da Poesia e a ‘Pedra Filosofal’ de Jorge de Sena,” by Vasco Miranda. There are poems by António Ramos Rosa, António Vera, Cristóvam Pavia, José Terra, Fernando Vieira, Raul de Carvalho, Sebastião da Gama, Alberto de Lacerda, António Luís Moita, Egito Gonçalves, Luís Amaro and “Páginas de Diário” by Matilde Rosa Araújo, as well as an interview with Adolfo Casais Monteiro. In a section on foreign poets, Jorge de Sena translates poems by Stephen Spender, providing an introductory essay, while António Ramos Rosa translates poems by René Char, with an introductory essay. A piece of very short fiction by Maria Guilhermina is followed by a note on the author by Matilde Rosa Araújo. Books of poetry by Armindo Rodrigues, Fernanda Botelho, José Fernandes Fafe, Eugénio de Andrade, Mário Cesariny de Vasconcelos, Sofia de Mello Breyner Andresen, Alberto de Lacerda and others are reviewed by António Ramos Rosa, David Mourão-Ferreira, and José Terra. A plate was designed by Lima de Freitas. The second issue contains a previously unpublished poem by Sebastião de Gama, followed by an essay on the recently deceased poet by Luiz Amaro de Oliveira, and poems in his honor by António Luís Moita, Albano Martins, José Terra, and António Ramos Rosa. There are further poems by Manuel da Fonseca, Sophia de Mello Breyner Andresen, Albano Martins, Raul de Carvalho, Rogério Fernandes, Mário Cesariny de Vasconcelos, Luís Amaro (dedicated to Teixeira de Pascoaes), António Carlos, Vítor Matos e Sá, Ilse Losa, António Luís Moita, José Ferreira Monte, Carlos Eurico da Costa, José Terra, Marta Cristina de Araújo, Manuel Dias da Fonseca (in imitation of Pablo Neruda), Adriano Lourenço de Faria, and António Ramos Rosa. The section on foreign poets contains translations of Rainer Maria Rilke by Paulo Quintela, and Carmen Conde by Eduardo Moreiras (who provides prose information about Conde). There are essays “Sob o Signo da Poesia” by Vergílio Ferreira, “Poesia e Estilo” by Álvaro Salema, and “Poesia e Cinema: Leve Introdução ao ‘Orfeu’ de Jean Cocteau” by José-Augusto França. A section on new poets of Brazil contains two poems by Lêdo Ivo, preceded by an essay about the poet by Alfredo Margarido. Books of poetry by Marta Cristina de Araújo, Ruy Cinatti, Egito Gonçalves, Antunes da Silva, Ilse Losa, Jacinto Soares de Albergaria, Alexandre O’Neill, Armando Alves Martins, and V. Costa Marques are reviewed by António Ramos Rosa, Jorge de Sena, António Carlos, José Terra, and Luís Amaro. The two plates contain a portrait of Sebastião da Gama by Bonifácio Lázaro, and a reproduction of a photograph of Rainer Maria Rilke. The third issue contains poems by Paul Éluard, Cabral do Nascimento, Maria da Saudade Cortesão, Eugénio de Andrade, Natércia Freire, Mário Sacramento, David Mourão-Ferreira, Maria da Encarnação Baptista, and Egito Gonçalves. Foreign poets René Char and Vicente Aleixandre appear in the original French and Spanish, while Rainer Maria Rilke is translated by Paulo Quintela, Marcel Thiry by Andrée Crabbé Rocha (with a note), Paul Éluard and Henri Michauz by António Ramos Rosa, who also provides an essay “O sim de Éluard e o não de Michaux”. There is also an essay “Poesia, Pintura, e Realidade” by Fernando Guimarães. Books of poetry by Carlos Eurico da Costa, Natércia special list 274 1 3 Freire, Jorge de Sena, Ernâni Melo Viana, José Manuel and Fausto José are reviewed by António Ramos Rosa, Armando Ventura Ferreira, Humberto d’Avila, Egito Gonçalves and Rogério Fernandes. The plate was designed by Dourado. The fourth and final issue begins with an essay by António Ramos Rosa, “A Poesia é um Diálogo com o Universo” (it is dedicated to João Rui de Sousa and José Gago Sequeira). There are poems by Egito Gonçalves, José Bento, Alberto de Lacerda, Albano Martins, Palmira de Fátima, Mário Cesariny de Vasconcelos, Ernâni de Melo Viana, José Prudêncio, Cristovam Pavia, Luís Amaro, António Ramos Rosa “Telegrama sem Classificação Especial” (dedicated to Egito Gonçalves), Raul de Carvalho, José Terra, Jorge de Lima, Federico Garcia Lorca (in the original Spanish, followed by a “Nota Breve sobre dois poemas inéditos de Federico García Lorca” by Eugénio de Andrade), Henri Michaux (in the original French, previously unpublished), and Dora Isella Russell (in the original Spanish, previously unpublished). There is also a significant selection from W.H. Auden, translated and with an introduction by Jorge de Sena. Books of poetry by Mário Cesariny de Vasconcelos, Milto de Lima Sousa, Cyro Pimentel, Vasco Miranda, Miguel Torga, José Luís de Abreu Lima, António Quadros, and Vítor Matos e Sá are reviewed by António Ramos Rosa, Vítor Matos e Sá, Rogério Fernandes, Alfredo Margarido, and Armando Ventura Ferreira. Luís Amaro provides a brief notice of Teixeira de Pascoaes, and António Ramos Rosa a somewhat longer essay on the death of Paul Eluard. Including the anti-regime writer García Lorca, the poems of the recently deceased communist author Paul Eluard, allusions to the work of Rafael Alberti and Pablo Neruda marked this final number for the decisive intervention of the authorities on 17 April 1953. The PIDE are said to have consigned all copies of this issue they could lay hands on to the fire, according to João Gaspar Simões.

Among the other contributors were Aquilino Ribeiro, Raul Proença, Afonso Duarte, Afonso Lopes Vieira, Alberto Osório de Castro, Almada Negreiros, Augusto Gil, Camilo Pessanha, Cândido Figueiredo, Columbano Bordalo Pinheiro, Eugénio de Castro, Hipólito Raposo, Júlio Brandão, Júlio Dantas and Teixeira de Pascoaes. The series is heavily illustrated, with 67 plates, a few of them in color; a few volumes also have color reproductions on the front wrapper. Subjects include portraits of prominent literary or political figures, sculptures (by Pinto de Couto, Soares dos Reis, Costa Motta, and Bernardelli, among others), and paintings (by Columbano, Antonio Soares, Sargent, Antonio Carneiro, Sousa Pinto, Alberto de Souza, and Jorge Barradas, among others). Black-and-white decorative woodcuts appear frequently within the text, and later issues have photographic reproductions within the text as well. Each volume has 2-3 leaves of advertisements at the end.

There are, for instance, discussions on ways of providing Lisbon with water and the tunnel recently bored under the Thames. Virtually all of the contributions are unsigned, or signed with apparent pseudonyms; e.g., much of the poetry is signed “José Ozorio,” whose true identity we have been unable to establish. Other poems, however, are signed by the Portuguese poet and journalist Francisco Luis Lopes (b. 1816). João Luis Lopes (d. 1864) entered the military in 1824, only to be expelled five years later from the Academia de Fortificação for his liberal views. Rehabilitated in 1833, he rose to the rank of captain in the engineering corps, serving for a time as director of public works at Ponta Delgada (Azores) before being dismissed in 1847. He edited O Baratissimo while appealing his dismissal, which he successfully reversed in 1849; issue nº 40 (314-20) contains a long, signed defense of his conduct. At the end of the final issue he announces that the periodical will have to cease publication because the subscribers have been sending “rarissimas, e diminutas quantias” of the money they had promised.

In the third issue are Jacinto do Prado Coelho’s “O problema da sinceridade nos textos em prosa de Fernando Pessoa” and an essay by Fernando Luso Soares on Camus and Sartre. The fourth issue includes an essay by Mário Sacramento on António Sérgio, Y.K. Centeno on Gotthold Ephraim Lessing’s Emilia Galoti, and Afonso Cautela on the historical position of Surrealism. The final issue is devoted to the theater, with a brief theatrical piece by Mário Cesariny titled “O processo” (pp. 25-30), critiques of works by Günter 3 0 richard c. ramer Grass, Samuel Beckett and Eça de Queiroz, and essays on various aspects of contemporary drama. Other contributors of note include David Mourão-Ferreira, Virgilio Ferreira, Natália Correia, Urbano Tavares Rodrigues, António Pedro, Maria Judite de Carvalho, Alexandre O’Neill, António Ramos Rosa, João Medina, Fiama Hasse Pais Brandão, Tomaz Kim, and Alexandre Babo. Cronos was directed by Fernando Luso Soares, Mário Dias Ramos, Eduardo Prado Coelho and Mendes de Carvalho.

It begins with a satiric poem at the end of the second issue, on p. 64, “Post–Scriptum” which reveals its editorial bias with the penultimate line, “Treme, barbaro Lopes!” There is more on this theme, this time in prose, at the beginning of the third issue, on pp. [65]–67. In the same issue, on pp. 88–9, is a piece titled “A Armada Brazileira e a Planta Impura dos Paraguayos” which begins “Como são bravos os brazileiros!” At the end of this issue, on p. 96, is a short piece titled “Um Paraguayo Disfarçado”. In the fourth issue, on pp. 107–8 is an article titled “Enthusiasmos Patrioticos d’um Brazileiro”, followed immediately on the bottom of p. 108 by “Educação Guerreira no Brazil”. On pp. 125–6 of the same issue is an article which begins “De como os Soldados Paraguayos Eram de Couro”. At the beginning of the fifth issue, on pp. [129]–135 is a poem titled “A Marrada: Fragmentos d’um poema sem nome dedicado aos intrepidos vencedores do Currupaity… em gripho”. Another poem on the Paraguayan War, “Quichotada”, appears on pp. 143–5 of the same issue, while on pp. 147–8 of this issue appears an article titled “De Como os Brazileiros iam Filando o Lopes”. A brief poem titled “Pennada: a proposito da guerra” appears on p. 155 of this issue. At the beginning of the sixth issue, on pp. [161]–165, is a stridently pro–Brazilian “Carta aos Illustres Membros da Colonia Brazileira Residentes n’esta Cidade”. On pp. 167–8 of this issue is a poem “Pennadas” which is continued on p. 183, with a third part on p. 191. On pp. 188–90 is an article titled “Novos Commettimentos: Prodigios da Metralha Brazileira”. The seventh and final issue begins, on pp. [193]–200 with a “Segunda Carta aos Illustres Membros da Colonia Brazileira Residentes n’esta Cidade”. The editor (1845–1880), a native of Porto, was a journalist involved in politics on the side of liberal democracy. With Borges de Avellar, Agostinho Albano and Guilherme Braga he founded the Diario da tarde; later, in 1874, he founded its successor, Lucta, of which he was the principal editor. He was involved with a number of other satirical, polemical and partisan publications.

Each “year” or volume consists of 12 consecutively paged numbers. Among the most important writers whose poems are included are José Duarte Ramalho Ortigão (2), Camilo Castelo Branco (2), Francisco Joaquim Bingre (10), Júlio Diniz (8), Anthero de Quental, Alexandre Herculano, Francisco Marques de Souza Viterbo (3), Abílio Guerra Junqueiro (2), Alberto Pimentel, João de Deus, and Theophilo Braga. j Rafael and Santos, eds., Jornais e revistas portugueses do século XIX, 2612. Innocêncio III, 414-6. See also Historia da poesia moderna em Portugal. Carta a J. M. Nogueira Lima sobre a Grinalda por Theophilo Braga, Porto 1869.

In issue number 6, the censors obliged the magazine to publish a “Declaração” regarding two articles critical of the status quo by Antóno Ramos de Almeida, which had appeared in issue number 4. In the 52nd issue, May 1947, the suspension of the review was announced. After almost a year, the 53rd issue appeared, perhaps symbolically, on May 1, 1948, with the aid of Editorial Cosmos, directed by Manuel Rodrigues de Oliveira. Emil Anderson left the editorial board after issue number 30. Adolfo Casais Monteiro, who had been something of the de-facto editor, and whose name on the masthead irritated the authorities, withdrew from the editorial board for the final issue, but continued as a contributor. Despite this, there were then orders to suspend publication, and appeals were to no avail. Mundo literário was not doctrinaire, and was without commitment to any particular literary movement. In its pages were debated the aesthetics of neo-realism and the second wave of modernism of Presença. It attempted to expose Portuguese readers to the work of Kafka (hitherto totally unknown), Jean-Paul Sartre, Henri Michaux, José Rodrigues Miguéis, Aleixo Ribeiro, Graciliano Ramos, José Lins do Rego, Soeiro Pereira Gomes, Alves Redol, Manuel da Fonseca, and Carlos de Oliveira. In Portugal at the time, 7 4 richard c. ramer it also was unusual for introducing American authors such as Hemingway, John dos Passos, and Langston Hughes, which engendered suspicion on the part of the censors. An article by Upton Sinclair on Mark Twain appeared in issues 27 and 28. Lusophone African authors were also recognized. Number 46 was partly dedicated to the centenary of Castro Alves. There was an important polemical sequence of literary criticism between José Régio and Joel Serrão, and another between Serrão and João Gaspar Simões. After the 27th issue, literary criticism was assumed by Adolfo Casais Monteiro, António Pedro, António Ramos de Almeida, António Salgado Júnior, Armando Ventura Ferreira, Joel Serrão, Jorge de Sena and Mário Sacramento. Musical criticism was by Francine Benoit, Humberto d’Avila, and José Blanc de Portugal. Film critics were Aldolfo Casais Monteiro, Manuel de Azevedo, and Rui Grácio. Theater critics were António Pedro, Luiz Francisco Rebello, and Manuela Porto. New currents in the fine arts, as exemplified by Picasso and Portinari, were examined. The review published illustrations critical of the bourgeoisie by Bernardo Marques (issue 4), George Grosz (issue 25), Talitsky on the Holcaust and Nazi concentration camps (issue 24), and a self portrait by Dórdio Gomes (issue 6). There were also artistic contributions by Júlio (issue 31) and Júlio Pomar (issue 35). Beginning with the 5th issue, António Pedro wrote a series titled “História Breve da Pintura”. The final issue denounced the non-existence of a Museum of Modern Art in Portugal. Other important texts which appeared in the pages of this review are too numerous to mention here in their entirety. Among the most noteworthy are Adolfo Casais Monteiro, “A Crítica, a História e o Homem” (issue 1), “Valores Humanos e Valores Estéticos” (issue 6), “Guernica” (issue 10); 2 poems by Alexandre O’Neill, “A Bilha” and “Acórdeão” (issue 31); António José Saraiva, “O Pássaro Azul” (criticism of João Gaspar Simões, issue 53); António Sérgio, “A propósito de uma Discussão entre Antero de Quental e Oliveira Martins” (issue 37); Augusto Abeleira, “Sinceridade e Falta de Convicções na Obra de Fernando Pessoa” (issue 51); Jorge de Sena’s presentation of a semi-unpublished poem by Cesário Verde, “Loira” (issue 29); Diogo de Macedo, “Pousão e Colombano” (issue 3); 2 poems by Eugénio de Andrade (issue 31), and 2 more poems by the same author (issue 53); and Gilberto Freyre, “Jorge de Lima e o Movimento do Nordeste” (issue 2). There were also texts by Branquinho da Fonseca (issues 16, 17, and 30), Cabral do Nascimento (issues 27 and 40), Fernando Namora (issue 19), Fernando Pessoa (issue 24), Francisco José Tenreiro (issue 36), Jacinto do Prado Coelho (issue 52), Romulo de Carvalho (issues 33 and 49) and Mário de Andrade (issues 13 and 18), as well as 3 poems by Carlos Drummond de Andrade, and others by Pedro de Silveira, Tomás Kim, and Vinicius de Moraes.

In an initial essay Manuel de Meneses (pp. 1-4) disparages authors such as Júlio Dantas, Antero de Figueiredo, Carlos Malheiro Dias, António Patrício, Sousa Pinto and Augusto de Castro, among others. In the same essay, Meneses affirms that the review proposes to analyze the state of Portuguese literature and contribute to its rehabilitation, stating that the review is not the organ of any coterie, and does not present any particular program. Four sonnets by João Cabral do Nascimento (pp. 5-8) are followed by an article on Russian ballet by Ernesto Gonçalves (pp. 9-16). There are two previously unpublished letters by Camilo Castelo Branco to José Cardoso Vieira de Castro (pp. 17-9), and Luís Vieira de Castro contributes a piece of short fiction titled “Espiritual” (pp. 20-5), as well as an essay “Ideias & factos, cronica: a melhor obra de Camillo” (pp. 29-31). Álvaro Manso de Souza provides three sonnets with the collective title “Poemas Orientais” (pp. 26-8). Finally, Manuel de Meneses contributes a brief resumé of the recent “Vida Literária e Artística” (pp. 31-2), which includes favorable mention of Eugénio de Castro, Fialho de Almeida, and Aquilino Ribeiro, as well as the painter Eduardo Viana. Ruy Coelho’s opera Auto do Berço, performed at the Teatro São Carlos in Lisbon, was judged unsuccessful, though the composer’s talent was considered admirable.

The volume begins with number 1, issued 1 January 1873, and ends with number 318, issued 28 January 1874. It lacks numbers 5, 212, 222, and 224; possibly also lacking numbers 190 and 313, which may never have been issued. The Partido Progressista was a center-left coalition, favoring liberal ideas such as increased suffrage and secularism. It is said by both the Grande enciclopédia and Dicionário de historia de Portugal that the party was founded on 7 September 1876 by the “Pacto de Granja”, which united the Partido Histórico with the Partido Constitucional. The fact of this newspaper began 1 January 1873 proves the party’s earlier de facto existence even if the formal union of the parties opposing the more conservative Partido Regenerador was only ratified later. Content is mostly domestic and foreign news, politics, and commerce. Arrivals and departures of ships are noted. The majority of issues contain a literary section, occupying from a fifth to a third of the lower portion of the front page, sometimes continuing on to the following page. Included are serialized translations of fictional works.

António Botto commented, “APresença oferece-nos como que uma vasta e estranha síntese literária … resultante dos destroços do simbolismo aristocrático Coimbrão, do saudosismo portuense, do paulismo e futurismo lisboetas, além de tudo o que respirasse liberdade, inclusive, ou sobretudo, a sexual” (quoted in Pires, p. 245). Successor to the modernist journal Orpheu, it too published works by the leading figures in Portuguese literature, including Mário Sá-Carneiro, Fernando Pessoa, José Régio, Casais Monteiro, João Gaspar Simões, António de Sousa, Saul Dias, Branquinho da Fonseca, Almada Negreiros, Raul Leal, Alberto de Serpa, Irene Lisboa and Miguel Torga. It was responsible for introducing such foreign writers as Gide and Proust to Portuguese readers and for introducing the criticism of cinema as an art form; in addition, it emphasized contemporary music and the art of Cubists, Futurists, Primitivists and Expressionists. Presença was directed by José Régio, João Gaspar Simões and Branquinho da Fonseca; Casais Monteiro later replaced Branquinho da Fonseca. Graphic contributors included Almada Negreiros, Júlio, Mário Elói, Dórdio Gomes, João Carlos, Sara Afonso, Arlindo Vicente, Paulo, Ventura Porfírio and Bernardo Marques.

Initially the review included writers from different literary and political currents: “presencistas” such as José Regio, João Gaspar Simões, Adolfo Casais Monteiro, monarchists such as Castelo Branco Chaves, and “seareiros” such as António Sérgio, Hernâni Cidade and Irene Lisboa, but eventually neo-realist writers, such as Abel Salazar, Mário Dionísio, Manuel da Fonseca, João José Cochofel, Fernando Namora, Joaquim Namorado, Alves Redol, Ávaro Cunhal, António Ramos de Almeida, Joffre Amaral Nogueira, among others, gained the upper hand. In the 10th issue it was announced that Sol nascente would henceforth “amar a luta”. This was further accentuated by a declaration in the 27th number, and even more in the 34th, the review’s second anniversary. By the third anniversary there was a pronounced affinity with the proposals of the Portuguese Communist Party. Shortly thereafter Sol nascente was suppressed by the censors of the Estado Novo. Foreign neo-realist manifestations were frequently publicized. Joaquim Namorado wrote a long article titled “Do neo-romantismo: o sentido heroico da vida na obra de Jorge Amado” (numbers 43-44, pp. 22-3). Other themes covered were education, literary creativity, opposition to the death penalty, and dialectical materialism (numbers 29 and following, 38, 40). Attention was paid to Galician literature, especially Castelao (numbers 14, 17, etc.). Garcia Lorca was one of the foreign writers most often mentioned (number 38, etc.). Sexuality, a theme almost completely absent from the Portuguese press, appeared in citations from Wilhelm Reich (number 39, etc.), and an appeal by Álvaro Cunhal, “E serão dois numa só carne” (number 39). Every issue save the first contains a reproduction of an important work of art on the front page. Artists included are Abel Salazar, Augusto Tavares, Casimiro de Carvalho, Cruz Caldas, Domínguez Alvarez, Dórdio Gomes, Frederico George, George Grosz, Gonçalves Torres, Herculano de Figueiredo, João Barreira, Joaquim Lopes, Leopoldo de Almeida, Magalhães Filho, Manuel Lima, Mendes da Silva, Nils af Strom, Simbach, Skogzila Wladyslaw and Ventura Porfírio. Many of the images depict social inequity. The final issue shows the iconic work “Café” by the Brazilian painter Candido Portinari, which had been exhibited at the Brazilian pavilion in the Exposição do Mundo Português, Belém, 1940, and resides permanently at the Museu Nacional de Belas Artes do Rio de Janeiro.

Some of the contributors (Angelo de Lima, Raul Leal, Mário Saa, Almada Negreiros) also wrote for Távola redonda and Graal, and were tied to the Geração de Orpheu. Notable contributions include essays by Haroldo de Campos on “A temperatura informacional do texto” and “Ezra Pound e o futuro da poesia”; Almada Negreiros, “Deseja-se mulher”; poems by T.S. Eliot, Ezra Pound, D.H. Lawrence and Rainer Maria Rilke; a previously unpublished letter by Mário Sá-Carneiro; a self-caricature by Sergei Eisenstein; Agustina Bessa-Luís’ short story “O baile dos archotes”; an unpublished sonnet by Álvaro de Campos, “Soneto já antigo”; Ruy Belo’s poems “Segunda infancia” and “Composição de lugar e tempo”; Manuel Bandeira’s poem “Preparação para a morte”; and unpublished letters of José Agostinho de Macedo. With respect to the visual arts, Tempo presente includes reproductions of works by Mário Saa, Santa-Rita Pintor, Almada Negreiros, Mário Eloy, the Dadaist Hans Arp and Henry Moore.

Privately, França asserted that the aim was to favorably position surrealism in relation to neo-realism. Nevertheless, this did not prevent the collaboration of Modernists and Postmodernists from the generation of Presença, as well as Neo-realists, together with the Surrealists. From the point of view of the history of ideas in Portugal, there are commentaries on André Gide by Jorge de Sena, “Como vivem os intelectuais portugueses a sua relação com a cultura passada em Portugal”, organized by Eduardo Lourenço, “Quais os livros que valeu a pena ler, quais os livros que valeu a pena escrever”, and “Para um conceito actual de modernidade”. There is a dossier on the concept of the “Homem revoltado” in relation to Portuguese literature of the first half of the twentieth century. In the fifth and final number, França wrote a final note announcing the termination of the review, saying that it had failed due to excessive ambition and lack of contributors. He states that it had not been a review of any group or generation, manifesting its independence; and he accuses Vértice of being “comprometida num sectarismo ultrapassado” and Graal of “repousar literariamente nas ilusões de existência que a extrema-direita proporciona”. This final assessment gave rise to a polemic with José Régio in the pages of the Diário popular. Among the “core” writers who contributed are Adolfo Casais Monteiro, António Pedro, José-Augusto França, Fernando Azevedo, Jorge de Sena (among his several pieces is one on D.H. Lawrence, with a translation of the poem “Democracy”), Eduardo Lourenço, Alexandre O’Neill, and José Blanc de Portugal. There are also contributions by Sophia de Mello Breyner Andresen, António Sérgio, Delfim Santos, José Régio, Vitorino Nemésio, Almada Negreiros, Hernâni Cidade, Joel Serrão, Miguel Torga, Fernando Pessoa (a previously unpublished essay in Tricórnio, “O Orpheu e a literatura portuguesa”), David Mourão-Ferreira, Eugénio de Andrade, Fernando Namora, Ferreira de Castro, João Pedro de Andrade, José Osório de Oliveira, Luiz Francisco Rebello, Mário Dionísio, Tomás Ribas, Urbano Tavares Rodrigues, Ruy Cinatti, Tomás Kim, Fernando Lemos, Oscar Lopes, Alberto de Lacerda, and others.