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    António Vieira's The Sermon of Saint Anthony to the Fish and Other Texts is the first collection of his writings to appear in English.

    Original first edition title "Lettres portugaises traduites en français".

    The story tells of the disappointment of the two protagonists, which represents the disappointment of a whole nation."

    I think I have under control the reluctance I feel in having to share Pessoa with the public he should have had all along in America: until now, only the poets, so far as I can tell, have even heard of him, and delighted and exulted in him. He is, in some ways, the poet of modernism, the only one willing to fracture himself into the parcels of action, anguish, and nostalgia which are the grounds of our actual situation." —C. K. Williams"Pessoa is one of the great originals (a fact rendered more striking by his writing as several distinct personalities) of the European poetry of the first part of this century, and has been one of the last poets of comparable stature, in the European languages, to become known in English. Edwin Honig's translations of Spanish and Portuguese poetry have been known to anyone who cares about either, since his work on Lorca in the forties, and his Selected Poems of Pessoa (1971) was a welcome step toward a long-awaited larger colection." — W. S. Merwin"Fernando Pessoa is the least known of the masters of the twentieth-century poetry. From his heteronymic passion he produced, if that is the word, two of our greatest poets, Alberto Caeiro and Álvaro de Campos, and a third, Ricardo Reis, who isn't bad. Pessoa is the exemplary poet of the self as other, of the poem as testament to unreality, proclamation of nothingness, occasion for expectancy. In Edwin Honig's and Susan Brown's superb translations, Pessoa and his "others" live with miraculous style and vitality." —Mark StrandFernando Pessoa is Portugal’s most important contemporary poet. He wrote under several identities, which he called heteronyms: Albet Caeiro, Alvaro de Campos, Ricardo Reis, and Bernardo Soares. He wrote sublime poetry under his own name as well, and each of his “voices” is completely different in subject, temperament, and style. This volume brings back into print the comprehensive collection of his work published by Ecco Press in 1986.

    Sure a woman has been murdered and the eye witness is a talking, thinking, reading stuffed donkey, but it is not entirely absurd, for it suggests a number of human truths like a short electric cut through Wittgenstein, who plays a role in the novel that begins with the sheer absurd and ends with a more elevated absurd, you odd and Cartesian human reader.A book that can be read in one sitting, it is also a book that you will read at least three times if you do race through it in a sitting. Perhaps you should read it standing. Standing and leaning? Well, that would allow some leg flexing, yes. But isn’t your concentration sharper if you are sitting? And though your legs stretch less, is the trade-off between less stretching worth it for the rest they have in not supporting your body? And which is better for your head? Sitting, as you can rest your face in your hands? Or standing, which allows better back to head stretching? What if someone enters the room? Why did they? Did they intend to interrupt your reading of Bedraggling Grandma with Russian Snow? If not, why did they interrupt your reading of Bedraggling Grandma with Russian Snow? For they did, indeed, interrupt your reading of Bedraggling Grandma with Russian Snow. Would they have felt less free to do so if you were standing? Does sitting invite interruption?These are questions you will not think to ask until after you realized that you have been slyly taught how to think by this Portuguese master of humor, philosophy, and imagination, João Reis."I’m sorry for diverting from the main issue, dear gentlemen, but as you know, every single detail might be of importance, life and occurrences are a perfect sphere, no angles and no end, you are detectives and surely understand why I can’t leave all the connecting dots and wires and cables and threads lying around out there untouched unseen unheard."

    His wife and children move out to live with family hours away, but Daniel believes against all odds that he will find a job and everything will return to normal.Even as he loses his home, suffers severe damage to his car, and finds himself living in his old, abandoned office building, Daniel fights the realization that things have changed. He’s unable to see what remains among the rubble—friendship, his family’s love, and people’s deep desire to connect. If Daniel can let go of the past and find his true self, he just might save not only himself but also everyone that really matters to him.

    She's happy, but she doesn't know what she wants from life.But when her adoptive mother dies and leaves her twenty-five-year-old daughter a scrapbook of memories, Daisy finally discovers who she is and where she came from. Her real mother was a teenage farmer's daughter from Cornwall - and Daisy drops everything to go and find her. But in going in search of her past, is Daisy risking the future of her relationship not only with her adored dad but also with Joel? And will she be able to deal with the truth about her real parents and the real Daisy?

    After the suspicious death of Pope John Paul I, a few operatives bold enough to penetrate the Vatican's shadowy inner circle will investigate what went wrong- and try to prevent the popular new Pope from meeting the same fate. But unfortunately for them, a passion for truth and justice can be dangerous, especially to John Paul II.

    Álvaro lives alone and bemoans the evils of his ex-wife. Sílvio can’t give up the excesses of sex and drugs. Ribeiro is a vain, Viagra-abusing beach bum. Neto is the square, a faithful husband until the end. Ciro is the Don Juan envied by all—but the first to die. Cutting in on these swan songs are the testimonies of those the men seduced, cheated, loved, and abandoned: their wives and children. Edgy, funny, and wise, The End is a candid tropical tragicomedy and an epitaph for a lost generation of machos.

    Macunaima, first published in Portuguese in 1928, and one of the masterworks of Brazilian literature, is a comic folkloric rhapsody (call it a novel if you really want) about the adventures of a popular hero whose fate is intended to define the national character of Brazil."Inventive, blessedly unsentimental," as Kirkus Reviews has it, and incorporating and interpreting the rich exotic myths and legends of Brazil, Macunaima traces the hero's quest for a magic charm, a gift from the gods, that he lost by transgressing the mores of his culture. Born in the heart of the darkness of the jungle, Macunaima is a complex of contradictory traits (he is, of course, "a hero without a character"), and can at will magically change his age, his race, his geographic location, to suit his purposes and overcome obstacles. Dramatizing aspects of Brazil in transition (multiracial, Indian versus European, rural versus urban life), Macunaima undergoes sometimes hilarious, sometimes grotesque transformations until his final annihilation and apotheosis as the Great Bear constellation in the heavens.

    The poor orphan Aurélia is devastated when her true love, Fernando, breaks their engagement for the financial rewards of a marriage of convenience to another. But Aurélia unexpectedly inherits a fortune and plans her revenge. Winning marriage to Fernando with a large dowery, she stuns her lover on their wedding night by imposing a marriage of convenience until the dowery is returned. The marriage descends into one of hate more than convenience, until both recognize the errors of their ways.

    I couldn't put it down."Eve Harris, Booker longlisted author of 'The Marrying of Chani Kaufman'"Pugh's first novel is a magnificent achievement. Let us hope he returns to enthral us with another very soon."David Dickinson, author of the Powerscourt seriesThe Otiosi? As far as Mathew Longstaff knows, they’re just a group of harmless scholars with an eccentric interest in the works of antiquity. When they ask him to travel east, to recover a lost text from Ivan the Terrible’s private library, he can’t think of anything but the reward - home. A return to England and an end to the long years of exile and warfare.But the Otiosi are on the trail of a greater prize than Longstaff realises - the legendary ‘Devil’s Library’. And they are not alone. Gregorio Spina, the Pope’s spymaster and Chief Censor, is obsessed with finding the Library. It’s not the accumulated wisdom of centuries he’s after - a swamp of lies and heresy in his opinion - but among the filth, like a diamond at the centre of the Devil’s black heart, Spina believes that God has placed a treasure, a weapon to defeat the Antichrist and pitch his hordes back into hell.Only Longstaff, together with the unpredictable physician, Gaetan Durant, can stop Spina using the Library to plunge Europe into a second Dark Ages. The two adventurers fight their way south, from the snowfields of Muscovy to the sun-baked plains of Italy, where an ageing scholar and his beautiful, young protégé hold the final piece of the puzzle. But is it already too late? Can the four of them take on the might of the Roman Church and hope to win?

    There she becomes Hilda Hurricane, an erotic force of nature no man can resist. The exception is reporter-narrator Roberto Drummond, who attempts to unravel the mystery of why the girl in the gold bikini would forego a comfortable life to join the world's oldest profession. While some in Belo Horizonte cheer Hilda's liberated lifestyle, others seek to have her moved outside the city limits, and a would-be saint cannot seem to finish the exorcism he began outside the Hotel Marvelous. Set against the social and political upheaval of the 1960s, Hilda's story seduces even as Drummond becomes aware of more ominous forces approaching Belo Horizonte.Hilda Hurricane was both a critical and a commercial success in Brazil, with more than 200,000 copies sold. (The DVD of the television adaptation has sold more than a million copies.) Admirers of Kurt Vonnegut will revel in Drummond's similarly sharp satire and playful digressions, particularly about left-wing politics, which blur the boundary between fiction and autobiography. Yet the real genius of the author's interventions may be that they never slow the story long enough to lose sight of this mysterious beauty swept up in the turmoil of the times.

    Years later, he relives the episode as he examines the mistakes of his past and struggles for forgiveness. His father, who has Alzheimer’s, obsessively records every memory that comes to mind, and his grandfather, who survived Auschwitz, fills notebook after notebook with the false memories of someone desperate to forget.This powerful novel centered on guilt and the complicated legacy of history asks provocative questions about what it means to be Jewish in the twenty-first century.