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    This Sorrow that Lifts Me Up
    This Sorrow that Lifts Me Up
    This Sorrow that Lifts Me Up
    Ebook173 pages1 hour

    This Sorrow that Lifts Me Up

    By Florbela Espanca and Cláudia Pazos-Alonso

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    About this ebook

    Florbela Espanca (1894–1930) is one of Portugal's most celebrated poets. This bilingual anthology allows English-speaking readers to see why she deserves to be more widely known. Her poetry speaks passionately of longing, love and sexual liberation against the backdrop of the interwar années folles. After her untimely demise in 1930, Espanca quickly became the stuff of legend, thanks to the captivating combination of a tumultuous life-story and a string of signature sonnets that alternate between feelings of crushing failure and proclamations of lust for life. This bilingual antology, edited by Cláudia Pazos-Alonso, with illustrations by Margarida Fleming and translation by Simon Park, allows English-speaking readers to see why Espanca deserves to be widely known.
    LanguageEnglish
    PublisherShantarin
    Release dateJul 31, 2023
    ISBN9789899156074
    This Sorrow that Lifts Me Up

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      Book preview

      This Sorrow that Lifts Me Up - Florbela Espanca

      Acknowledgments

      Shantarin expresses its gratitude to Apeles Gilberto de Oliveira Espanca, Maria Joana de Oliveira Espanca Bacelar, Maria Manuela Ramos Espanca Mendes Calado, José Manuel Ramos Espanca, Rosa dos Anjos Gonçalves Espanca, and to the Livraria Nazareth for their permission to use photographs taken by João Maria Espanca, Demóstenes Espanca, and António Nazareth in this edition.

      Shantarin also thanks the Biblioteca Geral of the Universidade de Évora for making available the following photographs from the archive of Túlio Espanca, which were used by the artist, Margarida Fleming, in the creation of the illustrations for this edition: nos. 02 (front cover and p. 78), 05 (p. 154), and 17 (p. 26) by Demóstenes Espanca, and 19 (by João Maria Espanca; p. 50), 23 (from Fotografia Nazareth, taken by António Nazareth; p. 174), and 24 (from Foto Medina, taken by J. Teixeira; p. 23)

      TITLE

      This Sorrow that Lifts Me Up

      AUTHOR

      Florbela Espanca

      SELECTION AND INTRODUCTION

      Cláudia Pazos-Alonso

      TRANSLATION

      Simon Park

      ILLUSTRATIONS

      Margarida Fleming

      GRAPHIC DESIGN

      Marta Nunes

      EDITORIAL COORDINATION

      Margarida Louro

      PUBLISHING DIRECTOR

      João Pedro Ruivo

      SERIES

      Litteraria

      PUBLISHER

      SHANTARIN

      Digital edition: July 2023

      Lisboa, Portugal

      ISBN 978-989-9156-07-4

      Copyright Antiga Shantarin, Lda.

      All rights reserved. No part of this publication may be reproduced in any form or by any means without prior permission in writing from the publisher.

      shantarin.com

      shantarin@shantarin.com

      Contributors to this edition

      Cláudia Pazos-Alonso is Professor of Portuguese and Gender Studies at the University of Oxford. She has published several books that range widely across Lusophone literature and culture from the nineteenth century onwards. Her first monograph was titled Imagens do Eu na poesia de Florbela Espanca (1997) and her latest Francisca Wood and Nineteenth-Century Periodical Culture. Pressing for Change (2020). In addition to collaborations with multiple academic journals as guest editor, she is also jointly responsible for recent editions of Florbela Espanca (Estampa) and Judith Teixeira (Dom Quixote) and for introductory essays to the English translations of prose works by António Pedro and Sophia de Mello Breyner Andresen. She has served two terms as Vice-President of the International Association of Lusitanists (2014–2020).

      Margarida Fleming is a self-taught artist with a background in Architecture and Graphic Design. She has exhibited her work in solo and group shows in Lisbon, Porto, Macau, and San Diego. Her paintings deploy a range of visual languages and constantly experiment with new techniques. Rapid brushstrokes and hyper-realist eyes are hallmarks of the enigmatic psychological landscapes of her paintings. The dense brushstrokes used for her subjects’ faces express complex emotions and challenge straightforward ideas of gender and beauty.

      Simon Park is Associate Professor of Medieval and Renaissance Portuguese at the University of Oxford. His work explores literature from the Medieval period to the present day. He is the author of Poets, Patronage, and Print in Sixteenth-Century Portugal: From Paper to Gold (2021) and the co-editor of Mário de Sá-Carneiro, A Cosmopolitan Modernist (2016).

      Introduction

      Phenomenal Florbela

      Florbela Espanca (1894–1930) is one of the Portugal’s best-known poets. Today, more than ninety years after her premature death, this bilingual anthology allows English-speaking readers to see why her poetry deserves to be celebrated as the work of a ‘phenomenal woman’, to quote here the title of a famous poem by the Afro-American, Maya Angelou.

      Portugal has long been inclined to see itself as a land of poets. It is, after all, the country of two giants of the western literary canon, the Renaissance Luís de Camões and the Modernist Fernando Pessoa, both considered to have changed the course of literary history in their respective times. Despite being a contemporary of Pessoa, and being, in her own way, radical, Florbela’s role in cultural modernity was not recognized until fairly recently. That she was long overlooked may have been at least in part due to the fact that she felt more at home in the traditional sonnet form cultivated by Camões than in a more avant-garde form such as free verse. But this is only part of the story: the reality is that, for most of the twentieth century, Portuguese mainstream culture remained resolutely blind to gender issues, with the predictable outcome that it continued to misguidedly conceive of itself as a fertile breeding-ground for male poets only.

      In addition to her poetry, which speaks passionately of longing, love and sexual liberation against the backdrop of the interwar années folles, the life-story of Florbela Espanca itself reads like a soap-opera script. She was born out of wedlock in Vila Viçosa, a small town in the Alentejo, to a teenage domestic servant who died young. Her father was an amateur photographer and left us many pictures of his daughter’s formative years. Her much-loved brother, Apeles, an aviator, died when his plane fell in to the Tagus in 1927. Although on one level Vila Viçosa was a sleepy provincial town, it was also the proud home of the monumental palace of the Braganzas, who visited intermittently up to the end of the monarchy in 1910. One can only imagine that the traces and presence of the royal family in Florbela’s hometown must have fed the imagination of a sensitive young child. Her first known poem, written at the tender age of eight, displays unusually precocious metaphysical concerns in her thematic handling of life and death. As such it provides a fitting starting-point for this anthology¹.

      Florbela was nearly sixteen when Portugal became a Republic. The seismic upheaval brought about by the change of political regime must surely have resonated with her, however subconsciously, not least given debates surrounding

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