Perhaps my regret for having never been a son plays a large role in my emotional indifference. Whoever held me as a child against her face couldn't hold me against her heart. Only she who was far away, in a tomb, could have done that she who would have belonged to me, had Fate willed it.

They told me later on that my mother was pretty, and they say that, when they told me, I made no comment. I was already fit in body and soul, but ignorant about emotions, and people's speech was not yet news from other, hard-to-imagine pages.

My father, who lived far away, killed himself when I was three, and so I never met him. I still don't know why he lived far away. I never cared to find out. I remember his death as a grave silence during the first meals we ate after learning about it. I remember that the others would occasionally look at me. And I would look back, dumbly comprehending. Then I'd eat with more concentration, since they might, when I wasn't looking, still be looking at me.

I'm all of these things, like it or not, in the confused depths of my fatal sensibility.

31.

The clock in the back of the deserted house (everyone's sleeping) slowly lets the clear quadruple sound of four o'clock in the morning fall. I still haven't fallen asleep, and I don't expect to. There's nothing on my mind to keep me from sleeping and no physical pain to prevent me from relaxing, but the dull silence of my strange body just lies there in the darkness, made even more desolate by the feeble moonlight of the street lamps. I'm so sleepy I can't even think, so sleepless I can't feel.

Everything around me is the naked, abstract universe, consisting of nocturnal negations. Divided between tired and restless, I succeed in touching with the awareness of my body a metaphysical knowledge of the mystery of things. Sometimes my soul starts fading, and then the random details of daily life float on the surface of consciousness, and I find myself entering amounts while floundering in sleeplessness. At other times I wake up from the half-sleep I'd fallen into, and hazy images with poetical and unpredictable colours play out their silent show to my inattention. My eyes aren't completely closed. My faint vision is fringed by a light from far away; it's from the street lamps that border the deserted street down below.

To cease, to sleep, to replace this intermittent consciousness with better, melancholy things, whispered in secret to someone who doesn't know me!... To cease, to be the ebb and flow of a vast sea, fluidly skirting real shores, on a night in which one really sleeps!... To cease, to be unknown and external, a swaying of branches in distant rows of trees, a gentle falling of leaves, their sound noted more than their fall, the ocean spray of far-off fountains, and all the uncertainty of parks at night, lost in endless tangles, natural labyrinths of darkness!... To cease, to end at last, but surviving as something else: the page of a book, a tuft of dishevelled hair, the quiver of the creeping plant next to a half-open window, the irrelevant footsteps in the gravel of the bend, the last smoke to rise from the village going to sleep, the wagoner's whip left on the early morning roadside... Absurdity, confusion, oblivion everything that isn't life...

In my own way I sleep, without slumber or repose, this vegetative life of imagining, and the distant reflection of the silent street lamps, like the quiet foam of a dirty sea, hovers behind my restless eyebrows.

I sleep and unsleep.

Behind me, on the other side of where I'm lying down, the silence of the house touches infinity. I hear time fall, drop by drop, and not one drop that falls can be heard. My physical heart is physically oppressed by the almost forgotten memory of all that has been or that I've been. I feel my head materially supported by the pillow in which it makes a valley. My skin and the skin of the pillowcase are like two people touching in the shadows. Even the ear on which I'm lying mathematically engraves itself on my brain. I blink with fatigue, and my eyelashes make an infinitesimal, inaudible sound against the felt whiteness of the pillow's slope. I breathe, sighing, and my breathing happens it isn't mine. I suffer without feeling or thinking. The house's clock, definitely located in the midst of the infinite, strikes the half hour, dry and void. Everything is so full, so deep, so black and so cold!

I pass times, I pass silences; formless worlds pass by me.

Like a child of Mystery, a cock suddenly crows, unaware that it's night-time. I can sleep, for it's morning in me. And I feel my mouth smile, slightly displacing the soft pleats of the pillowcase pressed against my face. I can surrender to life, I can sleep, I can forget myself... And as incipient slumber wraps me in darkness, either I remember the cock that crowed, or it is the cock itself that crows a second time.

32.

SYMPHONY OF A R RESTLESS N NIGHT.

Everything was sleeping as if the universe were a mistake. The wind, blowing uncertainly, was a formless flag unfurled over a non-existent army post. High, strong gusts ripped through nothing at all, and the window-frames shook their panes to make the edges rattle. Underlying everything, the hushed night was the tomb of God* (and my soul felt sorry for God).

Suddenly a new order of universal things acted on the city, the wind whistled in its lulls, and there was a slumbering awareness of countless agitations on high. Then the night closed like a trapdoor, and a vast calm made me wish I'd been sleeping.

33.

During the first days of Autumn when nightfall arrives suddenly, as if prematurely, and it seems we took longer to do our day's work, I enjoy, while still working, the thought of not working which the darkness brings, for the darkness is night, and night means sleep, home, freedom. When the lights come on, dispelling darkness from the large office, and we continue our day's work in the beginning of night, I feel a comfort that's absurd, like a remembrance belonging to someone else, and I'm at peace with the numbers I write, as if I were reading while waiting to fall asleep.

We're all slaves of external circumstances. A sunny day transports us from a cafe on a narrow side street to wide-open fields; an overcast sky in the country makes us close up, taking shelter as best we can in the house without doors of our own self; the onset of night, even in the midst of daytime activities, enlarges like a slowly opening fan our awareness that we ought to rest.

But the work doesn't slow down; it gets livelier. We no longer work; we amuse ourselves with the labour to which we're condemned. And all of a sudden, across the huge columned sheet of my numerary destiny, the old house of my elderly aunts, shut off from the world, shelters the drowsy ten o'clock tea, and the kerosene lamp of my lost childhood, glowing only on the linen-covered table, blinds me to the sight of Moreira, illuminated by a black electricity infinities away from me. The maid, who is even older than my aunts, brings in the tea, along with the vestiges of her interrupted nap and the affectionately patient grumpiness of old-time servants, and across all my dead past I enter items and totals without a single mistake. I retreat into myself, get lost in myself, forget myself in far-away nights uncontaminated by duty and the world, undefiled by mystery and the future.

And so gentle is the sensation that estranges me from debits and credits that if by chance I'm asked a question, I answer in a soft voice, as if my being were hollow, as if it were nothing more than a typewriter I carry around with me portable, opened and ready. It doesn't faze me when my dreams are interrupted; they're so gentle that I keep dreaming them as I speak, write, answer, or even discuss. And through it all the long-lost tea finishes, the office is going to close... From the ledger which I slowly shut I raise my eyes, sore from the tears they didn't shed, and with confused feelings I accept, because I must, that with the closing of my office my dream also closes; that as my hand shuts the ledger it also pulls a veil over my irretrievable past; that I'm going to life's bed wide awake, unaccompanied and without peace, in the ebb and flow of my confused consciousness, like two tides in the black night where the destinies of nostalgia and desolation meet.

34.

Sometimes I think I'll never leave the Rua dos Douradores. And having written this, it seems to me eternity.

Not pleasure, not glory, not power... Freedom, only freedom.

To go from the phantoms of faith to the ghosts of reason is merely to change cells. Art, if it frees us from the abstract idols of old, should also free us from magnanimous ideas and social concerns, which are likewise idols.

To find our personality by losing it faith itself endorses this destiny.

35.

... and a deep and weary disdain for all those who work for mankind, for all those who fight for their country and give their lives so that civilization may continue...

... a disdain full of disgust for those who don't realize that the only reality is each man's soul, and that everything else the exterior world and other people is but an unaesthetic nightmare, like the result, in dreams, of a mental indigestion.

My aversion to effort becomes an almost writhing horror before all forms of violent effort. War, energetic and productive labour, helping others all this strikes me as the product of an impertinence.....

Everything useful and external tastes frivolous and trivial in the light of my soul's supreme reality and next to the pure sovereign splendour of my more original and frequent dreams. These, for me, are more real.

36.

It's not the cracked walls of my rented room, nor the shabby desks in the office where I work, nor the poverty of the same old downtown streets in between, which I've crossed and recrossed so many times they seem to have assumed the immobility of the irreparable none of that is responsible for my frequent feeling of nausea over the squalor of daily life. It's the people who habitually surround me, the souls who know me through conversation and daily contact without knowing me at all they're the ones who cause a salivary knot of physical disgust to form in my throat. It's the sordid monotony of their lives, outwardly parallel to my own, and their keen awareness that I'm their fellow man that is what dresses me in a convict's clothes, places me in a jail cell, and makes me apocryphal and beggarly.

There are times when each detail of the ordinary interests me for its own sake, and I feel a fondness for things, because I can read them clearly. Then I see as Vieira* said that Sousa,* in his descriptions, saw the ordinary in its singularity, and I have the poetic soul that inspired the intellectual age of poetry among the Greeks. But there are also moments, such as the one that oppresses me now, when I feel my own self far more than I feel external things, and everything transforms into a night of rain and mud where, lost in the solitude of an out-of-the-way station, I wait interminably for the next third-class train.

Yes, my particular virtue of being very often objective, and thus sidetracked from thinking about myself, suffers lapses of affirmation, as do all virtues and even all vices. And I start to wonder how I'm able to go on, how I dare have the faint-heartedness to be here among these people, exactly like them, in true conformity to their shoddy illusion. Like flashes from a distant lighthouse, I see all the solutions offered by the imagination's female side: flight, suicide, renunciation, grandiose acts of our aristocratic self-awareness, the swashbuckling novel of existences without balconies.

But the ideal Juliet of the best possible reality closed the high window of the literary encounter on the fictitious Romeo of my blood. She obeys her father; he obeys his. The feud between the Montagues and the Capulets continues, the curtain falls on what didn't happen, and I go on home to my rented room where I loathe the landlady who isn't home, her children I hardly ever see, and the people from the office that I'll see only tomorrow with the collar of a clerk's coat turned up without astonishment over the neck of a poet, with my boots (always purchased in the same shop) automatically avoiding the puddles of cold rain, and with a bit of mixed concern, for having once more forgotten my umbrella and the dignity of my soul.*

37.

DOLOROUS I INTERLUDE.

An object tossed into a corner, a rag that fell on to the road, my contemptible being feigns to the world.

38.

I envy all people, because I'm not them. Since this always seemed to me like the most impossible of all impossibilities, it's what I yearned for every day, and despaired of in every sad moment.

A dull blast of grim sunlight burned my eyes' physical sensation of seeing. A hot yellow languished in the black green of the trees. The torpor .....

39.

All of a sudden, as if a surgical hand of destiny had operated on a long-standing blindness with immediate and sensational results, I lift my gaze from my anonymous life to the clear recognition of how I live. And I see that everything I've done, thought or been is a species of delusion or madness. I'm amazed by what I managed not to see. I marvel at all that I was and that I now see I'm not.

I look at my past life as at a field lit up by the sun when it breaks through the clouds, and I note with metaphysical astonishment how my most deliberate acts, my clearest ideas and my most logical intentions were after all no more than congenital drunkenness, inherent madness and huge ignorance. I didn't even act anything out. I was the role that got acted. At most, I was the actor's motions.

All that I've done, thought or been is a series of submissions, either to a false self that I assumed belonged to me because I expressed myself through it to the outside, or to a weight of circumstances that I supposed was the air I breathed. In this moment of seeing, I suddenly find myself isolated, an exile where I'd always thought I was a citizen. At the heart of my thoughts I wasn't I.

I'm dazed by a sarcastic terror of life, a despondency that exceeds the limits of my conscious being. I realize that I was all error and deviation, that I never lived, that I existed only in so far as I filled time with consciousness and thought. I feel, in this moment, like a man who wakes up after a slumber full of real dreams, or like a man freed by an earthquake from the dim light of the prison he'd grown used to.

This sudden awareness of my true being, of this being that has always sleepily wandered between what it feels and what it sees, weighs on me like an untold sentence to serve.

It's so hard to describe what I feel when I feel I really exist and my soul is a real entity that I don't know what human words could define it. I don't know if I have a fever, as I feel I do, or if I've stopped having the fever of sleeping through life. Yes, I repeat, I'm like a traveller who suddenly finds himself in a strange town, without knowing how he got there, which makes me think of those who lose their memory and for a long time are not themselves but someone else. I was someone else for a long time since birth and consciousness and suddenly I've woken up in the middle of a bridge, leaning over the river and knowing that I exist more solidly than the person I was up till now. But the city is unknown to me, the streets are new, and the trouble has no cure. And so, leaning over the bridge, I wait for the truth to go away and let me return to being fictitious and non-existent, intelligent and natural.

It was just a brief moment, and it's already over. Once more I see the furniture all around me, the pattern on the old wallpaper, and the sun through the dusty panes. I saw the truth for a moment. For a moment I was consciously what great men are their entire lives. I recall their words and deeds and wonder if they were also successfully tempted by the Demon of Reality. To know nothing about yourself is to live. To know yourself badly is to think. To know yourself in a flash, as I did in this moment, is to have a fleeting notion of the intimate monad, the soul's magic word. But that sudden light scorches everything, consumes everything. It strips us naked of even ourselves.

It was just a moment, and I saw myself. I can no longer even say what I was. And now I'm sleepy, because I think I don't know why that the meaning of it all is to sleep.

40.

Sometimes I feel, I'm not sure why, a touch of foretold death... Perhaps it's an indefinite sickness which, because it doesn't materialize in pain, tends to become spiritualized in nothingness, the end. Or perhaps it's a weariness that needs a slumber far deeper than sleeping affords. All I know is that I feel like a sick man who has been getting steadily worse, until at last he calmly and without regret extends his feeble hands over the bedspread he had been clutching.

And then I wonder what this thing is that we call death. I don't mean the mystery of death, which I can't begin to fathom, but the physical sensation of ceasing to live. Humanity is afraid of death, but indecisively. The normal man makes a good soldier in combat; the normal man, when sick or old, rarely looks with horror at the abyss of nothing, though he admits its nothingness. This is because he lacks imagination. And nothing is less worthy of a thinking man than to see death as a slumber. Why a slumber, if death doesn't resemble sleep? Basic to sleep is the fact we wake up from it, as we presumably do not from death. If death resembles sleep, we should suppose that we wake up from it, but this is not what the normal man imagines; he imagines death as a slumber no one wakes up from, which means nothing. Death doesn't resemble slumber, I said, since in slumber one is alive and sleeping, and I don't know how death can resemble anything at all for us, since we have no experience of it, nor anything to compare it to.

Whenever I see a dead body, death seems to me a departure. The corpse looks to me like a suit that was left behind. Someone went away and didn't need to take the one and only outfit he'd worn.

41.

Silence emerges from the sound of the rain and spreads in a crescendo of grey monotony over the narrow street I contemplate. I'm sleeping while awake, standing by the window, leaning against it as against everything. I search in myself for the sensations I feel before these falling threads of darkly luminous water that stand out from the grimy building facades and especially from the open windows. And I don't know what I feel or what I want to feel. I don't know what to think or what I am.

All the pent-up bitterness of my life removes, before my sensationless eyes, the suit of natural happiness it wears in the random events that fill up each day. I realize that, while often happy and often cheerful, I'm always sad. And the part of me that realizes this is behind me, as if bent over my leaning self at the window, as if looking over my shoulder or even over my head to contemplate, with eyes more intimate than my own, the slow and now wavy rain which filigrees the grey and inclement air.

To shrug off all duties, even those not assigned to us, to repudiate all homes, even those that weren't ours, to live off vestiges and the ill-defined, in grand purple robes of madness and in counterfeit laces of dreamed majesties... To be something, anything, that doesn't feel the weight of the rain outside, nor the anguish of inner emptiness... To wander without thought or soul sensation without sensation along mountain roads and through valleys hidden between steep slopes, into the far distance, irrevocably immersed... To be lost in landscapes like paintings... A coloured non-existence in the background...

A light gust of wind, which I can't feel on this side of the window, breaks the even fall of rain into aerial discrepancies. A part of the sky hidden from view is clearing. I notice this because I can now make out the calendar on the wall through the less than clean window that faces my own.

I forget. I don't see. I don't think.

The rain stops, and for a moment a fine dust of miniature diamonds hangs in the air, like tiny crumbs from an enormous tablecloth bluely shaken on high. I can feel that part of the sky has cleared. I can see more distinctly the calendar through the window opposite. It has a woman's face, and the rest is easy because I remember it, and the toothpaste is the brand everyone knows.

But what was I thinking about before I got lost in seeing? I don't know. Effort? Will? Life? A huge onslaught of light reveals a now almost entirely blue sky. But there is no peace ah, there will never be! at the bottom of my heart, an old well in a corner of the farm that was sold, a dust-coated memory of childhood shut up in the attic of someone else's house. I have no peace, nor even alas! the desire to have it...

42.