Multiple Abstractions by Clara Silva

Multiple ABSTRACTIONS

The poems of Fernando Pessoa, who, like Priori, was inhabited by countless lives

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l Typeface designed by Jonathan Barnbrook Released by Emigre Type Foundry

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Priori Serif // Priori Sans

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A study of the typeface Priori By means of word association

Released by Emigre Type Foundry

Multiple ABSTRACTIONS

Typeface designed by Jonathan Barnbrook

Book designed by Clara Silva

array

consisting of many different and connected parts

scores,

Multiplicity word comes from latin: Multiplex a large number diversity,

involving simultaneous transmission of several messages along a single channel of communication.

range

Consisting of many elements in a complicated relationship

personalities Finding yourself: we have so many parts that makes who we are.

abundance

Nobody is the same all the time.

variety

Typeface is based in a huge variety of inspirations, from Barnbrookâ&#x20AC;&#x2122;s walks through the streets of London

host

multiple facets Priori has serif and sans serif. Has two personalities.

having or involving several parts, elements, or members

mass,

Modernist poetry. Containing multitudes.

numerous and often varied

plurality,

heterogeneity

complex in its nature or effects

Fernando Pessoa profusion not easy to analyze or understand; complicated or intricate

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A PRIORI, THIS IS A BOOK ABOUT A TYPEFACE But it is a book about Portuguese poet Fernando Pessoa

Priori is a typeface designed by English graphic designer Jonathan Barnbrook. It is an evolution of Mason, a display font previously designed by Barnbrook as well. The name Priori comes form the term “a priori,” a term he came across in the book Zen and The Art of Motorcycle Maintenance, by Robert M. Pirsig. (A priori would not work as the name of a typeface since it would be awkward to ask for. So he called it simply “Priori.”) The term appealed to him. A priori conveys the idea of a specific concept built up in people’s minds over time as the result of all kinds of outside data. In its simplest form, a priori means a piece of knowledge that is not based on actual experience but presupposition. This is how he saw his typeface. It was an idea he had carried in his head for a long time, a set of related serif and sans serifs infused with details from his favorite text types of the past. As he drew them, he tried to stay as close as possible to this imaginary model. Barnbrook thought of his typeface as something much simpler than what it actually is. Priori is loaded with meaning. Barnbrook’s interest in British typography of the first half of the 20th century provides Priori with its foundation. But it isn’t inspired only by the work of famous British typographers, such as Eric Gill and Edward Johnston. Priori also embraces all of the signage and lettering that Barnbrook observes in the streets, cathedrals, and public buildings of his neighborhood. “I wanted to express some of the features from my favorite letterforms,” says Barnbrook. “Some are more obvious than others. The ‘a’ echoes the alternative version of Futura. The ‘W’ reminds of the ones carved in stone on war memorials. The slight tail on the ‘n’, ‘m’, and the ‘h’ are all from 18th century letterforms. The ‘r’ are reminiscent of letter shapes seen in hand-painted signs of 1940s London.”

Introduction

Emigre Type Foundry

There are many personas inside Priori and it was thinking about all those “personas” that I remembered Portuguese poet Fernando Pessoa. An eccentric character himself, Pessoa wrote under a variety of names. They were not simply alter egos, they were – their creator claimed – full-fledged individuals who wrote things that he himself would never or could never write. Not only were their styles different; they thought differently, they had different religious and political views, different aesthetic sensibilities, different social temperaments. And each produced a large body of poetry. Like Pessoa, Priori is an ensemble of diverse personas. Many of Pessoa’s poems are about this feeling of not knowing who you are. I felt there was a deep connection with the poems and the typeface. Barnbrook believes in the power of design to change people’s viewpoints. To present one of Barnbrook’s typefaces this book had to convey a message. My decision was to talk about this very common human feeling of searching for who we are in the middle of the many personalities we have in ourselves, and to do so through the poems of Fernando Pessoa. Pessoa embodied the idea of the multiple characters a person can have, and through his fertile imagination made richly expressive things. I hope you all enjoy it, and maybe discover something about yourselves. t

S n

Each of us is several, is many, is a profusion of selves. So that the self who disdains his surroundings a is not the same who suffers or takes joy in them. In the vast colony of our being there are many species of people who think and feel in different ways. Fernando Pessoa o p q

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countless lives inhabit us I donâ&#x20AC;&#x2122;t know when I think or feel who it is that thinks or feels I am merely the place where things are thought or felt

I have more than just one soul. than there are more Iâ&#x20AC;&#x2122;s i myself I exist, nevertheless, Indifferent to them all. I silence them: I speak.

The crossing urges of what I feel or do not feel Struggle in who I am, but I Ignore them. They dictate nothing to the I I know:

iwrite

a a

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A A

t a

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FERNANDO PESSOA, THE MAN AND POET Fernando Pessoa has the advantage of living more in ideas than in himself. // Álvaro de Campos

When he died on November 30, 1935, the Lisbon newspapers paid tribute, without fanfare, to the “great Portuguese poet” Fernando Pessoa, who was born in Lisbon in 1888. He was remembered for Mensagem (Message), a book of forty-four poems published in 1934, and for some 160 additional poems published in magazines and journals, several of which he helped found and run. The author, a single man survived by a half sister and two half brothers, had the peculiarity of publishing his poetry under three different names besides his own — Alberto Caeiro, Ricardo Reis and Álvaro de Campos — which he claimed were not mere pseudonyms, since it wasn’t just their names that were false. They were false personalities, with biographies, points of view, and literary styles that differed from Pessoa’s. They were names that belonged to invented others, whom their inventor called “heteronyms.”

Fernando Pessoa

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Pessoa also published over a hundred pieces of criticism, social commentary, and creative prose, including passages of The Book of Disquiet, whose authorship he credited to “Bernardo Soares, assistant bookkeeper in the city of Lisbon.” Another peculiarity about this author — mentioned by the literary compeer who delivered the brief funeral address — was that he wrote poems in English some of which he published in chapbooks, for the benefit (according to the compeer) of “the literary cercles of serene Albion.” In fact, scarcely anyone in Portugal had read them. French was the second language of those who had one. T Still another peculiarity — this one a complete secret was that Pessoa’s death marked the birth of a far larger writer than anyone had ever imagined. It was a slow birth that began only in the 1940s, when Pessoa’s posthumous editors opened up the now legendary trunk in which the author had deposited his legacy to the world: twenty nine notebooks and thousands upon thousands of manuscript sheets containing unpublished poems, unfinished plays and short stories, translations, linguistic analyses, horoscopes, and nonfiction in a dizzying array of topics — from alchemy and the Kabbala to American millionaires, from “Five Dialogues on Tyranny” to “A Defense of Indiscipline,” from Julian the Apostate to Mahatma Gandhi. The pages were written in English and in French as well as in Portuguese, and very often in an almost illegible script. The most surprising discovery was that Pessoa wrote not under four or five names but under forty or fifty. The editors timidly stuck to poetry by the names they knew — Alberto Caeiro, Ricardo Reis, Álvaro de Campos and Pessoa himself — and further limited their selection to manuscripts that were easy to transcribe. It wasn’t until the 1980s that reliable, relatively complete editions of poetry by the main heteronyms began to appear, and no such edition has yet appeared for the poetry signed by Pessoa himself, much of which still needs to be “lifted” from the manuscripts. Pessoa’s English heteronyms and his one French heteronym remained virtually unpublished until the 1990s, when many of the minor Portuguese heteronyms also began to make their way into print. T It’s impossible to know how much psychological and emotional space the heteronyms occupied, or opened up, in their creator. In the real world, Pessoa was a loner, by choice and by natural inclination. He was in love once, if at all, and his intimacy with friends was limited by literary matters. As a young man he moved from one neighborhood to another, staying sometimes with relatives, sometimes in rented rooms, but from 1920 on he lived at the same address — with his mother until her death in 1925, and then with his half sister, her husband and their two children. Family members have reported that the mature Pessoa was affectionate and good-humored but resolutely private. T Pessoa the child was the same way, according to people who knew him at school in Durban, South Africa, where he lived from age seven to seventeen. His father had died when he was five, and his mother remarried Portugal’s newly appointed consul to Durban, a boom town in what was the British colony of Natal. Shy foreigner though he was, Fernando Pessoa stood out among his classmates, none of whom could surpass him in English composition. English writers — including Shakespeare, Milton, Byron, Shelley, Keats and Carlyle — were the formative influence in his literary sensibility, and English was the language in which he began to write poetry. Pessoa returned to Lisbon

Fernando Pessoa

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to attend university but soon dropped out, and it was his knowledge of English that enabled him to make a living as a freelance, doing occasional translations and drafting letters in English (he also wrote some in French) for Portuguese firms that did business abroad. T In 1920 Pessoa’s mother, once more a widow, also returned from South Africa to Lisbon, accompanied by three grown children from her second marriage. Pessoa’s half brothers soon emigrated to England, and Pessoa thought to do the same toward the end of his life, though probably not very seriously. Since stepping off the Herzog, the ship that had brought him back to Lisbon in 1905, Pessoa had never strayed far from his native city, which became a more frequent reference in his writing as he got older, specially in the Book of Disquiet. In a passage dating from the 1930s Bernardo Soares, the book’s fictional author, called Lisbon the crucial address” of “the main literary influences on my intellectual development,” which were one other than the common, everyday people whom the bookkeeper worked with. Had Pessoa written those words in his own name, they would have been an exaggeration, but the people who were part of the scenery in the Lisbon he inhabited — shopkeepers, restaurant waiters, streetcar operators, sellers of lottery tickets, fruit vendors, delivery boys, office workers, schoolchildren — are a striking presence in his literary work, partly because of the absence of more intimate kinds of social contact: romance, close friendships, family life. It seems, for the same reason, that a few of those almost anonymous people were a strong, if quiet, presence in Pessoa’s sentimental life. It was the case, probably, of the tobacco shop owner who inspired poems signed by Campos and by Pessoa himself. And it was surely the case of the barber who made cameo appearances in The Book of Disquiet and elsewhere. Among the family members and the literary people at the funeral on December 2, he was spotted — the barber — paying, or repaying, some kind of respect. I have ideas and reasons Know theories in all their parts, _ and never reach the heart.

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I’M BEGINNING TO KNOW MYSELF.

I study myself but can’t perceive. I’m so addicted to feeling that I lose myself if I’m distracted From the sensations I receive This liquor I drink, the air I breathe, Belong to the very way I exist:

I’ve never discovered how to resist These hapless sensations I conceive. Nor have I ever ascertained

If I really feel what I feel Am I what I seem to myself—the same?

∏ I DON’T EXIST.

Is the I I feel the I that’s real?

Even with feelings I’m a bit of an atheist. I don’t even know if it’s I who feels.

Fernando Pessoa

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I’m sorry I don’t respond But it isn’t, after all, my fault That i don’t correspond To the other you loved in me. Each of us To me I’m who I think I am. And are equally mistaken.

is many persons. But others see me differently Don’t dream me into someone else But leave me alone, in peace! If I don’t want to find myself,

Should I want others to find me?

d a

p o e t a

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f i n g i d o r ,

Fernando Pessoa

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T ã o

c o m p l e t a m fe n t e S

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THE MANY PESSOAS In trying to organize himself he created more selves than he could ever imagine

Fernando Pessoa (1888-1935), describing his literary enterprise as “a drama divided into people instead of into acts”, split himself into dozens of dramatis personae, the “heteronyms”, who occupied the stage of his otherwise uneventful life. It was a process that began in Pessoa’s childhood, gathered steam in his adolescence with the invention of alter egos who wrote in English, and made literary history in 1914, with the creation of would-be shepherd Alberto Caeiro, Futurist naval engineer Álvaro de Campos, and classicist Ricardo Reis, three of the finest Portuguese poets of the twentieth century. How do I write in the names of these three? Caeiro, through sheer and unexpected inspiration, without knowing or even suspecting that I am going to write his name. Ricardo Reis, after an abstract meditation that suddenly takes a concrete shape in an ode. Campos, when I feel a impulse to write and don’t know what. From a letter dated 13 January 1935

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ALBERTO CAEIRO Alberto Caeiro was Pessoa’s first great heteronym; summarized by Pessoa, writing: “He sees things with the eyes only, not with the mind. He does not let any thoughts arise when he looks at a flower... the only thing a stone tells him is that it has nothing at all to tell him... this way of looking at a stone may be described as the totally unpoetic way of looking at it. The stupendous fact about Caeiro is that out of this sentiment, or rather, absence of sentiment, he makes poetry.” ›What this means, and what makes Caeiro such an original poet is the way he apprehends existence. He does not question anything whatsoever; he calmly accepts the world as it is. The recurrent themes to be found in nearly all of Caeiro’s poems are “wide-eyed child-like wonder at the infinite variety of nature”, as noted by a critic. He is free of metaphysical entanglements. Central to his world-view is the idea that in the world around us, all is surface: things are precisely what they seem, there is no hidden meaning anywhere. He manages thus to free himself from the anxieties that batter his peers; for Caeiro, things simply exist and we have no right to credit them with more than that. Our unhappiness, he tells us, springs from our unwillingness to limit our horizons. As such, Caeiro attains happiness by not questioning, and by thus avoiding doubts and uncertainties. He apprehends reality solely through his eyes, through his senses. What he teaches us is that if we want to be happy we ought to do the same. Octavio Paz called him “the innocent poet”. Paz made a shrewd remark on the heteronyms: “In each are particles of negation or unreality. Reis believes in form, Campos in sensation, Pessoa in symbols. Caeiro doesn’t believe in anything. He exists.” :Poetry before Caeiro was essentially interpretative; what poets did was to offer an interpretation of their perceived surroundings; Caeiro does not do this. Instead, he attempts to communicate his senses, and his feelings, without any interpretation whatsoever. Caeiro attempts to approach Nature from a qualitatively different mode of apprehension; that of simply perceiving (an approach akin to phenomenological approaches to philosophy). Poets before him would make use of intricate metaphors to describe what was before them; not so Caeiro: his self-appointed task is to bring these objects to the reader’s attention, as directly and simply as possible. Caeiro sought a direct experience of the objects before him.

Alberto Caeiro

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They spoke to me of people and humanity But I’ve never seen people, or humanity. I’ve seen various people, astonishingly dissimilar, Each separated from the next by an unpeopled space

„ As such it is not surprising to find that Caeiro has been called an anti-intellectual, anti-Romantic,

anti-subjectivist, anti-metaphysical...an anti-poet, by critics; Caeiro simply—is. He is in this sense very unlike his creator Fernando Pessoa: Pessoa was besieged by metaphysical uncertainties; these were, to a large extent, the cause of his unhappiness; not so Caeiro: his attitude is anti-metaphysical; he avoided uncertainties by adamantly clinging to a certainty: his belief that there is no meaning behind things. Things, for him, simply—are. ∏ Caeiro represents a primal vision of reality, of things. He is the pagan incarnate. Indeed Caeiro, Richard Zenith¹ tells us, was not simply a pagan but ‘paganism itself’.The critic Jane M. Sheets sees the insurgence of Caeiro—who was Pessoa’s first major heteronym— as essential in founding the later poetic personas: “By means of this artless yet affirmative anti-poet, Caeiro, a short-lived but vital member of his coterie, Pessoa acquired the base of an experienced and universal poetic vision. After Caeiro’s tenets had been established, the avowedly poetic voices of Campos, Reis and Pessoa himself spoke with greater assurance.”

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1. Born in Washington, DC, Richard Zenith lives in Lisbon, where he works as a freelance writer, translator, and researcher in the Fernando Pessoa archives.

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I have no ambitions and no desires To be a poet is not my ambition, Itâ&#x20AC;&#x2122;s my way of being alone

Alberto Caeiro

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This may be the last day of my life I lifted my right hand to wave at the sun But I did not waive it in farewell

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I was glad I could see it â&#x20AC;&#x201D;thatâ&#x20AC;&#x2122;s all

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Alberto Caeiro

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On an incredibly clear day, The kind when you wish you’d done lots of work So that you wouldn’t have to work that day, I saw – as if spotting a road through the trees – What may well be the Great Secret, That Great Mystery the false poets speak of.

I saw that there is no Nature, That Nature doesn’t exist, That there are hills, valleys and plains, That there are trees, flowers and grass, That there are rivers and stones, But that there is no whole to which all this belongs, That a true and real ensemble Is a disease of our own ideas. Nature is parts without a whole. This is perhaps the mystery they speak of.

This is what, without thinking or pausing, I realized must be the truth That everyone tries to find but doesn’t find And that I alone found, because I didn’t try to find it.

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RICARDO REIS:

The sad epicurean

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Reis sums up his philosophy of life in his own words, admonishing: ‘See life from a distance. Never question it. There’s nothing it can tell you.’ Like Caeiro, whom he admires, Reis defers from questioning life. He is a modern pagan who urges one to seize the day and accept fate with tranquility. ‘Wise is the one who does not seek’, he says; and continues: ‘the seeker will find in all things the abyss, and doubt in himself.’ In this sense Reis shares essential affinities with Caeiro. ¥ Believing in the Greek gods, yet living in a Christian Europe, Reis feels that his D spiritual life is limited, and true happiness cannot be attained. This, added to his belief in Fate as a driving force for all that exists, as such disregarding freedom, leads to his epicureanist philosophy, which entails the avoidance of pain, defending that man should seek tranquility and calm above all else, avoiding emotional extremes. ¥ Where Caeiro wrote freely and spontaneously, with joviality, of his basic, meaningless connection to the world, Reis writes in an austere, cerebral manner, with premeditated rhythm and structure and a particular attention to the correct use of the language, when approaching his subjects of, as characterized by Richard Zenith,’the brevity of life, the vanity of wealth and struggle, the joy of simple pleasures, patience in time of trouble, and avoidance of extremes’. ¥ In his detached, intellectual approach, he is closer to Fernando Pessoa’s constant rationalization, as such representing the orthonym’s wish for measure and sobriety and a world free of troubles and respite, in stark contrast to Caeiro’s spirit and style. As such, where Caeiro’s predominant attitude is that of joviality, his sadness being accepted as natural (‘My sadness,’ Caeiro says, ‘is a comfort for it is natural and right.’), Reis is marked by melancholy, saddened by the impermanence of all things.

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Ricardo Reis

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Ricardo Reis is the main character of Nobel prize winner José Saramago’s 1986 novel ∏The Year of the Death of Ricardo Reis ∏.

want little: you will the same love by wh we are loved us with its wanting.

want nothing: you will be free.

oppresses

Why shouldn’t it be me? It’s in me that this god moves, for I feel. I clearly see the outside world— Things and men with no soul.

If each thing has its own corresponding god, Why shouldn’t I have a god as well?

l have everything hich

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ÁLVARO DE CAMPOS: A LITTLE LARGER THAN THE ENTIRE UNIVERSE &Álvaro de Campos manifests, in a way, as an hyperbolic version of Pessoa himself. Of the three heteronyms he is the one who feels most strongly, his motto being ‘to feel everything in every way.’ ‘The best way to travel,’ he wrote, ‘is to feel.’ As such, his poetry is the most emotionally intense and varied, constantly juggling two fundamental impulses: on the one hand a feverish desire to be and feel everything and everyone, declaring that ‘in every corner of my soul stands an altar to a different god ‘(alluding to Walt Whitman’s desire to ‘contain multitudes’), on the other, a wish for a state of isolation and a sense of nothingness. &As a result, his mood and principles varied between violent, dynamic exultation, as he fervently wishes to experience the entirety of the universe in himself, in all manners possible (a particularly distinctive trait in this state being his futuristic leanings, including the expression of great enthusiasm as to the meaning of city life and its components) and a state of nostalgic melancholy, where life is viewed as, essentially, empty. &One of the poet’s constant preoccupations, as part of his dichotomous character, is that of identity: he does not know who he is, or rather, fails at achieving an ideal identity. Wanting to be everything, and inevitably failing, he despairs. Unlike Caeiro, who asks nothing of life, he asks too much. In his poetic meditation ‘Tobacco Shop’ he asks:

How should I know what I’ll be, I who don’t know what I am? Be what I think? But I think of being so many things!

Álvaro de Campos

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Ă lvaro de Campos

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I don’t believe in anything but the existence of my sensations; I have no other certainty, not even of the outer universe conveyed to me by those sensations. I don’t see the outer universe, I don’t hear the outer universe, I don’t hear the outer universe. I see my visual impressions. I hear my auditory impressions; I touch my tactile impressions. It’s not with the eyes but with the soul that I see; It’s not with the ears but with the soul that I hear; It’s not with the skin but with the soul that I touch.

And if someone should ask me what the soul is i will answer that it is me. From Álvaro de Campos’s Notes for the Memory of My Master Caeiro.

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I’m held by nothing, I hold on to nothing, I belong to nothing All sensations seize me, and none endure. I’m more motley than a random crowd, I’m more varied than the spontaneous universe, All eras have belonged to me for a moment, All souls for a moment have had their place on me Current of intuitions, river of imagining me as them, Always wave after wave, Always the sea—now growing strange, Always drawing away from me, indefinitely.

TIME’S PASSAGE

EXCERPTS FROM

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From every sidewalk café of every city Accessible to the imagination I look at life passing by, watching without getting involved, Belonging to it without pulling a gesture out of my pocket And without noting down what I see to pretend later on that I saw it.

To feel everything in every way, To hold all opinions, To be sincere contradicting oneself every minute, To annoy oneself with absolute open-mindedness, And to love things just like God.-

I’ve visited more lands than I’ve set foot on, I’ve seen more landscapes than I’ve laid eyes on, I’ve experienced more sensations than all the ones I’ve felt, Because however much I felt I never felt enough, And life always pained me, it was always too little, and I was unhappy.

Álvaro de Campos

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All kisses of all trysts have been placed on my lips All handkerchiefs of all farewells have waved in my heart All obscenely suggestive gestures and gazes Pound in my sex organs and throughout all my body. I was every ascetic, every outcast, every forgotten man, And every pederast—absolutely every last one of them. Black and red rendezvous in the hell of my soul’s depth

I multiplied myself to feel myself, To feel myself I had to feel everything I overflowed, I did nothing but spill out, I undresses, I yielded, I don’t know if life is too little or too much for me, And in each corner of my soul I don’t know if I feel too much or too little, I don’t know there’s an altar to a If I lack moral scruples, a fulcrum in my mind, different god. Consanguinity with the mystery of things, impact On contact, blood beneath blows, sensibility to noises, Or if there’s a simpler and happier explanation for all this. Make me human, O night, make me helpful an brotherly. Only humanitarianly can one live. Only by loving mankind

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Ă lvaro de Campos

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ToTo

beable abletoto be

laugh laugh

, laugh, , laugh,laugh laugh uproariously, uproariously,

ToTolaugh glass, laughlike likean an overturned overturned glass,

crazy crazy

Completely Completely

just forfeeling, feeling, just for

Completely Completely

disfigured from things disfigured fromscraping scraping against against things

MyMy mouth onthings, things, mouthcut cutupupfrom frombiting biting on

clawing clawing life. life.

My fingernails bloody from My fingernails bloody from

things, atatthings,

Andme then I give me cellI may youlook likeback that on I may look back on And then I give whatever cellwhatever you like that

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To feel everything in every way, to live everything from all sides, to be the same thing in all ways possible

at the same time,

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toin realize in oneself to realize oneself all humanity in

all huma all moment

in one scattered extravagan complete

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to realize in oneself all humanity

anity

in all moments

and aloof

moment Priori Serif // Priori Sans

FERNANDO PESSOA HIMSELF

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My native land is the Portuguese language.

‘Fernando Pessoa-himself’ is not the ‘real’ Fernando Pessoa. Like Caeiro, Reis and Campos-Pessoa ‘himself’ embodies only aspects of the poet， Fernando Pessoa’s personality is not stamped in any given voice; his personality is diffused through the heteronyms. For this reason ‘Fernando Pessoa-himself’ stands apart from the poet proper. X ‘Pessoa’ shares many essential affinities with his peers, Caeiro and Campos in particular. Lines crop up in his poems that may as well be ascribed to Campos or Caeiro. It is useful to keep this in mind as we read this exposition. X The critic Leland Guyer sums up ‘Pessoa’: “the poetry of the orthonymic Fernando Pessoa normally possesses a measured, regular form and appreciation of the musicality of verse. It takes on intellectual issues, and it is marked by concern with dreams, the imagination and mystery.” X Richard Zenith calls ‘Pessoa’ ‘[Pessoa’s] most intellectual and analytic poetic persona.’ Like Álvaro de Campos, Pessoa-himself was afflicted with an acute identity crisis. Pessoahimself has been described as indecisive and doubt plagued, as restless. Like Campos he can be melancholic, weary, resigned. The strength of Pessoa-himself’s poetry rests in his ability to suggest a sense of loss; of sorrow for what can never be. X A constant theme in Pessoa’s poetry is Tédio, or Tedium. The dictionary defines this word simply as ‘a condition of being tedious; tediousness or boredom.’ This definition does not sufficiently encompass the peculiar brand of tedium experienced by Pessoa-himself. His is

Fernando Pessoa Himself

more than simple boredom: it is from a world of weariness and disgust with life; a sense of the finality of failure; of the impossibility of having anything to want. X ‘The impossibility of having anything to want’: this is Tédio for Pessoahimself. It is one thing to have nothing to do or want, but to be deprived even of this...is tedium. Kierkegaard tells how if asked to choose between the two; between a perpetual state of boredom, or eternal bodily pain; he would choose--eternal bodily pain. Pessoa-himself, it would seem, would concur with the melancholy Dane.

What I am essentially—behind the involuntary masks of poet, logical reasoner and so fort—is a dramatist. My spontaneous tendency to depersonalization, which I mentioned in my last letter to explain the existence of my heteronyms, naturally leads to this definition. And so I do not evolve, I simply JOURNEY. (...) I continuously change personality. I keep enlarging (and here there is a kind of evolution) my capacity to create new characters, new forms of pretending that I understand the world or, more accurately, that the world can be understood. From a letter of Pessoa dated January 20, 1935

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To travel! To change countries! To be forever someone else, With a soul that has no roots, Living only off what it sees! To belong not even to me! To go forward, to follow after The absence of any goal And any desire to achieve it! This is what I call travel. But thereâ&#x20AC;&#x2122;s nothing in it of me Besides my dream of the journey. The rest is just land and sky.

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The poet is a faker Whoâ&#x20AC;&#x2122;s so good at his act That he even fakes the pain Of the pain he feels in fact. And those who read his words Will feel in what he wrote Neither of the pain he has But just the one they donâ&#x20AC;&#x2122;t. And so around its track This thing called the heart winds, A little clockwork train To entertain our minds

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∏I’m a fugitive. I was shut up in myself As soon as I was born, But I managed to flee. ∏If people get tired Of being in the same place, Why shouldn’t they tire Of having the same self? ∏My soul seeks me out, But I keep on the run And sincerely hope I’ll never be found. ∏ Oneness is a prison. To be myself is not to be. I’ll live as a fugitive But I live really and truly. T

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TT T

T T T T T T T

T T T

T 50

1. Section of the Book

Emigre Type Foundry

O salty sea, so much of whose salt Is Portugal’s tears! The mothers who wept for us to cross you! All the sons who prayed in vain! All the brides who never married For you to be ours, O sea!

Was it worth doing? Everything is worth doing When the soul is not small. Whoever would go beyond the Cape Must go beyond sorrow. God place danger and the abyss in the sea, But he also made it heaven’s mirror.

T EVERYTHING IS WORTH DOING WHEN THE SOUL IS NOT SMALL

Priori Serif // Priori Sans

Multiple Abstractions

PRIORI: THE TYPEFACE ITSELF Get to know Priori better

At Emigre we have always had a soft spot for typefaces designed by graphic designers as opposed to typefaces designed by type designers.

When graphic designers design type, there is a decidedly different intent and aesthetic at play

that often results in surprising and unusual solutions to letterforms.

1. Section of the Book

Emigre Type Foundry

Priori Serif // Priori Sans

Multiple Abstractions

The professional type designer is almost always concerned with following tradition and established reading habits. Their knowledge and experience ensure that the basic principles of type design are well taken care of - all the small details that are so important when designing a complete font (especially text fonts), such as spacing, kerning, modulation, armature, etc. P Graphic designers, on the other hand, have something else in mind when they design typefaces. Their type is usually filled with connotations, quotes, questions, contradictions, critiques, and idiosyncrasies. Their typefaces are often an outgrowth of specific design jobs requiring custom made letters for posters or logos. They are less concerned with, and often also less adept at, the finer points of drawing type. They are also less restricted by tradition, which lends their fonts a unique appeal. P For a foundry to release such fonts commercially is a balancing act of correcting obvious mistakes and omissions while keeping the integrity and soul of the original idea intact. In the end, these fonts are not idiot-proof. They often require a trained, discriminating eye to use them effectively. This results in fonts that are perhaps limited in their application, but high on emotion and expressiveness. P Jonathan Barnbrook is a graphic designer. He is well known for his recent collaborations with the British artist Damien Hirst and his work for Adbusters magazine. He is outspoken about his political beliefs, and in his personal work often addresses the dilemma of reconciling the commercial aspects inherent in graphic design with his ambition to use design as a weapon for social change. P Another aspect that attracts us to Barnbrook’s work is his ability to draw inspiration from his immediate surroundings. To us, his work comes across as particularly British with a definite leaning towards religious and medieval imagery, although he is quick to point out that he is neither religious nor patriotic. In a world that is becoming increasingly globalized with cultural specificity waning, Barnbrook’s choice to draw inspiration from his own culture is both brave and highly effective. His work stands miles apart from most of his contemporaries. P Despite all their inherent contradictions and sometimes downright illegible characters, Barnbrook’s fonts have sold remarkably well, particularly the Emigre releases Mason and Exocet, two typefaces based on primitive Greek and Roman stone carving and loaded with Barnbrook’s typical religious and medieval connotations. Exocet became an immediate favorite for particularly dark, Gothic-like video games, such as Diablo, and comic strips of similar ilk. Surprisingly, it was used just as frequently in applications for an entirely different purpose, such as the logo for the upscale TAZO teas. Mason, too, found usage in a number of dark, cult-like settings, while also being selected as the title font for Walt Disney’s re-release of Snow White and the Seven Dwarfs. The wide-ranging popularity of these fonts sprouted numerous rip-off and look-alike designs, all furthering the popularity of Barnbrook’s fonts. P Emigre has never shied away from releasing fonts that have wide appeal. We enjoy seeing our releases saturate popular culture on all levels, although we are usually as surprised by their success as anybody else. Obviously Barnbrook has a finger on the pulse of a particular segment of type design, and we were happy to collaborate with him again on this new release. P Priori is a logical progression from Mason, a typeface he designed around ten years ago. Mason was designed as an all caps font, because, as Barnbrook points out, “At that time I disliked lower case. It was a reaction to the ‘pretend modernism’ that I saw everywhere around me. I thought ‘Why do I need lower case letters when the most beautiful typography was set in capitals in Rome?’”

Type Specimen

Emigre Type Foundry

P After that, he started to love what he hated and went through a period of using lower case only. “But,” he is quick to add, “not in the same way as practiced by the so-called Swiss International Style. Instead, I was more interested in experimenting with historically based letterforms.” P The typeface he wished to produce turned out to be one of his most ambitious type projects to date. In typical non-type designer fashion, Priori first saw the light of day on David Bowie’s 2002 album Heathen, where a prototype version can be seen. P One of the reasons for a graphic designer to draw typefaces is to control every element on the page. While Barnbrook was able to create very intricate designs with the display fonts that he had drawn over the years, none were practical for setting texts in a book. Priori was to be his first text type design that would make it possible to finally control all elements on the page, including lengthy texts. To complete the challenge, it was to encompass matching sans and serif type. P Many type traditionalists will frown upon his claim. With all its idiosyncrasies, Priori does not exactly rival any established text fonts. But from Barnbrook’s perspective, the claim is not so curious. He is a strong believer in the impossibility of neutral, transparent typography. For Barnbrook, every detail in a design helps to build a larger story. Nothing is neutral. Everything has meaning. P Priori is loaded with meaning. Barnbrook’s interest in British typography of the first half of the 20th century provides Priori with its foundation. But it isn’t inspired only by the work of famous British typographers, such as Eric Gill and Edward Johnston. Priori also embraces all of the signage and lettering that Barnbrook observes in his neighborhood. “I wanted to express some of the features from my favorite letterforms,” says Barnbrook. “Some are more obvious than others. The ‘a’ echoes the alternative version of Futura. The ‘W’ reminds me of the ones carved in stone on war memorials. The slight tail on the ‘n’, ‘m’, and the ‘h’ are all from 18th century letterforms. The ‘r’ reminds me of letter shapes I’ve seen in hand-painted signs of 1940s London.” Priori is about recapturing an atmosphere that permeates the designer’s surroundings, yet is slowly disappearing.

RUDY VANDERLANS

Priori Serif // Priori Sans

Priori Sans

Multiple Abstractions

Priori Sans Regular Regular:

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 !¡?¿£¢$¥&*øØåÅæÆœŒß

Regular Alternate:

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 !¡?¿£¢$¥&*øØåÅæÆœŒß

Small Caps:

abcdefghijklmnopqrstuvwxyz 1234567890 !¡?¿£¢$¥&*øØåÅæÆœŒß

Small Caps Alternate:

abcdefghijklmnopqrstuvwxyz 1234567890 !¡?¿£¢$¥&*øØåÅæÆœŒß

Type Specimen

Emigre Type Foundry

Priori Serif // Priori Sans

Multiple Abstractions

12/13.5pt. When he died on November 30, 1935, the Lisbon newspapers paid tribute, without fanfare, to the “great Portuguese poet” Fernando Pessoa, who was born in Lisbon in 1888. He was remembered for Mensagem (Message), a book of forty-four poems published in 1934, and for some 160 additional poems published in magazines and journals, several of which he helped found and run. The author, a single man survived by a half sister and two half brothers, had the peculiarity of publishing his poetry under three different names besides his own — Alberto Caeiro, Ricardo Reis and Álvaro de Campos — which he claimed were not mere pseudonyms, since it wasn’t just their names that were false. 8/10pt. When he died on November 30, 1935, the Lisbon newspapers paid tribute, without fanfare, to the “great Portuguese poet” Fernando Pessoa, who was born in Lisbon in 1888. He was remembered for Mensagem (Message), a book of forty-four poems published in 1934, and for some 160 additional poems published in magazines and journals, several of which he helped found and run. The author, a single man survived by a half sister and two half brothers, had the peculiarity of publishing his poetry under three different names besides his own — Alberto Caeiro, Ricardo Reis and Álvaro de Campos — which he claimed were not mere pseudonyms, since it wasn’t just their names that were false.

Type Specimen

6/8pt. When he died on November 30, 1935, the Lisbon newspapers paid tribute, without fanfare, to the “great Portuguese poet” Fernando Pessoa, who was born in Lisbon in 1888. He was remembered for Mensagem (Message), a book of fortyfour poems published in 1934, and for some 160 additional poems published in magazines and journals, several of which he helped found and run. The author, a single man survived by a half sister and two half brothers, had the peculiarity of publishing his poetry under three different names besides his own — Alberto Caeiro, Ricardo Reis and Álvaro de Campos — which he claimed were not mere pseudonyms, since it wasn’t just their names that were false.

Emigre Type Foundry

14/15.5pt. When he died on November 30, 1935, the Lisbon newspapers paid tribute, without fanfare, to the “great Portuguese poet” Fernando Pessoa, who was born in Lisbon in 1888. He was remembered for Mensagem (Message), a book of forty-four poems published in 1934, and for some 160 additional poems published in magazines and journals, several of which he helped found and run. The author, a single man survived by a half sister and two half brothers, had the peculiarity of publishing his poetry under three different names besides his own — Alberto Caeiro, Ricardo Reis and Álvaro de Campos — which he claimed were not mere pseudonyms, since it wasn’t just their names that were false.

Priori Serif // Priori Sans

Multiple Abstractions

Bold: abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 !¡?¿£¢$¥&*øØåÅæÆœŒß

Small Caps: abcdefghijklmnopqrstuvwxyz 1234567890 !¡?¿£¢$¥&*øØåÅæÆœŒß

1. Section of the Book

Emigre Type Foundry

Priori Sans Bold

Small Caps Alternate: abcdefghijklmnopqrstuvwxyz 1234567890 !¡?¿£¢$¥&*øØåÅæÆœŒß

Bold Alternate: abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 !¡?¿£¢$¥&*øØåÅæÆœŒß

Priori Serif // Priori Sans

Multiple Abstractions

8/10pt. When he died on November 30, 1935, the Lisbon newspapers paid tribute, without fanfare, to the “great Portuguese poet” Fernando Pessoa, who was born in Lisbon in 1888. He was remembered for Mensagem (Message), a book of forty-four poems published in 1934, and for some 160 additional poems published in magazines and journals, several of which he helped found and run. The author, a single 6/8pt. When he died on November 30, 1935, the Lisbon newspapers paid man survived by a half sister and two tribute, without fanfare, to the “great Portuguese poet” Fernando Pessoa, half brothers, had the peculiarity of who was born in Lisbon in 1888. He was remembered for Mensagem publishing his poetry under three (Message), a book of forty-four poems published in 1934, and for some 160 additional poems published in magazines and journals, several of different names besides his own — which he helped found and run. The author, a single man survived by Alberto Caeiro, Ricardo Reis and a half sister and two half brothers, had the peculiarity of publishing Álvaro de Campos — which he claimed his poetry under three different names besides his own — Alberto were not mere pseudonyms, since it Caeiro, Ricardo Reis and Álvaro de Campos — which he claimed were not mere pseudonyms, since it wasn’t just their names that were false. wasn’t just their names that were false.

Type Specimen

Emigre Type Foundry

9/12pt. When he died on November 30, 1935, the Lisbon newspapers paid tribute, without fanfare, to the “great Portuguese poet” Fernando Pessoa, who was born in Lisbon in 1888. He was remembered for Mensagem (Message), a book of forty-four poems published in 1934, and for some 160 additional poems published in magazines and journals, several of which he helped found and run. The author, a single man survived by a half sister and two half brothers, had the peculiarity of publishing his poetry 14/15.5pt. When he died on November 30, 1935, the under three different names besides his Lisbon newspapers paid tribute, without fanfare, to own — Alberto Caeiro, the “great Portuguese poet” Fernando Pessoa, who Ricardo Reis and Álvaro was born in Lisbon in 1888. He was remembered for de Campos — which he claimed were not mere Mensagem (Message), a book of forty-four poems pseudonyms, since it published in 1934, and for some 160 additional poems wasn’t just their names published in magazines and journals, several of which that were false.

he helped found and run. The author, a single man survived by a half sister and two half brothers, had the peculiarity of publishing his poetry under three different names besides his own — Alberto Caeiro, Ricardo Reis and Álvaro de Campos — which he claimed were not mere pseudonyms, since it wasn’t just their names that were false.

Priori Serif // Priori Sans

o d

Priori Serif ?

a S

Priori Serif Regular Regular:

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 !¡?¿£¢$¥&*øØåÅæÆœŒß

Regular Alternate:

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 !¡?¿£¢$¥&*øØåÅæÆœŒß

Small Caps: abcdefghijklmnopqrstuvwxyz 1234567890 !¡?¿£¢$¥&*øØåÅæÆœŒß Small Caps Alternate:

abcdefghijklmnopqrstuvwxyz 1234567890 !¡?¿£¢$¥&*øØåÅæÆœŒß

Italic:

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Italic alternate:

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 !¡?¿£¢$¥&*øØåÅæÆœŒß

Multiple Abstractions

14/15pt. When he died on November 30, 1935, the Lisbon newspapers paid tribute, without fanfare, to the “great Portuguese poet” Fernando Pessoa, who was born in Lisbon in 1888. He was remembered 6/8pt. When he died on November 30, 1935, the Lisbon newspapers paid tribute, without fanfare, to the “great Portuguese poet” Fernando Pessoa, who was born in Lisbon in 1888. for Mensagem (Message), He was remembered for Mensagem (Message), a book of forty-four poems published in 1934, and for some 160 additional poems published in magazines and journals, several a book of forty-four poems of which he helped found and run. The author, a single man survived by a half sister and two half brothers, had the peculiarity of publishing his poetry under three different published in 1934, and for names besides his own — Alberto Caeiro, Ricardo Reis and Álvaro de Campos — which he claimed were not mere pseudonyms, since it wasn’t just their names that were false. some 160 additional poems published in magazines and journals, several of which he helped found and run. The author, a single man survived by a half sister and two half brothers, had the peculiarity of publishing his poetry under three different names besides his own — Alberto Caeiro, Ricardo Reis and Álvaro de Campos — which he claimed were not mere pseudonyms, since it wasn’t just their 8/10pt. When he died on November 30, 1935, the Lisbon newspapers paid tribute, without fanfare, to the “great Portuguese poet” Fernando names that were false. Pessoa, who was born in Lisbon in 1888. He was remembered for Mensagem

10/11.5pt. When he died on November 30, 1935, the (Message), a book of forty-four poems published in 1934, and for some Lisbon newspapers paid tribute, without fanfare, to the 160 additional poems published in magazines and journals, several of “great Portuguese poet” Fernando Pessoa, who was born which he helped found and run. The author, a single man survived by a half sister and two half brothers, had the peculiarity of publishing his in Lisbon in 1888. He was remembered for Mensagem poetry under three different names besides his own — Alberto Caeiro, (Message), a book of forty-four poems published in Ricardo Reis and Álvaro de Campos — which he claimed were not mere 1934, and for some 160 additional poems published in pseudonyms, since it wasn’t just their names that were false. magazines and journals, several of which he helped found and run. The author, a single man survived by a half sister and two half brothers, had the peculiarity of publishing his poetry under three different names besides his own — Alberto Caeiro, Ricardo Reis and Álvaro de Campos — which he claimed were not mere pseudonyms, since it wasn’t just their names that were false.

Type Specimen

Emigre Type Foundry

12/13.5pt. When he died on November 30, 1935, the Lisbon newspapers paid 9/11.5pt. When he died on November 30, 1935, the Lisbon newspapers tribute, without fanfare, paid tribute, without fanfare, to the “great Portuguese poet” Fernando Pessoa, who was born in Lisbon in 1888. He was remembered to the “great Portuguese for Mensagem (Message), a book of forty-four poems published in poet ” Fernando Pessoa, 1934, and for some 160 additional poems published in magazines and who was born in Lisbon in journals, several of which he helped found and run. The author, a 1888. He was remembered single man survived by a half sister and two half brothers, had the for Mensagem (Message), peculiarity of publishing his poetry under three different names besides his own — Alberto a book of forty-four poems published in 1934, and for some Caeiro, Ricardo Reis and 160 additional poems published in magazines and journals, Álvaro de Campos — which several of which he helped found and run. The author, a single he claimed were not mere man survived by a half sister and two half brothers, had the pseudonyms, since it wasn’t just their names that were. peculiarity of publishing his poetry under three different names besides his own — Alberto Caeiro, Ricardo Reis and Álvaro de Campos — which he claimed were not mere pseudonyms, since it wasn’t just their names that were false. 7/9pt. When he died on November 30, 1935, the Lisbon newspapers paid tribute, without fanfare, to the “great Portuguese poet” Fernando Pessoa, who was born in Lisbon in 1888. He was remembered for Mensagem (Message), a book of forty-four poems published in 1934, and for some 160 additional poems published in magazines and journals, several of which he helped found and run. The author, a single man survived by a half sister and two half brothers, had the peculiarity of publishing his poetry under three different names besides his own — Alberto Caeiro, Ricardo Reis and Álvaro de Campos — which he claimed were not mere pseudonyms, since it wasn’t just their names that were false.

Priori Serif // Priori Sans

Multiple Abstractions

Priori Serif Bold Bold

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 !¡?¿£¢$¥&*øØåÅæÆœŒß

Bold Alternate:

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 !¡?¿£¢$¥&*øØåÅæÆœŒß

Small Caps:

abcdefghijklmnopqrstuvwxyz 1234567890 !¡?¿£¢$¥&*øØåÅæÆœŒß

Small Caps Alternate:

abcdefghijklmnopqrstuvwxyz 1234567890 !¡?¿£¢$¥&*øØåÅæÆœŒß

Type Specimen

Emigre Type Foundry

Priori Serif // Priori Sans

Multiple Abstractions

14/15pt. When he died on November 30, 1935, the Lisbon newspapers paid tribute, without fanfare, to the “great Portuguese poet” Fernando Pessoa, who was born in Lisbon in 1888. He was remembered for Mensagem (Message), a book of forty-four poems published in 1934, and for some 160 additional poems published in magazines and journals, several of which he helped found and run. The author, a single man survived by a half sister and two half brothers, had the peculiarity of publishing his poetry under three different names 6/8pt. When he died on November 30, besides his own — Alberto Caeiro, 1935, the Lisbon newspapers paid tribute, without fanfare, to the “great Portuguese Ricardo Reis and Álvaro de Campos poet” Fernando Pessoa, who was born in Lisbon in 1888. He was remembered for — which he claimed were not mere Mensagem (Message), a book of fortyfour poems published in 1934, and for pseudonyms, since it wasn’t just some 160 additional poems published in magazines and journals, several of which their names that were false.

Type Specimen

Emigre Type Foundry

12/13.5pt. When he died on November 30, 1935, 9/12pt. When he died on November 30, 1935, the Lisbon newspapers the Lisbon newspapers paid tribute, without fanfare, to the “great Portuguese poet” paid tribute, without Fernando Pessoa, who was born in Lisbon in 1888. He was fanfare, to the “great remembered for Mensagem (Message), a book of forty-four poems P o r t u g u e s e p o e t ” published in 1934, and for some 160 additional poems published Fernando Pessoa, in magazines and journals, several of which he helped found and run. The author, a single man survived by a half sister and two half w h o wa s b o r n i n brothers, had the peculiarity of publishing his poetry under three Lisbon in 1888. He was different names besides remembered for Mensagem (Message), a book of his own — Alberto Caeiro, forty-four poems published in 1934, and for some Ricardo Reis and Álvaro 160 additional poems published in magazines and de Campos — which he journals, several of which he helped found and claimed were not mere pseudonyms, since it wasn’t run. The author, a single man survived by a half just their names that were. sister and two half brothers, had the peculiarity of publishing his poetry under three different names besides his own — Alberto Caeiro, Ricardo Reis and Álvaro de Campos — which he claimed were not mere pseudonyms, since it wasn’t just their names that were false.

Priori Serif // Priori Sans

Multiple Abstractions

Book designed by Clara Silva Software used: Adobe InDesign and Adobe Illustrator Fonts used: Priori Serif and Priori Sans Photos taken by the designer Photo on page 28/29 taken by Crystal Lim. Photos of the poet on pages 15, 22, 23 and 37 are from casafernandopessoa.cm-lisboa.pt/index.php?id=2233

Colophon

Emigre Type Foundry

Priori Serif // Priori Sans

Multiple Abstractions

O T

T O

1. Section of the Book

Emigre Type Foundry

g T

T R

Priori Serif // Priori Sans

t Emigre Inc. 1700 Shattuck Ave., #307 Berkeley, CA 94709 USA EMIGRE.COM T 1-530-756-2900 F 1-530-756-1300

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