自上海文艺出版社于1999年出版韩少功翻译的佩索阿《惶然录》译著以来,佩索阿便成为中国读书界热度不散的西方当代作家。对佩索阿而言,《惶然录》当然不是他的全部,而且,佩索阿在世界文坛的今时地位更多的是依靠诗歌来确立。重量级诗人在散文中的发言往往更令人不能轻视。本期推出的这组《感觉主义文献》充分表达了佩索阿对诗歌乃至当代文学的体认,其饱含个性化的真知灼见处处流露,相信对读者将不无深刻启迪。 Since Shanghai Literature and Art Publishing House published the translation of Pessoa’s “Panic Records” published by Han Shaogong in 1999, Pessoa has become a contemporary Western writer in the Chinese book industry. To Pessoa, “hesitantly recording” certainly not all of him, and Pessoa’s status in the world literary world is more dependent on poetry. Heavyweight poets in the prose often tend to be more despised. This issue of this group of “sensory literature” fully expressed Pessoa’s recognition of poetry and even contemporary literature, full of personalized insights and insights are everywhere, I believe the reader will not have profound inspiration.