A Brief Introduction to Portugal's Most Celebrated Poet, Fernando Pessoa

Around 15 years ago I was introduced to the writings of the Fernando Pessoa, Portugal’s most celebrated modern poet and one of the 20th century’s greatest literary innovators. Born in Lisbon in 1888, he spent part of his childhood in South Africa after his father’s death, returning to Portugal as a teenager. A reserved, meticulous man who worked as a commercial translator, Pessoa lived a quiet existence while producing an extraordinary body of work.

His genius lay in the creation of heteronyms—fully developed fictional authors with distinct biographies, styles, and philosophies. The principal ones include Alberto Caeiro, a nature-loving pastoral poet; Ricardo Reis, a classical, stoic epicurean; and Álvaro de Campos, a futuristic, Whitmanesque modernist. 

Pessoa also wrote under his own name and as Bernardo Soares, the restless semi-heteronym of The Book of Disquiet, a fragmentary masterpiece of introspection and existential unease.

Published mostly posthumously (having died in 1935), his writings explore identity, the multiplicity of the self, and the nature of reality. Today Pessoa is revered as a cornerstone of modernist literature, his influence stretching far beyond Portuguese borders.

In addition to being a poet he was a prolific writer, literary critic, translator, and significant literary figure. Harold Bloom, author of Closing of the American Mind, referred to him as "the most representative poet of the 20th century," along with Pablo Neruda. He was trilingual in Portuguese, English, and French.

Here are two of Pessoa's poems extracted from a blog entitled Poems of Fernando Pessoa.

Saturday, November 6, 2010

This great wavering between
Believing and not quite dis-
Believing troubles the heart
Weary of knowing nothing.

Estranged from what it knows
For not knowing what it is,
The heart only has one vital
Moment, the finding of faith --

The faith that all the stars
Know, for it is the spider
Whose web they weave, and it is
The life before everything.


Sunday, December 26, 2010

I devote my higher mind to the ardent
Pursuit of the summit, leaving
Verse to chance and its laws,
For when the thought is lofty and noble,
The sentence will naturally seek it,
And rhythm slavishly serve it.

Sources: britannica.com and poets.org

Another Reason Why I Don't Keep A Gun In The House, a Poem by Billy Collins

Billy Collins was born in New York City in March 1941, two months before Duluth-born Bob Dylan. Collins served as U.S. Poet Laureate from 2001 to 2003. Renowned for his accessible, conversational style, Collins writes witty, observational poems that transform everyday moments—reading in a hammock, listening to jazz, or pondering ordinary objects—into profound, often humorous reflections. 

Billy Collins by Marcelo Noah (Public Domain)

I was introduced to his work through his Sailing Alone Around the Room (2001). "Another Reason Why I Don't Keep A Gun In The House" was so apt and so fun that I purchased the whole book. 

It can be argued that his career breakthrough came with Questions About Angels (1991), followed by popular collections like Picnic, Lightning (1998),  (2001), and Aimless Love (2013). 

As Laureate, he launched Poetry 180, introducing contemporary poems to high school students. Collins’s clear language and gentle irony have made him one of America’s most popular poets, bridging literary tradition with broad appeal. Evidently he continues publishing, most recently Dog Show (2025).  

* * * 

Another Reason Why I Don't Keep A Gun In The House

The neighbors' dog will not stop barking.
He is barking the same high, rhythmic bark 

that he barks every time they leave the house.
They must switch him on on their way out.

The neighbors' dog will not stop barking.

I close all the windows in the house
and put on a Beethoven symphony full blast

but I can still hear him muffled under the music,
barking, barking, barking,

and now I can see him sitting in the orchestra,
his head raised confidently as if Beethoven
had included a part for barking dog.

When the record finally ends he is still barking,

sitting there in the oboe section barking,

his eyes fixed on the conductor who is

entreating him with his baton

while the other musicians listen in respectful

silence to the famous barking dog solo,

that endless coda that first established

Beethoven as an innovative genius.

Billy Collins

Related Links

The Trouble With Poetry

Aristotle (I love this poem

Some Days

Do you have a favorite poet or poem?

Please share it in the comments.

Insights from Rilke's Letters to a Young Poet

Of all my books just a few are indispensable to me, and two even are always among my things wherever I am. They are about me here too: the Bible, and the books of the great Danish writer Jens Peter Jacobsen. I wonder whether you know his works.
--Rainer Maria Rilke

At the beginning of the twentieth century, Rainer Maria Rilke wrote a series of letters to a young officer cadet, with advice about writing, love, the embrace of passion, the shadowed realms of suffering, and the nature of advice itself. The letters were later assembled and published in a book titled "Letters to a Young Poet." Though directed to one, it is rich with wisdom and advice for all who aspire to be creative spirits, especially poets.

My first brush with this small gem took place when I downloaded it to my Kindle perhaps a dozen years ago.

When speaking of creativity and the artistic life, Rilke offered these suggestions.

1) Trust your inner voice. Focus on your own unique experience and expression, not external validation or imitation.

2) Be patient and cultivate solitude. Artistic development takes time and introspection. Avoid rushing or seeking immediate recognition.

3) Observe and connect with the world. Deeply experience life, nature, and people to enrich your creative wellspring.

4) Embrace uncertainty and doubt. Artistic creation is a journey of exploration and self-discovery, not a pursuit of definitive answers.

5) Don't compare yourself to others. Each artist has a unique path, and comparisons can be paralyzing. Trust your own trajectory.

As I read these, I can imagine a young Bob Dylan internalizing these pearls from the experienced pen of a master poet.

Rilke had much to say about other topics beyond writing, including love, relationships, life and existence. What makes these letters thought-provoking and potent is their candor. They are filled with observations drawn from experience. Here is an excerpt:

You ask whether your verses are good. You ask me. You have asked others before. You send them to magazines. You compare them with other poems, and you are disturbed when certain editors reject your efforts. Now (since you have allowed me to advise you) I beg you to give up all that. You are looking outward, and that above all you should not do now. Nobody can counsel and help you, nobody. There is only one single way. Go into yourself. Search for the reason that bids you write; find out whether it is spreading out its roots in the deepest places of your heart, acknowledge to yourself whether you would have to die if it were denied you to write. This above all---ask yourself in the stillest hour of your night: must I write? Delve into yourself for a deep answer.

* * *

Related Links I discovered Rilke later in life via the amazing 1990 film Awakenings, starring Robert DeNiro and Robin Williams. (Better late than never.) Here is a link to that first encounter. And here is a link to another favorite Rilke poem.

* * *

Flashback Friday: A Page of Quotes from the Portuguese Poet Philosopher Fernando Pessoa

Fernando Pessoa, 1914

It's been over ten years since I was introduced to the acclaimed Portuguese poet and prolific writer Fernando Pessoa. The more you read of his work, the more striking his original way of seeing things and expressing them. 

A few additional things are worthy of note. First, that his writings channeled different personalities and characters. He signed them in these various names as if written by other people, writing in different styles. The literary term is heteronym. The second feature of his work is that most of it was published posthumously. His papers had been left in a trunk and only then the magnitude of what he'd be doing privately was revealed.

I personally like the way he approaches things from a fresh and unexpected angle. His observations move me, as does his frequently simple eloquence. Here is an example:

I'm nothing,

I'll always be nothing.
I can't even wish to be something.
Aside from that, I've got all the world's dreams inside me.

* * *

"No intelligent idea can gain general acceptance unless some stupidity is mixed in with it."

*

"I've always rejected being understood. To be understood is to prostitute oneself. I prefer to be taken seriously for what I'm not, remaining humanly unknown, with naturalness and all due respect"

*

"My past is everything I failed to be."

*

"Stones in the road? I save every single one, one day I'll build a castle"

*

"My soul is impatient with itself, as with a bothersome child; its restlessness keeps growing and is forever the same. Everything interests me, but nothing holds me. I attend to everything, dreaming all the while... I'm two, and both keep their distance — Siamese twins that aren't attached."

*

"The value of things is not the time they last, but the intensity with which they occur. That is why there are unforgettable moments and unique people!"

*

I am the size of what I see
not my height's size.

*

Related Links
Two Poems by Fernando Pessoa

Fernando Pessoa on Wikipedia. 
Of special interest are details of Pessoa's heteronyms, pseudonyms and characters.

Throwback Thursday: Remembering the Poet Thomas Traherne

Thomas Traherne Stained Glass by Tomm Denny, 2007.
Photo Pam Fray, Creative Commons license. 

You never enjoy the world aright, till the sea itself floweth in your veins, till you are clothed with the heavens and crowned with the stars.
~ Thomas Traherne

He was born the son of a shoemaker, but went on to college and ultimately became a parish priest and a poet. I discovered him through a reference in a song by the Incredible String Band called Douglas Traherne Harding, which begins....

When I was born I had no head
My eye was single and my body was filled with light
And the light that I was, was the light that I saw by
And the light that I saw by, was the light that I was

The song's simplicity and mysticism had great appeal, and the last verse ends with the Traherne quote at the beginning of this blog entry.

It was not easy to locate much information about Traherne at the time, or at least not so easy as Google has now enabled. But I did find some of his poems at the time and enjoyed them. What's interesting is that he was a writer of relative unimportance during his lifetime in the 1600s, but afterwards his work lived on and lives to this day.

Last night I watched a short film in preparation for the global introduction of Valtari, the new album by Sigur Rós, an Icelandic group with more than a million Likes on Facebook. I was moved by the film's simplicity and beauty, and afterward it triggered impressions and connections to other beautiful moments, ethereally conveying me by memory to Traherne who once wrote, "This moment exhibits infinite space, but there is a space also wherein all moments are infinitely exhibited, and the everlasting duration of infinite space is another region and room of joys." This moment... is now.

Follow this link for more information on Thomas Traherne, and to read a few of his poems with titles like Eden, Innocence, Aspiration and An Hymn upon St. Bartholomew's Day.

"Love is the true means by which the world is enjoyed: our love to others, and others' love to us." 
~ Thomas Traherne

* * * *

Originally published 7 December 2012.

Rainer Maria Rilke: Exquisite Beauty from the Pen of a Mere Mortal

Nearly everyone who reads and appreciates poetry is familiar with Rainer Maria Rilke (1875-1926). Some of the most beautiful lines in the English language were written by him. (Just kidding. He wrote in German and French.) Fortunately, the beauty of his ideas has not been lost in translation.

Just as I discovered the Wiki Quotes page on Picasso this past week, so have I been exploring others, with Rilke one of the first I looked up.

It is my pleasure here to share a few poems and lines from Rainer Maria Rilke.

* * * *

A Walk 
My eyes already touch the sunny hill,
going far ahead of the road I have begun.
So we are grasped by what we cannot grasp;
it has its inner light, even from a distance—
and changes us, even if we do not reach it,
into something else, which, hardly sensing it, we already are;
a gesture waves us on, answering our own wave . . .
but what we feel is the wind in our faces.

* * * *

"Make your ego porous. Will is of little importance, complaining is nothing, fame is nothing. Openness, patience, receptivity, solitude is everything." 

* * * *
Autumn Day
Lord: it is time. The summer was immense.
Let thine shadows upon the sundials fall,
and unleash the winds upon the open fields.

* * * *

As I read a passage like this next one I am conscious that it is written by someone whose life and being has been so utterly foreign to the fast-paced mad rush rat race so many Americans have accepted as a normal life. Success is achieved by hustling. But what happens to the soul?

from The Book of Hours
I am too alone in the world, and yet not alone enough
to make every hour holy.
I am too small in the world, and yet not tiny enough
just to stand before you like a thing,
dark and shrewd.
I want my will, and I want to be with my will
as it moves towards deed;
and in those quiet, somehow hesitating times,
when something is approaching,
I want to be with those who are wise
or else alone.

*
This next one I have taped on the wall of my office perhaps 20 years ago and it still inspires me, speaks to me in a way that is deeper than words. 

I Live My Life In Growing Orbits
I live my life in growing orbits
which move out over the things of the world.
Perhaps I can never achieve the last,
but that will be my attempt.

I am circling around God,
around the ancient tower,
and I have been circling for a thousand years,
and I still don’t know
if I am a falcon, or a storm,
or a great song.

* * * *

The following is a section from a small volume called Letters to a Young Poet, which I downloaded to my Kindle several years ago. It stands in stark contrast to the loud, busy world we live in today where the radio or television are always on and the myriad ways we bury ourselves in diversions to escape from ourselves.

from Letter Seven
It must be immense, this silence, in which sounds and movements have room. And if one thinks that along with all this the presence of the distant sea also resounds, perhaps as the innermost note in this prehistoric harmony, then one can only wish that you are trustingly and patiently letting the magnificent solitude work upon you, this solitude which can no longer be erased from your life; which, in everything that is in store for you to experience and to do, will act as an anonymous influence, continuously and gently decisive, rather as the blood of our ancestors incessantly moves in us and combines with our own to form the unique, unrepeatable being that we are at every turning of our life.

* * * *

Just as photographers are skilled at capturing the natural world, likewise great poets and writers have fine tuned their lenses to capture our inner landscapes.

Related Link
The Panther
Rilke Wikiquote Page

Author Marie Zhuikov Talks About Her Life as a Writer

Marie Zhuikov self-describes as a novelist, science writer, poet and editor. Her lifelong fascination with science and writing has taken he across a variety of career terrains. In her day job, Marie is an award-winning science writer and communications project manager, specializing in environmental and medical topics. She has published hundreds of articles, publications, videos and radio programs, as well as coordinated production of many web sites. But like many of us with writing in our DNA there are nights and weekends where the streams of self-expression must find an outlet.

This interview was triggered by the recent panel discussion about writing for money.

EN: As a teen you took an interest in poetry. Who were you favorite poets at that time and did you have other friends who shared this passion?

Marie Zhuikov: Back then, I only knew the poets that I could find in my school library or the local library. I used to type out the poems I liked on my parent's Underwood typewriter so that I could have copies. I still have those copies, even over 35 years later. The poets include Dorothy Parker, William Stafford, Sara Teasdale, and William Carlos Williams.

I don't recall any of my friends having the same interest, so it was a solitary exercise for me.

EN: You say that you have been sitting in front of a typewriter you whole life. At what point did you realize this to be your life calling? 

MZ: I realized I really liked sitting in front of a typewriter when I was about 16 and I was in my room, copying poems. The time just seemed to flow, and I remember thinking, "I want to do this for the rest of my life!" Before that point, I had written a few stories and my own poems. But there was something about studying the poems and immersing myself in recreating them that appealed to me. Later, as a student journalist in college, I still sat in front of a typewriter, but that quickly changed to a computer keyboard once I got a "real" job. And I've been doing it ever since. In my 50s now, I am surprised I don't have carpal tunnel syndrome, knock on wood!

EN: Your writing blended with an interest in science journalism and you ended up becoming an environmental reporter for the Minnesota Daily as well as doing some freelance writing. What were some of the things you learned about writing at that time?

MZ: I learned the hard way about the politics behind some stories and how it can play out when someone in power (like a professor) doesn't like the published piece. That taught me to always keep my interview records (notes, recordings) for a long time afterward, in case I need to prove that my sources said what I reported. In this instance, I did keep the records, but thankfully did not need to use them to justify my story's content. However, it was sure nice to know I had them. I could have been fired if it had turned into a "he said, she said" situation.

I learned a lot about editing, too. When I first started with the paper, I was a night typist. I took the reporters' stories, which were typed on paper, glued together to form a long scroll and marked up by an editor, and typed them into the newspaper's computer system after the 5 p.m. news deadline. Even before I wrote my own newspaper stories, that experience taught me many of the common grammar mistakes reporters make, and ways I could cut extra words to make the story's meaning clearer. Some reporters habitually had way more red pencil editor's marks on their stories than black type. Perfectionist that I was/am, I vowed that when I was a reporter, I would turn in stories edited to the best of my ability so that the typists would have an easier job. I like to think they didn't wince as much when a story with my byline came their way, plus it helped me hone my writing and editing skills at an early stage in my career.

EN: Can you briefly outline your long and winding road to the Northland?

MZ: Well, I was born here, so I started out here. My family lived in the Piedmont neighborhood and I graduated from Denfeld High School. I left for college in Minneapolis, where I lived for five years, but I worked for several summers near Lake Superior. After college, I entered a graduate school program called the Audubon Expedition Institute to earn a degree in environmental education. (It's now called the Expedition Education Institute.) We travelled around the U.S. and Canada in a yellow school bus, learning about environmental issues by talking to local resource people, living outdoors, and going for hikes, swims, and canoe trips. We went from the northern tip of Newfoundland down the east coast of Canada and the U.S. to Key Largo, Florida. From there we went out west to canyon country.

The expedition abruptly stopped in Canyonlands National Park when our bus blew its engine block. By that point, I knew I didn't want to pursue a second year of study on the bus. I wanted to settle down. All the land I had seen made Minnesota look pretty good, so I decided to come back here to find a job and work on natural resource issues and writing. I've stayed here ever since, except for one brief interlude to work in Rochester, Minnesota. Locally, I've worked as a writer and public relations person for the Superior National Forest, Minnesota Sea Grant, the St. Louis River Alliance, and Wisconsin Sea Grant. I've also done a fair amount of freelancing.

EN: When did you first get bit with a desire to write novels?

MZ: That happened during one of my college summer jobs. I worked as a waitress at the resort on Isle Royale National Park. It was the mid-1908s, and the wolf population was in trouble similar to the population issues they are facing now. I lugged a duffle bag full of books with me to the island and one of them was Anne Rice's "Interview with a Vampire." I loved how she gave the vampires their own society and deeper motivations than just bloodlust. I thought it would be fun to do the same thing for werewolves - to show them actually working as members of a pack, not just as singular bloodthirsty beasts. What better place for a setting than Isle Royale? So I combined all those things into my first novel, Eye of the Wolf.

Although I got bit with the idea in the mid-1980s, it took me 17 years to write the novel and to find a publisher, so a long lag ensued between the idea stage and the publishing stage. Part of the reason was that I had a lot of learning to do about fiction writing, part was because I got stuck on certain sections, and another part was that a lot of life happened during those years.

EN: Can you briefly share what your second novel is about?  

MZ: My publisher (North Star Press) calls them eco-mystic-romance novels. They combine ecology, native myths, and kissing! My second novel is a sequel set 11 years afterward. Plover Landing follows the protagonist (Melora St. James) and her love interest, Drew, off the island and into Duluth, where Melora is working to restore habitat on Park Point for an endangered shorebird called the piping plover. After they find a lost boy on the beach, the story begins to take a mystical turn. In helping the boy, Melora and Drew learn secrets about themselves and building community, and they come to terms with their past.

* * * *

RELATED LINKS

Visit the website of Marie Zhuikov
The Going Coastal reading at Zenith Bookstore.
Purchase Going Coastal here.

If you're a writer, write on!
Meantime, life goes on all around you. Engage it.

A Visit with New Dehli Poet/Writer Adee

Adee's Study Table

Born in New Delhi, India in 1980 Adee Saini is a retired pessimist (still) living in New Delhi. I'm not quite sure which social media site brought us in touch with one another, but he has been blogging and sharing his poems, impressions and observations online even longer than I (who began this blog in 2007.)

He holds an honors degree in English Literature from the University of Delhi and pays the bills by means of a career in advertising. On his Delhi Dreams blog he describes himself this way: His interests are universal, and include: living, eating, sleeping and when not sleeping, daydreaming. Other abiding interests include reading, writing, street photography, newspaper editorials, watching the moon and planning trekking trips that never materialize. 

Though Adee doesn't post daily he does post thoughtfully, and candidly. One of the themes that he has addressed directly and forcefully in the past is the problem of crimes against women, especially the problem rape in Delhi. We've been sharing our thoughts from time to time for perhaps as many as five years.

E: What do you do for a living? At one time you said you were in advertising.
Adee: Yes, you remember right, I'm a Creative Director-copy at McCann Health, New Delhi, India. If I remember correctly, you also have a background in advertising, right? That makes two things in common for us, advertising and a love of art, particularly words.

E: Indeed. How did you come to take an interest in writing?
Adee: I was always a reader first, and actually never thought of becoming a writer. I think the biggest influence on me would be my father as he encouraged in me a love for words quite early in life. And that included books, magazines, newspapers, and also old Hindi film song lyrics! So right from the age of around 8 years or so, I was subscribing to my own magazines within the household budget. The Sunday newspaper supplements were mine to cut and paste and by around 12 years of age I was into reading serious stuff like classics of Indian literature. That said, I always loved images and drew a lot in my school years. In fact my first job in the advertising industry was also as an art person. It was only by chance that I shifted to being a copywriter and realized I could express myself through writing as well. Now it’s been around than ten years that I've kept my love with copywriting and writing intact.

E: What is your background? How old are you and where are you from originally?
Adee: As for background, ummm I’m a Delhiite, born and brought up in New Delhi, the Indian capitol. I'm a literature student with a degree in English literature. I've stumbled across different types of jobs -- operating printing presses, teaching graphic designing, customer care -- before arriving at some sort of steadiness within the advertising industry ... though to be true, even within its closed sphere I managed to be an art person, an account management person and then a writer. Even now I sometimes think that I could have been better suited for a management job more than a creative responsibility. In the heart of my heart, I want to be a traveling storyteller, working for an organization like the National Geographic or Lonely Planet. But after a decade of advertising and nearing 35 years of age, I'm not very sure of that kind of leap anymore.

E: There is something beautiful and painful in the poems you write. Can you talk about this for me? Adee: Yes, I agree with the thought that pain or sadness makes us look at life's gifts more keenly. Only a person who has traveled through the desert knows the importance of water. My poems come from my life. It has been a difficult one but has had its moments of love and joy and calm. As of now, I'm not completely bitter about it. :) Yes, if given a chance, I would wish some events to be changed, but more or less I'm okay with where I am.

* * * *

that kind of day, that kind of love
“All my life I have loved in vain
the things I didn’t learn.” -Yehuda Amichai

some days you search for the meaning of not only life or death or existence or purpose but of everything, and then you come across one illuminated verse of poetry, one line that burns and brands your heart for life. this is that kind of day, this above, is that kind of love. 
9-12-14
Delhi Dreams

* * * *
This conversation will be continued tomorrow or Wednesday.

Introduction to Spanish Artist Poet Samuel Rosell

There are so many ways to find and follow artists now that we have the internet. I saw a profile of Spanish painter Samuel Rosell in the magazine Art is Spectrum. A Google search followed and my email reached him in minutes. Rosell is also in the medical profession and as I read his answer to the question about the influence of being a doctor I couldn't help but here echoes of Chekov, the Russian short story writer who also was a physician. It is my privilege to share him here with you.

Ennyman: When did you first notice that you were a creative person?
SR: I noticed that I was a creative person very late actually, about 5 years ago. Was by casualty, I was drawing nothing, just playing with a pencil while I was chatting by phone and a girlfriend saw it and said to me: do you know you are very talented for drawing? I didn't know really. I remember I used to draw a lot in my childhood but later I forgot about it.

EN: In what ways were you influenced by your grandfather, the Dadaist painter?
SR: The influence of my grandfather is very passive, a sort of intuitive flow we can say. We spent lots of time together just walking, seeing, drawing in silence, almost never sharing opinions... so I guess I learned to trust in my own intuition and how to express it in art. Also the bright colors, of course, jajaja... as a dadaist the sky could be clear green and strong red.

EN: You are a physician who longs to be a full time artist. How long have you been a doctor and in what ways has that influenced your art?
SR: I am a physician already for 10 years working in first aid. Before that I had to study 10 years, too, so we can say that I am in the medicine world during 20 years and I am 38. The influence is in as many levels as life itself, it is hard to me to say: for sure I learned about anatomy and human body, proportions, movements and more deeply about emotions, human being experiences like compassion, suffering, death, birth...etc. All this gives a spiritual vision of life on earth and what is behind social conventionality.

EN: You’ve also travelled extensively. What did you see and learn that most impressed you about the places you visited?
SR: Travelling for me is, as medicine and living in nature, a way of knowing myself, healing myself and learning. Maybe one of the places that impacts me more is the Sahara desert; the space, the sky, the light and the silence as a big being embracing you, watching you and advertising at same time. The people of the desert they are part of it, they belong to the landscape like a rock or a dry bush. You can feel very little there, crazy sometimes, other times blessed and touched deep in the heart. After few days in the desert you can here your name whispered in you ear.

EN: Both Picasso and Dali were from Spain. How has being a Spanish painter influenced you?
SR: To be honest I really appreciate artists such as Picasso, Dali, Velazquez but it doesn't affect me much. The most: Goya! But I do prefer other classic artists like Rembrandt, Da Vinci, Michelangelo. I am actually more influenced by modern painters: O'Keeffe, Clemente, Duras...

EN: You also write poetry. What prompted you to take an interest in poetry?
SR: Poetry and writing for me is essential. Writing always makes company to me in my trips. For me writing is like a journey where I express dreams, diary experiences, tabus, fantasies, insides...etc and always I do like to mix it with different kinds of drawing techniques. In my web you can see an example if you want: www.samuelrosell.es section: Books.

All paintings on this blog entry courtesy Samuel Rosell. Make time to visit his website at http://samuelrosell.es/