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sbon when the revolt broke out on the night of the 11th when the coup d état was supposed to take place maria eugénia was one of the people at that house with herberto everyone was so excited i remember sacuntala miranda was singing revolutionary songs until herberto helder was heard to say in a wry voice from his corner very nice and tomorrow morning the street sweepers will come and sweep up all our bodies everyone just looked at him you can t imagine how much i laughed recollects the old freedom fighter with the end of the coup d état and its leaders in prison herberto left for europe the following year he lived in france belgium holland and denmark picking up any work he could get to pay his keep back in lisbon in 1960 he managed to get a job with the gulbenkian foundation s mobile library travelling around the provinces of ribatejo and lower alentejo the calouste gulbenkian foundation was set up by an armenian petrol millionaire who had fallen in love with portugal one of its programmes was to take culture to the masses using mobile libraries set up in vans that went from village to village lending books herberto had already become legendry as a poet and as a personage when he published os passos em volta in 1963 after 1964 herberto had a number of jobs related to publishing and journalism and started writing more intensively and publishing with some regularity he married for the second time in 1969 and his second son daniel was born he spent 1971 and 72 in luanda angola working as a journalist for the magazine notícias in an interview with the jornal de letras in 1994 ventura martins his colleague from the editorial office recollected that just like the poet fernando pessoa herberto wrote at night when he could sit alone at his type writer it was in luanda that herberto met olga the woman with whom he still lives today his work with notícias continued in 1973 in the lisbon office where one of the articles he wrote was on a benfica sporting football match which he entitled a trip to the field one of his most important works photomaton vox was published in 1979 by assírio alvim he was now able to embark on a new phase in his life thanks to the relationship built with this editor and with the security of a monthly payment he was able to dedicate himself entirely to poetry although producing much more he continued to write regular letters to friends and to meet up with his literary friends almost daily a favourite meeting point was a lisbon café called águia de ouro on the escadinhas do duque according to some of his less prudent friends it was at these informal literary gatherings that herberto showed his true self ernesto sampaio wrote that he is neurotic pleasant but his irony distances him joão césar monteiro tells how as they sat round the coffee table he would sometimes come out with something that was the inspiration of our afternoons and baptista bastos even less discretely let slip that the poet likes to do things on the sly and exchange confidences about obscure wines and sensual women who play hard to get herberto helder s poetry which draws on unique references combined with even more esoteric language is the subject of constant study by essayists and academics the poet and essay writer fernando pinto do amaral notes that his poetry has a creative power which brings order to an unmistakable universe and overflows with verbal energy manuel hermínio monteiro his friend and the editor of assírio who died recently used a particularly beautiful image in an interview to jl there he goes and it s good to know that he is an alchemist turning our day to day into gold strangely enough it is herberto himself who best charts his work surprisingly in 2002 he interviewed himself for the magazine inimigo rumor in which he gives us a crystal clear picture of his place in the world and in poetry he reveals that a poem is written because there is the suspicion that while we are writing it something extraordinary is going to happen something which changes us that will change everything like in childhood when we are standing at the door of a dark and empty room a few paragraphs later herberto reinforces this image there s just a suspicion that some kind of skill special flair reluctantly awaits us contemplating a face someone you love an instantaneous something or the face of a stranger shielded we think it s a new life a new and profound strength it s a mysterious landscape profound and new that is intimately linked to us it s going to reveal itself and further on he gives us an unquestionable definition of his domain when he defends that we either work in the day to day where wonders have not yet been banished or there are other places a wonderful day to day and so the poem is weighed down with magnificent awesome powers put in the right place at the right moment following the right rule a disorder and order is promoted and they place the world at its extreme the world ends and begins essentially according to the poet all his work is in pursuit of the power to dismantle the words of the world and put them together again that is reality although we don t know what it s about that is power and reality vitor silva tavares is a man driven by such ambitious goals that he took on the assignment to do something secret that afternoon in late 1979 today nearly twenty five years after the publication of flash silva tavares has no doubt about what brought it about in his words herberto was looking for an intimate satisfaction taking a manuscript to gutenberg s galaxy that is its printing but with the added allure that the text was not for bookshops or newspapers but just for a few specially chosen readers thus defending himself from being exposed to the spotlight because the most beautiful things are the ones that are safeguarded essentially the editor added it was a book that was genetically destined to rarity not to mention the fact that the author s edition was also a luxury subject to the uncertainty of the pocket book with manuscript in hand silva tavares cheerfully returned to the dimly lit workshop in calçada de s francisco because yet again he could make good use of josé apolinário ramos art at ideal there was a rigid and out dated routine the working day started at 8 with a break for lunch between 12 30 and 1o clock and ended at 5 p m apolinário ramos never gave an inch quite the opposite he was as strict in his trade as herberto was with his writing there was no room for manoeuvre in the complicated esoteric and closed art of printing by hand especially when it came to time we never gave time a thought the time we had was fair and it ran out because time is essential to any art because art demands precision and patience explained silva tavares a little after 8 o clock one morning silva tavares arrived at ideal to start printing flash he went straight to the moulds to decide on the best letters to print the poem as always they were tidied away in their original order in a corner cupboard they were arranged according to the kind of letter capital letters at the top hence the tall box and small letters underneath in a short box the first step was to choose the kind of letter the one which best fit the text being printed for flash he chose elzevir font size 12 apolinário ramos who did not like taking shortcuts started by studying the thing that is the text which was before him in the case of flash he had a 16 page poem another page for the dedication and a final page with the publisher s notes the rule for type setting which he followed was to fix the line of symmetry from the longest verse thus eliminating empty spaces on the first and any of the subsequent pages then he studyied the original to decided on the measurements of the block of text the space the text would fill on each of the pages this was based on the length of the verses and passages from page to page among other details once this was done the amazing process of manual composition was set in motion over the following days each character or mould was an almost invisible piece of metal set on a fine metal plate finer than an old fashioned shaving blade there were also pieces of type for the spaces commas full stops and other punctuation this means that each letter corresponded to a piece of type and they were put together to form the words in the poem in a line set out on the plate this in turn was fixed to the machine and lined up by the so called composing stick a metal ruler at right angles it is not hard with some quick calculations to see that one line of the poem needed dozens of pieces so setting out a full page involved hundreds of moulds once the metal pieces the characters were lined up the next step was spacing the so called reglet made precise measurements of the space between letters and between lines which were called quadrats it was also necessary to get a harmonious balance between the space of the common line and the curandel the place where the capital letter was introduced and the capital letters at the beginning of a sentence flash was particularly hard work because the manuscript was accompanied by a drawing by the portuguese artist cruzeiro seixas using black and blue with red highlights apolinário ramos used the very old technique of reproduction on zinc there was a plate for each colour fixed on wood where the inks were made by hand so that they were as true as possible to the original mixing small pinches of lithographic inks silva tavares has no reservations about sharing how he felt at that time paper metal wood it was alchemy i was involved in an anachronous experience but i was on tenterhooks every second as i watched a typography artist creating with all the calculations done the hundreds of pieces of the front page of the future flash were tied tightly with string and placed on the plate where the whole composition was tightened by flaps all this was then put into the manual press and then with the aid of brute strength the compressor roll fixed the ink on the dampened page producing the part of the poem which fitted on one page created by the sea of metallic characters after a thorough check for any misprints the page was placed in the printing press but because the tray was so small the poem was printed in four that is two pages on one side and two pages on the other the first four pages of the poem just like all the others to follow were printed on dairy paper the most rudimentary paper there is and the kind that was used to wrap fat in the old days the editor of etc used his contacts to get hold of reams of this paper and made a number of books with it once again not only was it cheap but it gave us the illusion of doing something special because the poem brought dignity to this scorned paper the work was so slow that it was only at the end of april that the 18 pages of the first copy of flash were taking shape when the printing of this first copy was finally complete the pages were sewn together using a hand sewing machine they had at ideal silva tavares assures that it was he that tied the last knot of that first copy and so it was that one sunny afternoon in may victor silva tavares held a poem in his hand its opening verse read there s no body like this diver crowned with pure volumes of water there s no search so deep at that pressure as a cold island weighs on the water the roots of an island between april and june 1980 using this very method so crudely described above they printed 250 copies of flash at the cost of no more than 100 euros silva tavares carried the package himself to herberto who was waiting for him in the café montecarlo on avenida fontes pereira de melo in lisbon where today you will find the dress shop zara herberto said nothing there was no need assures the man from etc flash was one of the last books made at ideal a last farewell from an aristocrat of the printing press as silva tavares put it not many years later palma died apolinário ramos went on going to ideal for a while and spending some of the night in the voz do operário library which he was in charge of four years later he too died leaving no one to follow in his footsteps the manual printing press the metal characters the ideal archives the new owner of the typography assures us they were all thrown out victor silva tavares is still in the resistance as he puts it making books but he has given up looking for manual workshops herberto helder has become a living legend and goes on writing flash did not disappear into obscurity quite the contrary the fact that for reasons known only to himself herberto gave away only a few of the 250 copies means that it is one of the most sought after and longed for books by readers and book lovers all over the world a real treasure that is rare to find meanwhile perhaps most important of all is that anyone who pages through a copy of flash will find an inscription on the last page that is witness of a noble undertaking now disappeared forever the pamphlet flash author s edition not on the market a manual composition in elzevir font size 12 by the artist typographer josé apolinário ramos and printed at ideal typography calçada de s francisco number13 lisbon in june 1980 limited edition by cruzeiro seixas 250 copies made publicada por unknown à s 19 2 13 sem comentários enviar a mensagem por email dê a sua opinião partilhar no x partilhar no facebook partilhar no pinterest etiquetas literatura 20121116 sobre o conhecimento da revolta e da ordem infelizmente dois dias depois do primeiro acto de reacção policial a uma radicalização do protesto civico continuamos sem ter conhecimento de alguns dados essenciais para podermos dominar e decidir o que está em causa do acontecimento de quarta feira e das suas ramificações anteriores e principalmente posteriores podemos isolar pelo menos três dimensões importantes a materialização pontual da revolta radical o exercício da autoridade e da restauração da ordem e o conhecimento conseguido pelos profissionais jornalistas está em causa também uma quarta dimensão o grau de maturidade dos portugueses em relação ao que neste texto se discute que tentaremos também abordar as notas que se seguem procuram recortar algum conhecimento sobre estas quatro dimensões a questão fundamental a que os manifestantes radicais têm de responder é qual é o seu ideário e a sua prática na verdade está há já muito tempo ultrapassado o limite de tempo que lhes permitia uma indefinição entre o oportunismo espacial e mediático para acções radicais espontâneas as manifestações e a sua completa inexistência o que está em causa é a revelação da sua identidade ideológica e da sua praxis assim o que todos pretendemos saber é se são apenas vários conjuntos atomizados de membros vagos de ideologias e de organizações em rede que vão do black bok aos estivadores com lideranças em claques de futebol ou se conseguiram erguer uma estrutura ou estruturas com fundamento ideológico e um plano estruturado deste...