1. This is an example of the ekphrastic collaboration with another artist, in this case Chantal Guiraud, a dialogue that will repeat itself, in this exhibition, on the item displayed in the main room's plinth, which can be contemplated in its three-dimensionality. "Nascente" seems to be simultaneously a poetic art and a close dialogue with Giraud’s central image. Dated and signed on 7.X.2017.

2. "O Caminho de Eros” (The Path of Eros) and "A Transmissão do Mito para a figura” (The Transmission of the Myth to the Figure) (2013-15) are two unpublished manuscript books in an artist's notebook where poems are mixed with illustrations. This is an activity to which Nuno Júdice has been dedicating himself consistently since the 70s and which constitutes an important ekphrastic collection, not yet disclosed and yet to be studied. In this case, the author fills a white notebook with two books, one starting in the normal western sense, another in the opposite end, and in the opposite direction. "Image built" can be read as a small ars poetica.


3. "A construção da figura” (The construction of the figure) is an unpublished artist's book with objects in the middle of the pages, including handwritten poems dating from late 2015 until late 2018, like this "Nome", one of the last, dated 29.12. 2018 handwritten by the author.


4. "Livro" (Book) is an artist's notebook with many illustrations and dated poems according to the cover of 2010-11, where the geometric form and the colour, in the futuristic and dadaistic way seems to predominate, while presenting also some collages. Again, as in the autobiographical citation of the panel above, or in the adjacent poem, the image 'explains everything’ in this "Prescrição nocturna” (night prescription) that poetry also is.

5. Untitled notebook, possibly dated from the 1970s with later insertions in 1987. In this notebook, as we can see, there are many questions about what it is to write, 'the need of writing’, questions around the 'biographical work' on the 'work of the text', theme to which the poet has remained faithful to this day. Also note the collage of other typewritten texts on the pages, a frequent practice in notebooks like this, as well as the use of colour, a contrasting and experimental technique.




6. Unpublished drawing by Nuno Júdice, as a child, done at Mexilhoeira Grande (Portimão), showing an old local beggar named "Zé Rena". [1950’s, no date]


7. "Fragment of Biography", typewritten poem, dated April 1972, month in which his first book, A Noção de Poema (The Notion of a Poem) was published, which we will see in the adjacent showcase. What it is to write, what for and how, have been, since then, major themes of the author, as evidenced by the artist's notebook on the previous showcase. The metapoetic, that is, the theoretical thinking about the poem in the act of doing so, is a fundamental axis of his poetry.

8. "Uma flora inacessível” (An Inaccessible Flora), an unpublished typewritten poem with amendments, dated October 1968, in which the author seems to poetically treat memories of a trip to the northern Europe accompanied, among others, by Luis Miguel Cintra (see final poem of Poesia Reunida, 2000).


9. "A-nálise", an unpublished typewritten poem with amendments, dated October 1976. The early 70s was a time of a first questioning about the 'notion of poem' for Nuno Júdice, a path he would follow in the following decades in different ways. This poem also seems to be in tune with other poetic works from the experimental revolution of the 1960s, which took the word to the extreme of the meaning and the materiality of space, such as those of Ana Hatherly or Fiama Hasse Pais Brandão, who also published Homemagemàliteratura in 1976.


10. "A Christmas Souvenir", which we cannot date, is an unpublished typewritten poem, amended in the penultimate stanza. It refers to his memory of the 1959 Christmas, in the Algarve. There is an intertextuality with Fernando Pessoa, especially his Christmas poems, namely "Chove. É dia de Natal" and "Natal... Na província neva”, the latter published for the first time in Notícias Ilustrado, nº29, Lisbon, 30-12-1928. Both intertextuality and his interest on Pessoa are an important axis of Judice’s poetic work.


THE 70'S



11. The original editions of A Noção de Poema (The Notion of Poem) [1972] and Crítica doméstica dos paralelepípedos (The Domestic Criticism of the Parallelepiped) [1973, Pablo Neruda Prize], his two first books published by Publicações Dom Quixote, together with the commemorative reprint of 2015, for the 50th anniversary of the publishing company. Between these two books he published O Pavão Sonoro (The Sonorous Peacock), still in 1972, which can be considered a metapoetic complement of The Notion of Poem. We can read the first review, by Manuel Gusmão, to The Notion of a Poem, in the panel above. Nos Braços da Exígua Luz (In the Arms of the Exquisite Light) in the lower right corner, was published by Arcádia in 1976. It was his fifth book of poetry.


12. As Inumeráveis Águas (The Inumerable Waters), 1974, was Nuno Judice’s first book published by the famous house Assírio e Alvim, which was then in their beginning (Collection "Cadernos Peninsulares” New Series, Literature 6"). The cover was created by the well-known graphic designer Dorindo de Carvalho. The book received a good review from Fernando Guimarães at the magazine Colóquio-Letras (check the panel), with whom Nuno Júdice would later collaborate, along with Mário Cláudio and Pedro Tamen, in the book "As palavras da tribo” (The Words of the Tribe) (Lisbon, Altamira, 1985), illustrations by José de Guimarães).

13. "O valor do poema” (The value of the poem) is a 1972 typewritten poem with amendments, which was transcribed in the magazine Relâmpago (nº25), in October 2009. In that issue, dedicated to the theme "Poetry and Money", Nuno Júdice reflects on "The value of the poem" on his text, equating the issue of copyright: "I do not know if it was high or low the amount of eight hundred escudos (back then the Portuguese currency, equivalent to four euros today... manifestly this value would have to be updated) that my poetic accountancy attributed to the work of writing each poem, what I do know is that the irony behind this text would risk, in a country where reading usually wouldn’t go beyond the first layer, to be interpreted as a 'capitalist' deviation (I am using the political concepts of the time), and a merely selfish gesture. In fact, I was raising the simple question that 'every second of your work counts', and nothing more 'socialist' (I go back to the language of the day) than that. "




14. "The Royal Winter", October 1976, is an unpublished typewritten poem, incorporating felt-tip pen drawings, a common process in these documents.


15. De Antero de Quental: Odes Modernas, Primaveras Românticas e Sonetos.

Antero de Quental was one of the authors that Nuno Júdice was academically more interested in, as evidenced by the present editions of Ulmeiro in 1983, followed by others, namely in the Imprensa Nacional. In parallel, Quental inspired the works Última palavra: ‘Sim’ [1977] e Antero. Vila do Conde [1979], both by the publishing house &etc , owned by Vitor Silva Tavares. They were Nuno Judice’s first works of fiction and theatre, respectively.


16. "Si c'est cela la trahison" [s.d.] is one of the most beautiful unpublished manuscripts of Nuno Júdice's collection, part of a series of handwritten works with drawings by the painter António Sena. Again, it is noteworthy the allusion to other writers: namely Ezra Pound and James Joyce, also referred to in his works Finnegans Wake and Ulysses. This page is also testimony to the amount of texts written directly in French on the author’s collection, an unpublished and yet to be studied dimension of his poetic work.

17. Novela Despropositada [1977], by Frei Simão António de Santa Catarina, the Belém Crooked, is the first academic edition of Nuno Júdice, published by Assírio e Alvim, in 1977. About the author, Júdice writes the following, in his preface to the work: «It remains to be said that, as for the Author, he is called Frei Simão António de Santa Catarina, a Jerome monk, nicknamed the Torto de Belém (The Belém Crooked). He had several arguments with him, of which we find frequent traces in his poetry, Tomás Pinto Brandão treats him only as Crooked; Belém (in Lisbon) would be toponymic. Since Pinto Brandão died in 1743, it is not to be expected that the friar was any younger, so his life would be situated between the second half of the 17th century and the first half of the 18th century - moving away from the Baroque, of which he mocks in a Jewish manner, but not far enough from the Arcadians to disdain the use of the style and artifices of the poets of the Reborn Phoenix.»


18. "O fim aproximava-se. No entanto (The end was near. However)[…]", dated March 17, 1974,"Reagindo contra a Prisão e o exílio” (Reacting against Prison and Exile), dated April 1974 and "Movimento de Massa em 25 de Abril” (Mass Movement on April 25th", dated April, 1981, are three unpublished typewritten poems found in the collection of the poet that relate directly to the Revolução dos Cravos (25th April 1974, day of the “revolution of the cloves”). Note the prophetic character of the first and second poems, written days before the coup, and where questions of social injustice, imprisonment and exile are explored.


THE 80s




19. The typewritten docs and manuscripts presented in this showcase are linked by a very strong visual component: "Afastar-se-á dos caminhos conhecidos” (He shall move away from known paths) or "Poema do lápis verde” (the green pencil’s poem), dated November 1986, incorporates the almost caligrammatic drawing of a pencil in the graphic plot of the poem, while "Marinha", March 1983, includes a collage with visual coordinates for one to read the poem. The final amendment is simultaneously a drawing of the sea, in blue pen. This is the only one within this showcase that had already been published, in a Brazilian academic magazine in 2012.

More caligramáticos, in the manner of Guillaume Apollinaire, are "Manuscrito numa garrafa” (s.d., 1990s), (Manuscript in a Bottle, no date) which appeared later in a different version in a postcard of Casa Fernando Pessoa (c.2000), below; and "Poetrypoesia", dated by the author as of August 14, 1987, one of the most beautiful objects of this exhibition, which is a true ars poetica closely following the Baroque’s graphic tradition.


20. "Linha” (Line), unpublished typewritten poem dated September 1978, takes on the tutelary figure of Modernism Pablo Picasso’s experimental and innovative spirit, to compose a circular poem, both anaphoric and built in enjambement (the running-over of a sentence or phrase from one poetic line to the next, without terminal punctuation), on the importance of the 'line' in the making of a work of art (be it a poem or any artistic object).


21. "Rimbaud Inverso" is an artist's book composed during three days in April 1985, as indicated in the cover. Later, in 1991, the book was integrated, as unpublished, in the volume that gathered all of Judice’s poetic work from 1972 to 1985 (shown in the next showcase), but only in its textual component, without images. Its parody and intertextuality with the French poet are evident from the epigraph "The pastiche is a pastis." Also, from the 1980s - the decade in which he began an intense study on Modernism and Futurism, the book O Voo de Igitur Num Copo de Dados (Igitur’s flight in a dice cup) [&etc, 1981], a clear allusion but also a subversion of the pioneer of Modernism, Stéphane Mallarmé.




22. A partilha dos mitos (The sharing of myths) [1982], is a work of poetry that is the number 10 of the "Inverso" collection in the publisher Na Regra do Jogo, in Oporto. Nuno Júdice extensively collaborated with publishers from the north of the country, notably with Inova, where he published a folio-poem in 1978 named O Corte na Ênfase, (Cutting with the Emphasis) and three years before, O Mecanismo Romântico da Fragmentação (The Romantic Mechanism of Fragmentation).


23. A Era de Orpheu (The Age of Orpheu) was published in 1986 by Teorema, and it was reedited in 2003 by the same publisher, with a cover by Jorge Colombo. Fernando Guimarães, a poet and a pioneer in the study of the literary magazines of Modernism, wrote the following about this piece: "This book allows us to understand, fundamentally, how the literary creation of the Orpheus generation was perceived, especially taking into account the several critical or controversial texts published between March and August of 1915 by the newspapers of that period. It is therefore a very suggestive analysis, because, as we look into these texts, it is relatively easy to detect not only the common reading options at the time ... but also the expectations that the very transformation of literary creation could not fail to produce." (Revista Colóquio/Letras. Recensões Críticas, n.º 99, Set. 1987, p. 124.)

24. A Condescendência do Ser (The Condescendence of the Being) [1988], Enumeração de Sombras (Enumeration of Shadows) [1989] and Regras da Perspectiva (Rules of Perspective) [1990] are three books published in the late 1980s by Quetzal, following the Pen award in 1986. They were very important to structure his reputation as an inescapable poet from the new generation, confirmed in the following decade.


25. Lira de Líquen (Lisbon, Rolim, 1986) is still today one of his most well-known books. The book was awarded the Pen Club Prize in 1986, and it has extra-texts by Jorge Martins, as displayed here with the poem "O Viajante” (The Traveller). Next to it, the reproduction of an unpublished typewritten poem, precisely from the collection "Lira de Líquen". The poem, dated from 1981, precedes the 1985 work that provided the title, but it was not included in it. This finding was the subject of an article in 2015, at a celebratory meeting of the poet's work, in Lyon, France.

26. Adágio [1984] is one of the first books in prose, published by its publisher during the 80's, Quetzal. Other fiction books of the 1980s: Plâncton (Context, 1981), A Manta Religiosa (The Religious Blanket) (Contexto, 1982) and O Tesouro da Rainha de Sabá, Conto Pós-Moderno (The Treasury of the Queen of Sheba, a Postmodern Tale - Rolim, 1984).


27. Poetic work 1972-85 (Quetzal, 1991).

It includes the following works by Nuno Júdice: A Noção de Poema (1972), O Pavão Sonoro (1972), Crítica Doméstica dos Paralelepípedos (1973), As  Inumeráveis Águas (1974), O Mecanismo Romântico da Fragmentação (1975), Nos Braços da Exígua Luz (1976), O Voo de Igitur Num Copo de Dados (1981), Partilha dos Mitos (1982), Lira de Líquen (1985) and Rimbaud Inverso (original notebook displayed in the previous showcase).






28. Poesia Reunida 1967-2000 (Dom Quixote, 2000), brings together all the poetry published till 2000, almost without amendments, except for some books whose material support and visual nature did not allow their inclusion. The author also decided to include an unpublished book (Rimas e Contas), as well as the autobiographical poem "Poem on an Ancient Score", previously published in the magazine Hífen nº13, quite enlightening about the context of the emergence of his first phase in poetry. The introductory text by Teresa Almeida is still today a landmark for the study of his poetic work.


29. Meditação sobre Ruínas (Meditation on Ruins) [1994, Portuguese Writers Association Poetry Prize] is undoubtedly one of the most widely read, well-known and translated books in the poetic work of Nuno Júdice, a very European book, based on a broad reflection on the exile of Ovídio. Next to it, the first translation, by Gallimard (1996), alongside with another book, Um canto na espessura do Tempo (A corner in the thickness of Time, 1990).


30. Sertório, by Pierre Corneille [Relógio d’Água, 1997]. In addition to becoming a playwriter, Nuno Júdice began translating theatre in the 90s. This play, staged by the Cornucópia Theatre Company in 1997, was the first case. Other translations of pieces: D. João de Molière (Campo das Letras, 2006), Cyrano de Bergerac, by Edmond de Rostand (Bicho do Mato, 2013) and, more recently, William Shakespeare, with Tanto Amor Desperdiçado (Bicho do Mato, 2016).


31. A Árvore dos Milagres - The Tree of Miracles (2000) is a three-fold series of fictions. One of these three fictional nuclei is dedicated to the nun Mariana Alcoforado, a Portuguese myth to which he would return most recently on the eve of the 350th anniversary of the first publication of the letters (Letters of a Portuguese nun / trad. unknown: offered to the public by an anonymous, ed. and pref. Nuno Júdice, Lisbon, Sibila, 2018).

32.Erdal Alova, A linguagem da areia (The Language of Sand), Quetzal, 1997. (Collective translation by Fiama Hasse Pais Brandão, Rosa Alice Branco, Fernando Echevarría, S. Epözçelik, Egypt Gonçalves, Nuno Júdice, Zafer Öguz, Wanda Ramos, Jorge Velhote)

Nuno Júdice is co-coordinator of the Collective Translation Seminar of Casa de Mateus (Vila Real), a program of meetings on translation, unprecedented until then in Portugal, which started to be developed in 1990. Every year, two foreign poets are invited to visit the historic house and then they are translated by a group of Portuguese poets and translators. Sixteen individual anthologies of these poets, such as the one presented here, were published by Quetzal between 1990 and 2001.


33. A Fonte da Vida (The Fountain of Life) [1997] is another of the poetry books published by Quetzal in the 90s where love is the main theme. The covers of these books always have the reproduction of the painting of a woman, a fundamental topic in Nuno Júdice's poetry. Here, "Iconoclastia" perpetuates Judice’s poetic meditation around the image in poetry.




34. Viagem num século de poesia portuguesa - Journey in a century of Portuguese poetry - 1997, is a long essay that covers the literature of the twentieth century in Portugal. Published in French before the Portuguese edition [1993], it was very successful book among the critics and the public. It was later reedited.


35. Cancioneiro de D.Dinis [Teorema, 1998]. Alongside with Antero de Quental, D. Dinis was another of the authors to whom Nuno Júdice devoted attention. In fact, medieval literature was also a point of interest, seeing that Júdice concluded his Phd, in 1989, with the thesis O espaço do conto no texto medieval (The place of the tale in the medieval text -later published by Vega, in 1991).


36. Viagem das Palavras (estudos sobre poesia) - Journey of Words (studies on poetry), from 2005, is a set of twenty articles on poetry forming a unit that allows their inclusion in a single volume. In it, the author always gives primacy to the word, leading us on a journey through less studied and well-known authors, additionally revisiting consecrated authors or simply by approaching the various metamorphoses that the poetic word acquires - especially while relating to other arts, an element which is always present in his poetry.


37. Raptos = Enlèvements = Kidnappings, edited in partnership by Casa Fernando Pessoa and Quetzal in 1998, has beautiful intertexts by Jorge Martins, as in this "O Rapto de Europa” (The Rapture of Europe). A trilingual book, it was incorporated in Poesia Reunida 1967-2000 (2000), displayed in the previous showcase, only in its original Portuguese version.






38. Geografia do Caos (Geography of Chaos) [2005] is a book of poems in which the poet's commitment with the real world is very clear: accompanied by pictures of objects in the Archaeological Museum of Faro combined with recent pictures of the  Algarve (all by Duarte Belo); it is a poetic meditation on the ruins or a 'geography of chaos' in which the pressure from tourism has sunk this Portuguese region, where the author was born. It is accompanied by its respective French translation, recently published, and it also includes O Breve Sentimento do Efémero (The Brief Feeling of the Ephemeral) - Le Sentiment fugace de l'éternel, Suivi de Géographie du chaos, trad. Béatrice Bonneville-Humann, Yves Humann, Ed. De Corlevour, collection Nunc, les tirés à part, 2015).


39. O Breve Sentimento do Eterno (The Brief Feeling of the Eternal) [2008] is a special book because for the first time it presents the manuscripts with amendments alongside with the respective printed sonnets. This connection to the manuscript and therefore to the materiality of both the support and the word is inevitable even in his most recent poetry. In the year following the publication, the photographer Maria José Palla (who had already photographed for the book Poetas) invited Júdice to do a joint exhibition at the National Library of Portugal, of which the room sheet is exhibited here. The poem "Tempo", also displayed here, was included in the page inside that sheet.

40. Um país que sonha: Cem anos de poesia colombiana (A country that dreams: a hundred years of Colombian poetry) [2012] is one of the most important recent translations by Nuno Júdice. A translation selected by the Colombian poet based in Portugal, Lauren Mendinueta, with which Júdice also collaborated in another paradigmatic translation on this display cabinet, by the poet María Gomez Lara, XXVII Loewe Foundation International Prize of Poetry for Young Creators (Nó de sombras, prol. Lauren Mendinueta, Lisboa : Glaciar, 2015).


41. El misterio de la belleza was first published in Mexico in 2010 (ed. UANL-Capilla Alfonsina) and it is the last book of poetry that Nuno Júdice published in Portugal, in 2018. It is included in the Expresso newspaper collection Inéditos, in its original version. The translation was done by Blanca Luz Pulido, a poet who has just translated Meditação sobre ruínas [Textofilia Ediciones, 2018] and also translated, in 2001, Teoria Geral do Sentimento (General Theory of Sentiment) [Trilce Ediciones].




42. Na Teia do Poema: um percurso intertextual na obra poética de Nuno Júdice (In the Web of the Poem: an intertextual course in the poetic work of Nuno Júdice) [Chiado Editora, 2013] is based on the first doctoral thesis defended on the poetry of Nuno Júdice, in 2010. As the name indicates, it suggests a reading of his poetry through the linking with other poetics and other elements of European and world culture, suggesting that the voice of Nuno Júdice emerges from this dialogue both strengthened and unique.


43. Devastación de Silabas (Syllabic Devastation) [2013] was an anthology produced specifically for the Queen Sofia Prize of Ibero-American Poetry, one of the most prestigious European prizes of poetry, awarded to Nuno Júdice that same year. Organized and selected by the Portuguese teacher Spain-based Pedro Serra, it is a bilingual anthology comprising an extensive and important preface also written by Serra.

44. La maleta del poeta (The suitcase of the poet) [Trilce, 2018] emerged following the representation of Portugal at the Guadalajara Fair (Mexico), an opportunity to present an extensive anthology of almost fifty years of published poetry.


45. Pedro, lembrando Inês (Pedro, remembering Inês) [2002] is a small book based on another fundamental theme of the Portuguese culture: D. Pedro's tragic love for Inês de Castro, which once again places Júdice on the path of a meditation on love, as in previous books (Teoria Geral do Sentimento, de 1999, ou Árvore dos Milagres on a previous showcase), in a close metatextual dialogue with the essential topics of our culture. It has an extra-text by Graça Morais.


46. A Implosão (The Implosion) [2013] was his most successful fiction book among the public, being reedited three times that same year. The controversial topic of a man looking back at the economic crisis and the fate of (t)his ‘generation of April’ was decisive in this consensus among critics and the public. The Myth of Europe [2017] is the poetic pair for this book. It was published after the end of austerity in Portugal, addressing the myth of the abduction of Europe and thinking about the place of Portugal within the Old Continent and also Europe's present moment.


47. Geometria Variável - Variable Geometry (2005, DST Grand Prize for Literature) is another essential book in Nuno Júdice's most recent poetic work. “Teoria do Enigma” (Theory of the Enigma) is another "explanation of the poem", adding to one of the fundamental metapoetics of today’s European poetry.




"Noces / Núpcias", poem with painting, dated 7.IV.2016, one of several belonging to the poet’s collection. It is an ekphrastic dialogue with the artist Chantal Guiraud, also displayed in the first showcase of this exhibition. This copy is #2 out of 4.