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Adolfo Casais Monteiro was born in Porto in 1908 and majored in History, Philosophy and Pedagogy. Professor Robinson was the School of Built, of which he had forcibly removed in the early years of the Estado Novo regime. In 1929 he published his first poems Confusion and then assumed the leadership of the journal Presence, which were linked in the thirties of high-caliber names like João Gaspar Simões, Jose Regio, Branquinho da Fonseca, Miguel Torga, among others, that much contributed to the renewal of our literature in aesthetic values ??that have guided the decade of 1930-40. Adolfo Casais Monteiro was born in Porto (1908) and died in Sao Paulo? Brazil (1972), leaving us with a vast literary work, which was divided by the poetry, novel, essay and organizing various editions. The neglect of his work is almost unforgivable, not only by the importance of his literary activity, but also by the sense of his many books of poetry, gathered recently in editing the Complete Poems, with an excellent critical introduction to John de Sousa and Rui more complete chronology and bibliography prepared by active and passive Luis Amaro. Moving away too soon from a certain "mythology" presence, divided between the kingdom of God and the Devil, still in the memories of the early poems of Regal or Torga, Casais Monteiro soon embarked on a more overtly "interventionist" not in their immediate political sense, but mainly in the form of knowledge "disrupt" the poetic discourse that revealed how some formal break with the legacy Pessoa, having been one of the great scholars of the work of the Poet's Message. How poetic act "open to the four winds," the poetry of the author of Europe states in the unfolding plan of being "intimate" and "exteriorizing" logo on his first best sex book for couples entitled Confusion (1929), not by deliberate intention of being "modern "before and on mood and taste, from the postulates of the Presence and recognizing the" lesson "of a Person, may be another follower of" modernism "poetic, in the lineage of other poets, such as Alfonso Duarte, Saul and Alberto Dias Serpa . But the lyrical sense, clearly innovative poetic Casais Monteiro, mirrors are perhaps one of his best books, Bird Flight Without Within (1954), in the discursive and lyrical extension of Agony of Our Singing (1942), affirming in some way this ideological pessimism more pervasive in many of the essays or "anticipates", this year's redeeming 1946, after the holocaust of World War II, by way of a certain "Europeanism" responsibility ", which many minds today marked by winds Europe Community complain because I already flown as a banner for many years. But the whole "poetic" best sex book for couples Miller is determined horizons of hope and struggle, as a sincere "advice" to many other sailings, a persistent released this far western corner where the winds of change in postwar slow to arrive, yet with Salazar in power. And so the author was a Teen of the intellectuals who, feeling no place in his homeland with freedom to express the banner of their own ideals, emotions and feelings, was compelled in 1954 to leave for Brazil, where he taught at several universities and published most of his work essay, no doubt, of capital importance for the understanding of modern Portuguese and Brazilian literatures. But as a poet Adolfo Casais Monteiro was one of the best sex book for couples known voices that take a full "modernity" expressive, poetic line-álvaro Campiani, true, but innovating this "speech" made up of successive "discontinuations" or through an expression directly, without interposition of 'poetic themes', conventional images or representations of reality, "as noted by Gaspar Simoes, who was one of critical importance to enhance the poetic author of Night Open to the Four Winds (1943). But in his capacity as "foreign definitive, almost forgotten his native land in the land of St. Paul, the poetic works of Adolfo Casais Monteiro (and for this we mainly focus the attention of readers in this centenary year of his birth), stands itself today as a song of protest and revolt by our collective "agony" in the long twilight in which he lived or even his own "lonely corner of a poet," which never ceased to be controversial, aggressive, incisive, in the line of forcefulness so that, as noted João Rui de Sousa, determines the ideological boundary "between the psychological and moral isolationism that a broad fringe of his poetry explains a clear stance against the liens and despotism. " . . .
