54 pages • 1-hour read
A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide includes discussion of illness, death, death by suicide, and mental illness.
One hot day, Soares is overwhelmed by anxiety while writing. When the heat abates and the rain starts, he feels better. He sits in the office and studies the rain through the window. He tries to learn from the passersby he observes in the street. Just yesterday, he saw a man who made him realize the intensity of human disillusionment. He doesn’t think people can truly understand each other, though the soul is constantly striving for understanding. He visits a café and studies the other customers, searching for some truth. He wonders if anyone can ever possess another person’s soul. He considers the absurdity of love.
Soares believes happiness and affirmation are also flimsy concepts. Everything feels useless and dreams are the only truth.
Soares tries to distract himself from his feelings by listening to other people’s conversations. He records a series of exchanges, inserting invented lines of dialogue. He admits these conversations are absurd but embraces this absurdity. Life is nothing more than an experiment anyway. He likes to imagine himself traveling to other places and being other people.
Soares takes a walk and studies the city. The sights exhaust him, but he’s unsure if it’s the city or himself.
Weeks and months pass. Soares doesn’t write anything. He’s been walking, observing, and dreaming, but unable to record his experiences. He’s overcome by “boredom with the world” (316). All of life feels like a performance.
Soares observes the hazy city, unsure if it’s fog or smoke he’s seeing. He feels incapable of doing or engaging with anything. He takes a walk and records his observations of the falling leaves. He muses on his passive, observational relationship with images and landscapes. His idleness gives him time to meditate. He believes that human life, like the lives of animals, is banal and defined by suffering and sleep.
It rains for days. When the sky clears, Soares observes the streets, buildings, and passersby, trying to understand their impact on him. Looking out the window, he is overcome by the desire to die, but he does not want to die by suicide. He takes a walk, mentally inventing sentences he’ll inevitably forget by the time he returns home.
Soares takes another walk through the city, musing on sorrow, death, and God. He feels purposeless. Back at home, he daydreams at the window. He feels numb to life and decides people are only happy if they don’t think. He hears music from below and watches passersby in the street.
Soares reports to the office. He is the only one there and revels in his solitude. He visits a café and studies the other patrons, seeing them as examples of vanity and pride, pessimism and happiness. He jots some notes, unsure if he’ll ever finish his book because it’s such a sad account. Even still, he feels that dreaming and writing is the only way to live.
Soares muses on reading and writing. He enjoys reading because it lets him abandon himself. Then he decides that reading is boring. He has a select few books he enjoys. Most books are trivial, and he can’t engage with them—always drifting off into his own dreams instead. He looks out the window; everything he sees is inexplicable. Even his dreams feel oppressive. He keeps writing but is bored by the writing, too. He struggles to distinguish between his imaginings and his reality. He wishes he could rid himself of all desires and hopes. He wishes he could experience love but doubts anyone would fall in love with him.
Soares wishes he were better at feeling his own emotions. He feels frustrated with his personality and circumstances. He feels alienated, as if no one sees him. He decides that everyone is anonymous in their own way.
It rains and rains. Lisbon feels as if it’s in the midst of the apocalypse. He lies in bed but feels restless. He can’t enjoy his own mind anymore and can’t sleep. He drifts into half-consciousness, fluttering between dreams.
The rain passes and Lisbon is quiet. Soares lies in bed, feeling relaxed and happy. He wakes up later and studies the city through the window. He writes at his desk. The days pass and the weather is pleasant. Soares observes each day as it dawns and sets. He realizes he exists, and muses on the interconnection between all things, feelings, and people.
During another sleepless night, Soares rereads what he’s written. He is disappointed in his work and realizes it’s a reflection of his monotonous life. Even still, he keeps writing. He decides he is recording an impression of himself.
Over the following days, Soares feels oppressed by work, home, writing, and the city. His inner life is in conflict with his surroundings. Every time he looks up from his work at the office, he is confronted with the stupidity of life again.
Soares muses on the Persian poet Omar Khayyám (1048-1131). He considers his poem on truth. He reflects on religion and suffering, the body and soul.
A dark sky hovers over Lisbon. Soares sees it as an omen. He leaves work at six, bidding Vasques and Moreira goodbye. Walking through the city, he considers the purpose of traveling again, deciding the soul is free to travel of its own accord. He visits a café and studies the people around him. The light changes, and he feels excited by the mystery of ordinary life.
Days pass and Soares doesn’t write at all. He feels outside of himself. He doubts everything he feels, dreams, and remembers. Even his surroundings feel tenuous.
Soares takes a walk one morning, observing the city as it wakes. He notices the activity around him, the sounds and smells. All of these things seem momentarily real to him. However, he’d like the city even better if he were able to live in the country. He knows he’s hyper-sensitive to his surroundings. Even his tiny room is filled with annoyances. At the same time, he has chosen to live this way. He studies his squalid space and thinks of suicide again—once more dismissing the thought.
One cloudy day, Soares wakes and feels uplifted. Nothing bothers him, and the day is beautiful. He returns to his writing, delighted by his dreams and imaginings. Meanwhile, the weather begins to change. Months have passed, and spring is coming. He takes a walk, visits a friend, and reads him pages from his book.
Another day, Soares learns that his other friend has been hospitalized for a surgery. He feels no sympathy and has no interest in visiting him. He feels guilty but doesn’t know how to assuage it. Reality and his identity remain amorphous to him. Even his writing seems superficial and lacking.
Another day still, Soares takes a walk and studies the buildings, rooftops, shadows, and streets. He feels happier, invested in his observations and reverie. Then he visits the barbershop, where the barber informs him that his colleague recently died. Soares’s good mood disappears. He’s overcome by nostalgia. Out in the street, he realizes that his whole life will fade away.
Soares’s mental preoccupations and narrative tone become increasingly existential over the course of Part 1’s final chapters; his intensifying obsessions with sorrow and despair, loneliness and absurdity reiterate the novel’s theme of Identity as a Product of the Imagination. Throughout the entirety of the “A Factless Autobiography” section, Soares has wrestled with the meaninglessness of his life and experience. He is constantly frustrated with his inability to finish his work, to leave the city, or to change his job and living situation. At the same time, these predictable frustrations are the sum of Soares’s life, and do dictate who he is and how he sees himself. Over the course of the section, Soares’s contradictions and inconsistencies become the only constant in his life.
Soares’s unresolved search for a stable sense of self implies that human identity is a fabrication of the mind. Soares’s meditations on writing and dreaming inform this notion. In Chapter 308, for example, Soares feels estranged from himself after ignoring his writing for many months:
I haven’t recorded any impressions; I don’t think, therefore I don’t exist. I’ve forgotten who I am. I’m unable to write because I’m unable to be. Through an oblique slumber, I’ve been someone else. To realize I don’t remember myself means that I’ve woken up. I fainted for a spell, cut off from my life. I return to myself without remembering what I’ve been, and the memory of what I used to be suffers from having been interrupted. I have a confused impression of a mysterious interlude […] I can’t pull myself together (314).
Soares reverses René Descartes famous aphorism, “I think, therefore I am,” writing instead “I don’t think, therefore I don’t exist.” This allusion points to the fragile, ephemeral nature of an identity held together only by thought. When he returns to writing, he returns to himself as if waking from a deep, dreamless sleep.
In Chapter 443, Soares asserts: “I don’t write in Portuguese. I write my own self” (364). Rather than using language as a tool, he is using his own interiority to produce an impression of his selfhood on the page. This counterintuitive aphorism—he does, in fact, write in Portuguese, and writing cannot take place without a language—suggests that his self-expression transcends language even as it consists entirely of language. Soares’s identity is hinged upon his artistic creation; when he isn’t creating, he does not exist. The notion of selfhood appears flimsy and fleeting as a result. Pessoa uses Soares—his heteronym—to convey the insubstantiality of human identity. Identity is a construct individuals rely on for a sense of control over their otherwise unpredictable lives. The very invention of the Soares character enacts Pessoa’s mutable identity in turn, as he turns to Imagination as a Source of Meaning.
The section ends on a melancholy and despairing note—underscoring Soares’s outlook on The Alienating Nature of Modern Urban Life. The final chapter is more grounded in concrete reality than the majority of the section. Soares depicts himself going to the barbershop and interacting with his barber while in the chair. The scene itself is pleasant: The young barber is “occupied in fastening a clean, cool cloth around [Soares’s] neck” (391) while the two talk. This moment of relaxation quickly sours however when Soares learns that the barber’s absent coworker has recently died. The contrast between Soares’s cool, calm external surroundings and his subsequent internal despair enacts a melancholic mood. Suddenly, “time’s fleeing is for [Soares] an anguish, and life’s mystery is a torture” (391). The late barber wasn’t a close friend of Soares’s, but he was a fixture in his life. That he could have died without Soares even being aware that he was ill reminds Soares of how many people he lives alongside without knowing anything about their lives, and without their knowing anything of his. His sudden absence underscores the anonymity of life in the city, overwhelming Soares with despair and futility. Someday he too will be like the barber: suddenly gone, his absence unnoticed. Despite all of his efforts to formulate an identity and catalogue his thoughts, theories, and experiences, his death will amount to nothing more than “one less passer-by on the everyday streets” (392). This melancholic notion reiterates Pessoa’s view of the human experience: Humans are innately driven to think and understand, to explore and seek answers, but all of these efforts are futile in the face of death.



Unlock all 54 pages of this Study Guide
Get in-depth, chapter-by-chapter summaries and analysis from our literary experts.