UNICORNIO (Bicórnio, Tricórnio,Tetracórnio, Pentacórnio)
Antologia de inéditos de autores portugueses contemporâneos, organizada por José–Augusto França.
This journal, directed and edited by José-Augusto França, aimed at offering an anthology of Portuguese avant-garde, and had close ties to Surrealism. Complete sets are very rare. (No. 1: 64 pp, and 3 plates; No. 2: 64 pp.and 3 plates; No. 3: 64 pp. and 3 plates; No. 4: 72 pp.and 3 illustrations tipped into text; No. 5: 70 pp.) This periodical was privately printed in an unjustified edition of probably not more than 200 copies, in order to escape the attention of the censors as it included much material that would displease the Salazar regime. The aim of the editor was to unite prose, poetry and essayistic work of all avant-garde directions. The journal thus became a true anthology of Portuguese avant-gardes and its collaborators included modernists and postmodernists from the generation of Presença, as well as neo-realists, together with surrealists. Contributors included: Adolfo Casais Monteiro, António Pedro, José Augusto França, Fernando Azevedo, Jorge de Sena (among his several pieces is one on D.H. Lawrence, with a translation of the poem "Democracy"), Eduardo Lourenço, Alexandre O'Neill, and José Blanc de Portugal. There are also contributions by Sophia de Mello Breyner Andresen, António Sérgio, Delfim Santos, José Régio, Vitorino Nemésio, Almada Negreiros, Hernâni Cidade, Joel Serrão, Miguel Torga, Fernando Pessoa (a previously unpublished essay in Tricórnio, "O Orpheu e a literatura portuguesa"), David Mourão–Ferreira, Eugénio de Andrade, Fernando Namora, Ferreira de Castro, João Pedro de Andrade, José Osório de Oliveira, Luiz Francisco Rebello, Mário Dionísio, Tomás Ribas, Urbano Tavares Rodrigues, Ruy Cinatti, Tomás Kim, Fernando Lemos, Oscar Lopes, Alberto de Lacerda, and others. In the fifth number França wrote a final note announcing the termination of the review, saying that it had failed due to excessive ambition and lack of contributors. Artistically this review is significant with covers by Fernando Azevedo, Fernando Lemos (in particular nos. 2 and 3, which have extremely stunning silkscreened designs, as described above), Vespeira, also vignettes, woodcuts and linocuts by Almada Negreiros, Fernando Lemos, António Pedro, Roberto de Araujo, a.o. [Provenance: The bohemian critic, polemicist, writer of fiction and publisher Luiz Pacheco, collaborated in A afixação proibida, the first Portuguese surrealist manifesto. See Ana da Silva in Machado, Dicionário de literatura portuguesa; Jorge Colaço in Biblos, III, 1338–40; and Dicionário cronologico de autores portugueses, V, 42.]