A startling, shape-shifting book of prose and images that draws on an unexpected pair of inspirations—the poetry of Fernando Pessoa and the history of air disasters—to investigate con men, identity politics, failures of leadership, the privilege of ineptitude, the slave trade, and the nature of consciousness.
Early in 2017, on a plane from Cape Verde to Lisbon, author and visual artist James Hannaham started reading Pessoa & Co., Richard Zenith's English translation of Fernando Pessoa's selected poetry. This was two months after Trump's presidential election; like many people, ideas about unfitness for service and failures of leadership were on his mind. Imagine his consternation upon discovering the first line of the first poem in the book: "I've never kept sheep/But it's as if I did."
The Portuguese, Hannaham had been musing, were responsible for jump-starting colonialism and the slave trade. Pessoa published one book in Portuguese in his lifetime, Mensagem, which consisted of paeans to European explorers. He also invented about seventy-five alter egos, each with a unique name and style, long before aliases and avatars became a feature of modern culture.
Hannaham felt compelled to engage with Pessoa's work. Once in Lisbon, he began a practice of reading a poem from Zenith's anthology and responding in whatever mode seemed to click. Even before his trip, however, he had become fascinated by Air Disasters, a TV show that tells the story of different plane crashes in each of its episodes. These stories—as well as the textures and squares of the city he was visiting—began to resonate with his concerns and Pessoa’s, and make their way into the book.
Through its inspirations and juxtapositions and its agile shifts of voice and form—from meme to fiction to aphorism to screenshot to lyric—the book leads us to reckon with the most universal questions. What is the self? What holds the self—multiple, fragmented, performative, increasingly algorithmically controlled, constantly under threat of death—intact and aloft?
Hannaham (Delicious Foods) returns with a captivating blend of prose and verse with full-color photo collages by the author, inspired by the work of Fernando Pessoa, air disasters, and more. Employing Jan Westerhoff's metaphor of self as a flight simulation, Hannaham juxtaposes a photograph of a crashing plane with "Knifemagnet," in which he considers identity and classification via the handling of a magnetized knife. A series of pieces titled "Pilot Impostor" take inspiration from famed fraudster Frank Abagnale Jr., who often posed as a commercial airline pilot. One comes in the form of a Trumpian monologue ("I am the best pilot, I'd give myself an A-plus-plus-plus"); in another, a pilot prepares for suicide-by-plane. "Lifestyle Issue" replays a police officer's confession to the murder of an unarmed Black woman eight times, each with a tweak to the officer's personality. "To Confound Forensics" satirically lists ways to outwit authorities ("Try using only your mind"), while "Frankenstein" speaks of the European slave trade. References to Pessoa appear in some entries, and while familiarity with the poet may help, it isn't required to engage with Hannaham's stimulating work, which moves like a plane in tailspin, tossing off flashes of wisdom as the ground below gets ever closer. It's a ride worth taking. Agent: Doug Stewart, Sterling Lord Literistic.