Álvaro de Campos, like Ricardo Reis before him, emerged from Pessoa's soul on that legendary March 8, 1914, when the poet wrote down the Triumph Ode on a train. Campos is the counterpart of a self-assured masculinity fanatic; he does not want to be constantly superior, and perhaps that is what makes him relatable to the reader. More importantly, Campos fulfills Pessoa's self-imposed demand that modern art must resonate with the entire beauty of the present, with the whole wave of machines, trade, and industries. Nowhere in the work of the great Portuguese poet do common human experiences touch the reader as strongly as in Álvaro de Campos, whose later works have numerous connections to the writings of the auxiliary bookkeeper Bernardo Soares in The Book of Disquiet. The new translation by Inés Koebel is a significant improvement over the old one.