Reviews 250 or an illustration of Horta’s poetic labour, the song of Eurydice writing violently against obscurity. Regrettably, the first approach to this wonderful surprise is interrupted by an orthographic fault right in the very first verse in Portuguese (‘Pudesse eu transformer-me no meu verso’), which strikes the attention of the reader. Nevertheless, and despite this small disturbance, the most important fault that importunes the reading experience of Horta’s book is perhaps that it does not include an index, but only a sort of table of contents with information on the selected poems. That is certainly useful to locate the author’s work in time and specific publications, but it is noticeably insufficient for an easy handling of the anthology. Clear indications on the pages are lacking and would have been suitable to locate specific poems and approach both original and translation effortlessly. At the end of the book (pp. 234–37), there is a section dedicated to ‘translator’s notes on the translations’ that provides useful information for understanding the specificities of some of the Portuguese ‘untranslatables’ (as Emily Apter would say), such as saudade, for instance. There is valuable and important historical and cultural data. Nevertheless, and again, there is no indications on the poem’s specific pages that some notes will be provided at the end, which have been useful to the reader in order to avoid a somewhat peripatetic reading experience. Despite some editorial aspects that can surely be corrected in future editions, Point of Honour stands out as a celebration of Horta’s poetry. Through the inspired voice of Leslie Saunders, it establishes Maria Teresa Horta as one of the must-read poets of our times, not only within the Portuguese-speaking world, but also in dialogue with other authors and texts, important at this particular moment of growing intolerance and indifference, both in Europe and in Great Britain. As Ana Raquel Fernandes states, it is an invitation to ‘think about ways of resisting oppression and silencing’. Point of Honour ranges over more than half a century and it testifies to the engagement of its author who was also an important protagonist in the political and social struggles that took place in the last decades of the twentieth century in Portugal. To be sure, this publication will contribute to the recognition of a unique poetic voice that advocates a revolutionary poetry and militates against patriarchal and conservative traditions, while liberating the expression of the singularities of women’s bodies and discourse. Take Six: Six Portuguese Women Writers, ed. by Margaret Jull Costa (Sawtry, Cambs.: Dedalus, 2018). 251 pages. Print and ebook. Reviewed by Suzan Bozkurt With Take Six, edited by Margaret Jull Costa and published by Dedalus Europe, English-speaking readers are given a glimpse of the extraordinarily rich and varied production in short-story writing by Portuguese women writers in the twentieth and twenty-first century. Undoing canonical perceptions, where the Reviews 251 ‘proper model for fiction [...] was the nineteenth-century novel’,2 their short fictions open up a window onto the seemingly ordinary minutiae of daily life, the small things that end up questioning the way the world operates: a woman’s screams in front of a prison wall in ‘The Silence’, by Sophia de Mello Breyner Andresen, denounce the injustices and brutality of dictatorship; the significant role a bicycle plays in ‘The Instrumentalina’, by Lídia Jorge, gives its owner a sense of freedom that leads to his insubordination of family rule. But, don’t be mistaken. Smallness, of course, is not the aim of these stories; they don’t shy away from asking the big questions of life. ‘Who’s going to waste five or ten minutes thinking about hope?’, asks Maria Judite de Carvalho’s Mariana in ‘So Many People Mariana’. ‘God [...] is bored and in a bad mood’, muses the blind man in Hélia Correia’s ‘Twenty Steps’, and ‘every now and then he’ll [...] stick out his cane so someone trips and falls down the steps’, adds a disillusioned Rosa. Nor can their authors be called ‘small’ or insignificant. Sophia de Mello Breyner Andresen (1999), Agustina Bessa-Luís (2004) and Hélia Correia...