José Saramago was a Portuguese novelist whose allegorical fiction, written in long unbroken paragraphs with minimal punctuation, used the fantastical to expose the fragility of civilization.
Born into poverty in rural Alentejo in 1922, Saramago worked as a locksmith, a civil servant, a translator, and a journalist before his fiction found an international audience — he was in his sixties before he became famous, and the novels that made his reputation were written entirely in the second half of his life. He won the Nobel Prize in 1998, the first Portuguese-language writer to do so. He died in 2010 at his home in the Canary Islands, where he had lived since 1992 after leaving Portugal in protest at his government’s objection to one of his novels.
His distinctive prose style is immediately recognisable: sentences that continue across entire pages, dialogue embedded in the running text with no quotation marks, speakers distinguished only by a capital letter after a comma, paragraphs that refuse to end. The style is not merely eccentric — it enacts his novels’ themes, the difficulty of knowing where one thought ends and another begins, the instability of individual identity within the collective. Blindness (1995), his most famous novel, imagines a city suddenly struck by an epidemic of white blindness and follows the collapse of civil order that follows, with the doctor’s wife — inexplicably spared — serving as a moral witness. The Gospel According to Jesus Christ (1991), which imagined Christ as an unwitting victim of God’s ambition, was so controversial that the Portuguese government vetoed it for a European literary prize, prompting his self-imposed exile.
Baltasar and Blimunda, The Stone Raft, The Cave, and The Double are among his other major works. Each takes an impossible premise and drives it to its logical conclusion with total seriousness, using the fantastical to illuminate exactly what the realistic novel would prefer to look away from.