There were some good poems in this collection. However, nothing compared to The Book of Disquiet.
This is what I have to say about the stylistic aspects of the volume in question. It should be taken with a fair amount of skepticism due to the fact that it is (a) a translation, and (b) a translation by a different translator.
Pessoa's use of heteronyms is fascinating, to say the least. They have their distinct style, lifestyle, and even biographies. However, reading these poems from various times and signed by various heteronyms, converges to say something singular in nature:
Most of his poems in this collection, and arguably most he has written in his lifetime are about this materialism (or empiricism perhaps?). While The Book of Disquiet is all about one's inner life, and dreams, these poems are all about one's outer life, often in strong denial of an existence of an inner life.
The largest and richest English-language volume of poetry from “the greatest twentieth-century writer you have never heard of” (Los Angeles Times) Edited, Translated, and with an Introduction by Richard Zenith, the author of the Pulitzer Prize finalist Pessoa: A Biography A Penguin Classic Writing obsessively in French, English, and Portuguese, poet Fernando Pessoa (1888–1935) left a prodigious body of work, much of it credited to three “heteronyms”―Alberto Caeiro, Ricardo Reis, and Alvaro de Campos―alter egos with startlingly different styles, points of view, and biographies. Offering a unique sampling of his most famous voices, this collection features Pessoa’s major, best-known works and several stunning poems that have come to light only in this century, including his long, highly autobiographical swan song. Featuring a rich body of work that has never before been translated into English, this is the finest introduction available to the stunning breadth of Pessoa’s genius.