This article highlights one of the most fundamental critical questions of Jorge de Sena’s thought about Fernando Pessoa: the articulation between the man who conceives and the artist who performs. In this passage from the desire to the execution of the work, Sena places the core of the heteronymic phenomenon – the invention of the author – as a required element to achieve a great creation, even when it was signed by the orthonym. This is an explanatory hypothesis about Fernando’s writing process, in which the action of “becoming-heteronym”, next to the concept later forged by José Gil (1987), appears as a synthesis between the emptying of the self and the artistic consciousness of the poet.
