book Livro Sexto. After the Revolution of 25 April, she was elected to the Constituent Assembly in 1975 by the Porto circle on a Socialist Party list while her husband joined the Social Democratic Party. Andersen won acclaim as a storyteller with Contos Exemplares (Exemplary Tales),"Histórias da Terra e do Mar" (Stories of Land and Sea), and a number of children's books – A Menina do Mar (The Sea Girl), O Cavaleiro da Dinamarca (The Danish Knight), A Floresta (The Forest), O Rapaz de Bronze (The Bronze Boy), A Fada Oriana (The Fairy Oriana). She also published several poetry books and anthologies, including: Poesia, Dual, Livro Sexto, Coral, Dia do Mar, No Tempo Dividido, Grades, O Nome das Coisas, As Ilhas, Antologia, Geografia, Navegações, O Búzio de Cós. In 1999 she became the first woman to receive the highest Portuguese award for poetry, the Prémio Camões (Camões Prize). She was also awarded the Max Jacob Poetry Prize,in 2001, and the Spanish Prémio Reina Sofia in 2003. Besides her work as a writer, she translated Dante and Shakespeare into Portuguese. Later years Andresen died at the age of 84 on 2 July 2004 in Lisbon, at Pulido Valente Hospital. Initially, her body was buried in Carnide Cemetery, but on 20 February 2014 the Assembly of the Republic unanimously decided to honor the poet by entombing her remains in the Portuguese National Pantheon. The relocation ceremony took place on 2 July 2014. Writing style From her childhood and youth, she emphasized the importance of houses, and memories that had a great impact on her work, describing and recalling the houses and the objects inside them. She explained this as follows: "I have a lot of visual memory and I always remember houses, room by room, furniture by furniture, and I remember many houses that have disappeared from my life... I try to 'represent', I mean, 'bring back the things I liked,' and that's what goes with houses: I want their memory not to drift, not to be lost."Andresen also believed that poetry had a fundamental transformative value. Her writing corresponded to specific cycles, with the culmination of the activity at night: "I cannot write in the morning,... I need that special concentration that is being created at night." Her nightly experiences are underlined in several poems ("Night", "The Moonlight", "The Garden and the Night", "April Night", and "O Night"). She accepted the