This article invites the reading of Fernando Pessoa’s Fausto as a rhizomatic work, via three different critical lenses that lead to plurality: Traditions, Transcriptions, and Translations. Regarding different Faustian traditions, instead of seeing Pessoa’s Fausto merely as a competition with Goethe (as proposed by Eduardo Lourenço in his preface to the 1988 edition), we argue for a broader intertextual network, supported by recent research that invokes the poet’s literary estate and private library. Concerning different transcriptions and instigated by the 2018 critical edition—that reclaims Manuel Gusmão’s idea of the “impossible poem” and forsakes an arrangement in 5 Acts—we discuss several ways in which the four printed editions of Fausto differ and how those differences entail diverging interpretations. In the last section, we explore the translation projects of multiple Faustian works that Pessoa both planned and undertook, and how those translations may have influenced the poet’s recreation of the Faustian legend.