On December 10, the Moreira Salles Institute presents the fourth edition of Clarice’s Hour, an event that marks Clarice Lispector’s birthday (1920-1977).
As part of the commemoration, IMS has produced a video interview with Paulo Gurgel Valente, son of the writer, who spoke with Eucanaã Ferraz and Elizama Almeida and recalls, for example, the personalities who frequented his home and the first book that he read by his mother.
That was the first sensation which I had when I saw Clarice’s paintings: my whole body shivered in a flush that was shared with these two women who worked every day at the archive. A kind of slip, a discomposure, a “human dismantling.” As Clarice wrote, “She needs to move her whole boneless head to look at an object.”
The chronicles of Clarice Lispector were collected in a book for the first time in 1984, in The Discovery of the World, a volume edited by Paulo Gurgel Valente, the author’s son, who arranged in chronological order 468 texts published in the Jornal do Brasil between 1967 and 1973.
Among the items that make up the Clarice Lispector Collection, which has been at the IMS since 2004, are two paintings by the author.
Issue 227, from May 25, 1940, contains the three-page story “Triunfo” – Clarice Lispector’s first registered collaboration with the press.
At the 35th edition of the Paris Book Fair, Brazil was the country of honor. The program was marked by an exhibition dedicated to Clarice Lispector at Éditions des Femmes,
It has become commonplace to say that Clarice Lispector’s writing seeks to overcome the limits of language which the author names “it,” “nucleus,” “thing,” “unsayable,” “silence.”
