Every year the University of Tennessee prepares AuthorFest, a series of activities to celebrate the work of a single author. During the month of October 2016, in its second edition, AuthorFest paid tribute to Clarice Lispector.
Among the events offered to the public, in a collaboration between the Department of Modern Foreign Languages and Literatures and the Knox County Public Library, there was a guided reading of The Mystery of the Thinking Rabbit, an exhibition of works of art by Professor Rubens Ghenov inspired by the novel The Passion According to G.H., and a session of the film The Hour of the Star, which was directed by Suzana Amaral, followed by a discussion mediated by Euridice Silva-Filho, research professor at the University of Tennessee-Knoxville.
One of the most anticipated activities of LispectorFest was the lecture by Katrina Dodson, translator of the Complete Stories (New Directions, 2016). In “Rediscovering Clarice” Katrina comments, from her own experience, on the influence of the recent translation in the construction of a kind of “Lispectormania.”
The IMS, in partnership with UT Knoxville’s College of Arts and Sciences, has made this lecture available in full.
The frequent allusion to domestic servants in the urban environment of her chronicles demonstrates what is a reality for many middle-class families in the country: incorporated into the intimate environment of the home in the condition of a “domesticated outsider”, the domestic servant constitutes the most lasting and personal relationship that a member of the middle class allows themselves to establish with poverty.
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.”
It would be possible to say that Clarice Lispector’s finesse recalls that of Virginia Woolf – which actually seems to be her strongest influence. But what most surprises and captivates me in Clarice’s short stories...
The second part of the original manuscripts of Um sopro de vida (A Breath of Life) was delivered by the writer's son, Paulo Gurgel Valente, to be incorporated into the Clarice Lispector Collection
In the interviews done by Clarice there is a sort of unsuitableness for the job with respect to journalistic technique. With Vinicius de Moraes, her first approach sounds like a provocation: “Vinicius, have you really ever loved anyone in life?”
