One of Clarice Lispector’s most translated books, The Hour of the Star was published almost 40 years ago by the José Olympio publishing house in October of 1977.
The Rocco publishing house, which as of 1998 assumed the republication of Clarice’s works, is preparing a special volume to celebrate the occasion. Expected to arrive in bookstores in May, the hardcover publication will include six essays written by scholars of the author, among them Nádia Gotlib, Eduardo Portella, Colm Tóibín, Hélène Cixous, and Paloma Vidal.
With a new look, the book will also have an extra section with a facsimile reproduction of the novella’s manuscripts. A part of these manuscripts, in the care of the IMS since 2004, has been scanned and can be accessed here.
Original manuscript of The Hour of the Star / Clarice Lispector Collection / IMS
In addition to the originals for The Hour of the Star, the Clarice Lispector Collection, which is entirely catalogued and available for research in person, is made up of the manuscripts of the novels A Breath of Life and Água Viva, family correspondence, two paintings by the author, LPs, photographs, negatives, and a personal library with around one thousand items, such as books and periodicals.
In this video lesson, Mell Brites, author of the book As Crianças de Clarice: Narrativas da Infância e Outras Revelações (The Children of Clarice: Narratives of Childhood and Other Revelations), addresses the theme of childhood in Clarice Lispector’s literature, both in her children's books and in those aimed at an adult audience.
I believe that Clarice and I shared a common feeling: objects are not inanimate, on the contrary, they have a secret life. I do not know if the reader has already tried turning off the lights at night in your room and, little by little, noticed that your eyes adapt to the dark and finally you can perceive the living presence of things.
The following text began with research on the correspondence between Clarice Lispector and her sisters Tania Kauffman and Elisa Lispector, under the care of the IMS.
More or less fantastic in their plots, these children’s stories reveal narrators who, stripped almost completely of their fictional character, are very similar to the author: they are mothers, writers, they go by the initials “C.L.,” or even say their name is Clarice. Thus, if there is a horizontal posture in these narrators in which respect for the particularities of childhood is presupposed, this same movement also shows the desire to become a little more like a child.
[...] throughout all of Clarice’s work there is a dazzling – almost primordial, inaugural, Edenic – vision of gender, of the man-woman division. One notes a frightened fascination that there is a male-animal-man in the world, as we read, for example, in the short story “The Buffalo,” and also in another story about phantasmic and monstrous masculinity titled “The Dinner”.
In a small, vast, and brilliant book called Three Steps on the Ladder of Writing, by Hélène Cixous (1993), the author is taken to three schools by writers that she loves: the School of the Dead, the School of Dreams, and the School of Roots. One of the books that transport Cixous to the School of Dreams is Clarice Lispector’s second published novel, The Chandelier.
