, After Clarice. IMS Clarice Lispector, 2017. Disponível em: https://site.claricelispector.ims.com.br/en/2017/11/16/after-clarice/. Acesso em: 06 January 2026.
While the cariocas, residents of Rio de Janeiro, prepare for the long holiday weekend in honor of Black Consciousness Day, St. Peter’s College, at the University of Oxford in England, is promoting a turbo-charged schedule for November 17-18 in honor of Clarice Lispector, to celebrate the 40th anniversary of her death.
Organized by Professor Claire Williams, the conference After Clarice: Lispector’s Legacy will gather the greatest experts of the work of the author of The Passion According to G.H. to discuss a wide range of topics.
By counting on academics who translated Clarice’s works, the conference aims to shed light on the different perspectives of translators into various languages, a topic that will lead to much debate.
Artists who have interpreted Clarice, personage or work, will not be left out. Gathering professors from Berlin to Beijing, including scholars from the University of Minho and the University of Ceará, and, of course, counting on several in-house professors, After Clarice will also hear specialists with respect to the editorial policies around the work of the honored author– not losing sight also of Clarice Lispector, the newspaper chronicler, who wrote to earn a living.
“To write is to shine,” Otto Lara Resende affirmed in the profile he created of the writer. Yes, Clarice will indeed shine in the English autumn at Oxford.
Those interested can see the schedule on the site https://afterclarice.wordpress.com/
See also
by Jorge Carrion
The Spanish writer and critic Jorge Carrión recently published, in The New York Times, an essay about the life and work of Clarice Lispector.
by Yudith Rosenbaum
The word “unfamiliar” is used by Clarice Lispector in several of her works. To be precise, in the original Portuguese, Clarice employed the neologism infamiliar, which is not in the dictionary, though it cannot be affirmed that the author is the source of this term in Brazilian literature. Nonetheless, by mentioning the word “unfamiliar” at least sixteen times, whether in novels, short stories, or chronicles, the author makes this unique signifier an object of greater attention.
by João Camillo Penna
The work of Clarice Lispector revolves around on two notions: the symbol and the thing. The thing, physics, and the symbol, metaphysics; the thing, immanence, and the symbol, transcendence; the thing, the body, and the symbol, language; the thing, existence, and the symbol, the saying; the thing, the event, and the symbol, the way to make it possible to read the nonsymbolizable thing.
by Mell Brites
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.
by Elizama Almeida
In the times of social networks, Clarice “cultivates” thousands and thousands of “followers”, of “apps”, and “pages”.
by Elizama Almeida
Among the items that make up the Clarice Lispector Collection, which has been at the IMS since 2004, are two paintings by the author.
