, “Clarice’s Hour” at the IMS Paulista. IMS Clarice Lispector, 2017. Disponível em: https://site.claricelispector.ims.com.br/en/2017/12/15/hora-de-clarice-no-ims-paulista/. Acesso em: 05 November 2024.
In this edition of “Clarice’s Hour,” the IMS Paulista hosted a conversation with Idra Novey, mediated by the poet and editor Alberto Martins. Novey spoke about the experience of translating The Passion According to G.H. to English and about her new novel published in Brazil, Ways to Disappear (2017), which is marked by the mysterious disappearance of a writer who may or may not be Clarice Lispector.
Above is a passage in Portuguese and in English from The Passion According to G.H. that moved the public. Below is the video of the meeting.
Caetano Veloso says that when he showed the acoustic version of his song “Odeio” (I hate), which would be included on the Cê album, to his friend and composer Jorge Mautner, the latter cried and told him that it was the most beautiful love song that he had ever heard.
It’s the end of 1943. A publishing house of little cultural relevance, A Noite, releases the exceptional Near to the Wild Heart, a book by a 22-year-old author and former employee of the publisher.
Correio para mulheres (Women’s Mail), edited by Aparecida Maria Nunes, includes texts by Clarice Lispector directed towards a female readership and written in three distinct moments in the writer’s career.
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.
Na cavidade do rochedo: a pós-filosofia de Clarice Lispector (In the Cavity of the Rock: The Post-Philosophy of Clarice Lispector) is a study published exclusively in electronic format and available for download here.
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.”
