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.
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.
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.”
In the 2025 edition of Clarice’s Hour, we will celebrate, through the voices and presentations of kids, the children's story “Laura’s Intimate Life,” published as a book by Clarice Lispector in 1974. In this film, six children retell, act, illustrate, and co-direct the story of Laura the hen, her husband Luís, and their son Hermany in Dona Luísa's henhouse.
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.
The film Clarice's Days in Washington captures a very different and decisive moment in the life and work of the writer, when she lived in the American capital with her family, between 1952 and 1959. In addition to a significant number of unpublished photographs – which record her domestic environment and interactions with friends – there are precious images filmed during a public event, in which the writer, her husband Maury Gurgel Valente, their son Paulo, in addition to friends of the couple appear.
