IMS, Equipe. A frame for Clarice Lispector. IMS Clarice Lispector, 2021. Disponível em: https://site.claricelispector.ims.com.br/en/2021/09/16/a-frame-for-clarice-lispector/. Acesso em: 13 December 2025.
In the 1960s, the Spaniard Jaime Vilaseca was a carpenter in Rio de Janeiro until a fateful encounter with Clarice Lispector, for whom he had gone to make a bookcase in her apartment in the Leme neighborhood. The writer had silently watched him working during those days, and when the furniture was finished, she looked at him and said: “You’re going to be a framer.” Faced with the man’s hesitation, she completed the prediction: “You won’t escape your destiny!” Since then, for over fifty years, Jaime Vilaseca has lived off this profession, for which he is renowned, besides having become a curator and owner of an art gallery. In this conversation with the poet Eucanaã Ferraz, the framer talks about his friendship with Clarice Lispector and tells his stories that served as a source of inspiration for texts by the writer, such as the famous short story “The First Kiss,” from the book Covert Joy.
See also
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 Elizama Almeida
A conversation about football and literature between Armando Nogueira and Clarice Lispector
by Cicero Cunha Bezerra
Michel de Certeau, in his La fable mystique, addresses an important aspect in the relation between idiocy and holiness in the first centuries, particularly in Christian literature, namely: a mode of isolation in the crowd. Idiocy, in the form of madness, is attributed to the crowd, and additionally, is established as a provocation, a transgression in the field of the “right-minded.”
by Bruno Cosentino
Every year, in the liturgical calendar of the Catholic Church, Carnival is followed by Lent, a period in which the faithful withdraw from mundane life to dedicate themselves to sacrifices, charity, and prayer.
by Elizama Almeida
In the times of social networks, Clarice “cultivates” thousands and thousands of “followers”, of “apps”, and “pages”.
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.
