Série Zoo. Fotografia de João Castilho, 2017.
, The thinking literature of Clarice Lispector, a class by Evando Nascimento. IMS Clarice Lispector, 2017. Disponível em: https://site.claricelispector.ims.com.br/en/2017/12/18/a-literatura-pensante-de-clarice-lispector-aula-de-evando-nascimento/. Acesso em: 18 May 2026.
The professor and writer Evando Nascimento gave a class on the work of Clarice Lispector at the IMS Rio. His talk is based on the category of “thinking literature,” which the author uses to describe Clarice’s work: “that which is narrated and the reflections associated with this fact are not opposed. One of the characteristics of the thinking literature of Clarice Lispector is to rethink binary pairs, or very rigid dichotomies,” he explains.
You can watch Evando Nascimento’s talk by clicking here.
*Zoo Series. Photo by João Castilho, 2017.
See also
by Mariana Valente
Starting next May, the shelves of Brazilian bookstores will display copies of A mulher que matou os peixes (The Woman Who Killed the Fish) with a new look.
by Bruno Cosentino
The writer Ana Maria Machado had an unusual and emotional episode with Clarice Lispector. This happened in 1975. After having read an article by Ana Maria, published that very day in the Jornal do Brasil, about the birthday of the writer Roland Barthes, Clarice, who did not know her personally, insistently asked her for help to organize what in two years would be the book The Hour of the Star.
by Elizama Almeida
Ulysses was Clarice Lispector’s last dog, a mongrel who stole cigarette butts and queued for Coca-Cola and whiskey for visitors. He was so eccentric that he earned a robust note in the infamous periodical O Pasquim.
by Alexandre Nodari
In this year in which we commemorate The Hour of the Star, the entry of Clarice Lispector and her alter ego (one of many), Macabéa, into her “própria profundeza
by Betty Bernardo Fuks
Benjamin Moser, one of the most significant biographers of Clarice Lispector, said in an interview that one of his goals in writing Why This World, published in the United States and translated into Portuguese as Clarice, uma biografia, was to make space for a theme rarely explored by literary critics, commentators, and biographers: the writer’s “Judeity.” Most tend to limit themselves to reflecting on her “Brazilianness,” “as if one had to choose between being Jewish and being Brazilian.”
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.
