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: 06 December 2025.
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 Eucanaã Ferraz
The chronicles of Clarice Lispector were collected in a book for the first time in 1984, in The Discovery of the World, a volume edited by Paulo Gurgel Valente, the author’s son, who arranged in chronological order 468 texts published in the Jornal do Brasil between 1967 and 1973.
by Victor Heringer
Organized by Professor Claire Williams, the conference After Clarice: Lispector’s Legacy will gather the greatest experts of Clarice's work.
by Veronica Stigger
In January 1975, Clarice Lispector received an invitation letter, signed by Simón González, a Colombian businessman, politician, and mystic, inviting her to take part in the First World Congress of Witchcraft, which would be held between August 24 and 28 of that same year in Bogotá, Colombia. [...] But why was Clarice Lispector invited to the First World Congress of Witchcraft?
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
Issue 227, from May 25, 1940, contains the three-page story “Triunfo” – Clarice Lispector’s first registered collaboration with the press.
