{"id":12772,"date":"2022-05-25T10:52:28","date_gmt":"2022-05-25T13:52:28","guid":{"rendered":"https:\/\/site.claricelispector.ims.com.br\/?p=12772"},"modified":"2022-05-25T11:29:42","modified_gmt":"2022-05-25T14:29:42","slug":"olimpico-the-last-man-will-be-the-first","status":"publish","type":"post","link":"https:\/\/site.claricelispector.ims.com.br\/en\/2022\/05\/25\/olimpico-the-last-man-will-be-the-first\/","title":{"rendered":"Ol\u00edmpico: The Last Man Will Be the First"},"content":{"rendered":"\n

The fact that The Hour of the Star<\/em> was the last book published in Clarice Lispector\u2019s lifetime would be enough to make it a work of very particular importance. As was said of the author\u2019s first book Near to the Wild Heart<\/em>, which was \u201cthe bottle of essences from Clarice\u2019s work\u201d (Oliveira, p.10), the germ of her whole universe, The Hour of the Star<\/em> also \u201cincludes\u201d the whole of her work, although it does so in a less \u201cwild,\u201d more stylized, more concise way, if one likes, than would be expected in a debut book. (Even with regard to a writer who, artistically, seems to have been born already mature, as is the case with Clarice Lispector). The Hour of the Star<\/em>, contrary to her other works \u2013 in a kind of admission that one would have advanced in the direction of the simple, the defined, the recognizable \u2013 is even considered by the author (and rightly so) to be a more traditional, well-formed narrative, a story that goes against her \u201chabits,\u201d that is, \u201cwith a beginning, middle and \u201cgrand finale\u201d followed by silence and falling\u201d (The Hour of the Star<\/em>, p. 15).<\/p>\n\n\n\n

The fact that this book \u2013 through the meta-literary comments of Rodrigo S.M, its author-narrator \u2013 forces the reader to assume a position of permanently-imbalanced-interlocutor, allows us to catch a glimpse of Clarice, albeit in the form of a silhouette austerely immersed in her usual workshop, having fun like never before. Humor permeates the whole work and is manifest, in a particular way, in the meta<\/em> provocations of the narrator, who, for example, tests the reader\u2019s patience with an introduction that hesitates, advances, and retreats, which seems to never begin or end, like \u201cnever ending chewing gum:\u201d \u201cOh I\u2019m so afraid to start and don\u2019t even know the girl\u2019s name\u201d (The Hour of the Star<\/em>, p. 20).<\/p>\n\n\n\n

Humor also seems to guide the reader through an itinerary of ideological \u201clessons\u201d that he must consider: about life, literature, the construction of characters and stories, the narrator\u2019s gender, gender in general, etc. Since, as a researcher, what interests me most in the author\u2019s universe is, at the moment, gender, it is precisely this ironic portrait of the two genders and the relation between them that I wish to address here, especially focusing on the perspective of Ol\u00edmpico. As many readers will have already realized, throughout all of Clarice\u2019s work there is a dazzling \u2013 almost primordial, inaugural, Edenic \u2013 vision of gender, of the man-woman division.  One notes a frightened fascination that there is a male-animal-man in the world, as we read, for example, in the short story \u201cThe Buffalo,\u201d and also in another story about phantasmic and monstrous masculinity titled \u201cThe Dinner\u201d, a short story that has an important first draft in her laboratory book of (almost) all drafts titled Near to the Wild Heart<\/em>.  Now, what I intend to say in this text of mine revolves around this gender that fascinates and frightens Clarice. In The Hour of the Star<\/em>, as I suggested earlier, there happens to be a kind of conclusion to a conversation related to themes and obsessions that guided (or diverted) the author on her short but intense path in this life. In this brief book, we find many (or perhaps all) of Clarice\u2019s topoi<\/em>.  I highlight \u201cgender\u201d here with respect to how it serves as a rules manual, a manual (which is also performative) of behaviors and etiquette, so to speak, of what it is to be a man and what it is (and means) to be a woman. As for being a woman, it is obvious to me that Macab\u00e9a is defined (like many of Clarice\u2019s characters) by the (often suffocating) rules of her gender; although the definition, in this case, is made negatively. Macab\u00e9a is \u201cincompetent for life\u201d (The Hour of the Star<\/em>, p. 24). Macab\u00e9a is<\/em> what is lacking in her, is<\/em> what escapes her. She is<\/em> what she does not have and is founded upon that which she is not even aware of desiring, paralyzed by her enormous innocence: to be a complete woman. \u201cSince even the fact of becoming a woman didn\u2019t seem to belong to her vocation\u201d (The Hour of the Star<\/em>, p. 28).<\/p>\n\n\n\n

Macab\u00e9a, as we have already understood \u2013 and the text seeks to tell us just that \u2013 is touchingly (and only apparently, of course) sub<\/em>–human<\/em>, among other reasons for being a sub<\/em>–woman<\/em>, or a woman whose great flaw moves Rodrigo (i.e. Clarice peeking over her shoulders) manifesting itself in a suffering (which is social as well) that comes from not having achieved the gender goals that she so confusedly desires and dreams to attain, expectations to gradually grow up and have: a) a boyfriend;  b) a husband with a social position;  c) a rich and handsome husband;  d) a foreign husband-boyfriend driving a Mercedes, etc. It concerns the aspiration to an idealized fulfillment of gender, which is nonetheless presented here in a spectacular and delirious way (which suggests, precisely, the impossibility of completely fulfilling this aspiration) marking the all-powerful and violent expectations that, at the time, were offered to most women, to most women who inhabit her novels and short stories.<\/p>\n\n\n\n

Ol\u00edmpico \u2013 who, in his status as the \u201cthe first thing she could call a boyfriend in her life\u201d (The Hour of the Star<\/em>, p. 40) \u2013 occupies the zero degree of this delirious gender scale and, like Macab\u00e9a, also fails in his aim of achieving the ideal goal of the masculine gender, that is, of the masculinity that he sees as dominant and hegemonic (although he never admits this). But where Macab\u00e9a fails in a poetic, pathetic, and charming way, Ol\u00edmpico fails in a deplorable, malevolent way. We laugh with delight at the harmless candor of Macab\u00e9a, a child-woman imitating a woman. But we smirk with alarm and irony at the indecently masculine arrogance of Ol\u00edmpico \u2013 of whom it is said that he defines himself superlatively as a man<\/em> for having killed another man and having thus created a great secret that he stoically guards:<\/p>\n\n\n\n

… it wasn\u2019t by chance that he had killed a man, a rival of his, in the back of beyond, the long jackknife entering softly softly the backwoodsman\u2019s liver. He had kept this crime an absolute secret, which gave him the power a secret gives. Ol\u00edmpico was tough as a prizefighter. (The Hour of the  Star<\/em>, p. 52)<\/p><\/blockquote>\n\n\n\n

Although Clarice gives and takes, as she often does, and precisely \u201cwithdraws\u201d from Ol\u00edmpico the innocence that she had given him in the previous sentence, I choose to underscore his fundamentally innocent side here. First, Clarice says of Macab\u00e9a and Ol\u00edmpico: \u201c\u2026 I just know that they were somehow innocent and cast little shadow upon the ground\u201d (The Hour of the Star<\/em>, p. 44). And then she corrects herself: \u201cNo, I lied, now I see it all: he wasn\u2019t innocent in the least, even though he was a general victim of the world. He had, I just discovered, inside of him the hard seed of evil, he liked taking revenge, this was his great pleasure and what gave him his strength in life. More life than her, who didn\u2019t have a guardian angel\u201d (The Hour of the Star<\/em>, p. 44; my underline). This vindictive and malicious innocence (I prefer to focus here on the innocent-Ol\u00edmpico) recalls one of the last sentences in The Apple in the Dark<\/em>: \u201cBecause we are not so guilty after all; we are more stupid than guilty\u201d (The Apple in the Dark<\/em>, p. 445). Both Macab\u00e9a and Ol\u00edmpico would not know what they are doing \u2013 for better or worse \u2013 thus being, I hope, worthy of the loving God\u2019s forgiveness. What fascinates me is that they are, in this sense (but not in others), on the same level and thus constitute a perfect match in their imbalance, in their trauma, in their gender tragedy. Both are complicit in their innocence, automatons that reproduce two destructive, pathetic, failed gender models. In fact, they are so \u201cequal\u201d that \u201cThey could have passed for brother and sister, something which \u2014 I\u2019m only realizing it now \u2014 rules out getting married\u201d (The Hour of the Star<\/em>, p. 43-44).  They are, therefore, the reflection of each other in the distorted mirror of gender; but they are still in front of a mirror. It is a bit like the \u201cpre-lovers\u201d of the well-known short story \u201cThe Message:\u201d the two youths both want to be writers, they are both innocent, but they are increasingly ridiculous to the extent that they learn to be male and female. What makes the situation more desperate in The Hour of the Star<\/em> is that \u2013 in addition to the literary world \u2013 it refers to many Ol\u00edmpicos judging themselves superior to many Macab\u00e9as (and the rest of the world) without realizing that they are the equal to them, not to mention the many Macab\u00e9as who consider themselves inferior to many Ol\u00edmpicos (and the rest of the world) without suspecting that they are or should be equal (or superior) to so many others.<\/p>\n\n\n\n

Returning to what I said about tropes, which are somehow the archetypes of Clarice\u2019s universe, Ol\u00edmpico concentrates the most arrogant and violent in man<\/em>, which is referenced in countless points of the work and assumes different forms.<\/p>\n\n\n\n

Ol\u00edmpico is defined by a catalog of masculine attributes, which I will come to illustrate. To begin with, he is unfaithful. One of the most important points for the general interpretation of the story, in my opinion, is the fact that Ol\u00edmpico abandons Macab\u00e9a and trades her for her best friend (or enemy). Their relationship is one that could never have been and that Macab\u00e9a desperately desires due to a confused innocence or apathy, one never knows, or due to the simple blind impulse of animal happiness, of tending to be happy without thinking:<\/p>\n\n\n\n

She wasn\u2019t an idiot but she had the pure happiness of idiots. (The Hour of the Star<\/em>, p. 61)<\/p>

The only thing she wanted was to live. She didn\u2019t know for what, she didn\u2019t ask questions. Maybe she thought there was a little bitty glory in living. She thought people had to be happy. So she was. (The Hour of the Star<\/em>, p. 27)<\/p><\/blockquote>\n\n\n\n

Perhaps due to what I have just said, in Macab\u00e9a, sadness is confused with joy, despair with hope, and love with disaffection. What is strange and repellent in Ol\u00edmpico is his taste for meat, for the blade that cuts it, for blood, which was already manifested in the monster-man from the tale \u201cThe Dinner,\u201d the one who eats with the urgency and voracity of beasts. <\/p>\n\n\n\n

One thing he wanted to be was a bullfighter. Once he\u2019d gone to the movies and shivered from head to toe when he saw the red cape. He didn\u2019t feel sorry for the bull. What he liked was seeing blood.\u00a0 (The Hour of the Star<\/em>, p.42)<\/p><\/blockquote>\n\n\n\n

Macab\u00e9a also likes meat. But she above all likes its smell \u2013 just as Clarice enjoys chicken with brown gravy despite feeling sorry for the chickens, because \u201csmall sacrifices prevent larger ones\u201d\u2014, blood being something she rejects because it causes her to vomit, marking the vertigo of death that she rejects. Let us not forget that upon being run over, and after a lifetime of avoiding vomiting (in order not to waste food), she precisely vomits her own blood on the side of the road.<\/p>\n\n\n\n

For her the smell of raw meat was a perfume that levitated her as if she\u2019d eaten. As for him, what he wanted to see was the butcher and his sharp knife. He envied the butcher and wanted to be one himself. Sticking a knife into meat turned him on. (The Hour of the Star<\/em>, p. 48)<\/p>\n\n\n\n

Ol\u00edmpico is the obvious caricature of the man who, being as inferior as or more so than women, sees himself, in his delusions of grandeur, as a figure who is much superior not only to her but to everything, a figure for which there are no limits to fame or glory. He affirms in the third person and in his threatening tone: \u201cIn the backlands of Para\u00edba everybody knows who Ol\u00edmpico is. And one day the whole world will know about me\u201d  (The Hour of the Star<\/em>, p. 45).<\/p>\n\n\n\n

In addition to this form of masculine grandiosity, which seems ridiculous when presented in this way but which is part of the horizon of aspirations (that are impossible to completely fulfill, it should be noted) of all men (the hero, the leader, the winner, the lone victor, the self-made man, etc.), we see other exaggerations of ambition and vanity in all-men-Ol\u00edmpico.<\/p>\n\n\n\n

Masculinity is a homosocial enactment. We test ourselves, perform heroic feats, take enormous risks, all because we want other men to grant us our manhood. Masculinity as a homosocial enactment is fraught with danger, with the risk of failure, and with intense relentless competition. (KIMMEL, 1994: p. 129)   <\/p>\n\n\n\n

These delusions of triumph on his part, and the impossible heroism against everything and everyone, assume the form of threats in Ol\u00edmpico, as I had suggested. First, he threatens that he will be rich: \u201cBut one day I\u2019ll be very rich \u2014 said he who had a demonic grandeur: his strength was bursting\u201d (The Hour of the Star<\/em>, p. 42). We know that he is homophobic because \u2013 when answering Macab\u00e9a when she asks him what \u201celgebra\u201d is \u2013 he pontificates \u201cKnowing that stuff is for queers, for men who become women\u201d  (The Hour of the Star,<\/em> p. 46).<\/p>\n\n\n\n

As for vanity, it is known that Ol\u00edmpico, at a dentist\u2019s office in Para\u00edba, had replaced a perfect canine tooth with a gold tooth because \u201c[t]his tooth gave him a position in life\u201d  (The Hour of the Star<\/em>, p. 42).  Naturally, Ol\u00edmpico thought he was very intelligent and not only dreamed of being a congressman, but \u2013 as Rodrigo S.M himself, that is, Clarice reveals \u2013 he will one day be a congressman.  Loving to hear to speeches, Ol\u00edmpico said to himself, loud and alone:<\/p>\n\n\n\n

\u2013 I\u2019m very intelligent, I\u2019ll end up a congressman.<\/p>

And who can deny that he was good at speeches? He had the singsong tone and the oily phrases, just right for someone who opens his mouth and speaks demanding and determining the rights of men. In the future, which I don\u2019t get into in this story, did he or didn\u2019t he end up in Congress? And forcing other people to call him doctor. (The Hour of the Star<\/em>, p. 43)<\/p><\/blockquote>\n\n\n\n

Tragically \u2013 and how could it not be so in a tragicomedy like this? \u2013 Macab\u00e9a \u201c[…] thought Ol\u00edmpico knew a lot about things. He said things she\u2019d never heard\u201d (The Hour of the Star<\/em>, p. 48). Tragically, also, there is great inequality in the way that they both navigate the urgencies and contingencies of fulfilling gender mandates and models. Ol\u00edmpico, in spite of everything, has the advantage of being (or of seeming, in that society and at that time) more sure of himself. It is that \u201cMacab\u00e9a was actually a medieval figure whereas Ol\u00edmpico de Jesus thought of himself as a key player, the kind that opens any door\u201d (The Hour of the Star<\/em>, p. 43). Gender, in fact, is not fair, and nobody here said it was. The \u201cequality\u201d of inadequacy in the face of a dictatorial and merciless patriarchal system is, in fact, \u201cunequal:\u201d \u201c[…] Ol\u00edmpico was a certified and vital demon and from him children would be born, he had the precious semen. And as was already said or not said Macab\u00e9a had ovaries shriveled as a cooked mushroom\u201d  (The Hour of the Star<\/em>, p. 53). It is an unequal system indeed for men and women, for Macab\u00e9a and Ol\u00edmpico, although we must not forget that, in her enormous wisdom, sensibility, and humanity, Clarice recognizes that Ol\u00edmpico does not cease to be (even as a man, I would risk saying) \u201ca general victim of the world\u201d (The Hour of the Star<\/em>, p. 44). We are, in effect, more stupid than guilty, for following and having followed for centuries \u2013 so foolishly \u2013 a gender playbook as guilty as it is stupid. And yes. May God forgive us. May God have mercy on us.<\/p>\n\n\n\n

\n

Clarice did.<\/p>\n\n\n\n

Translated from the Portuguese by Marco Alexandre de Oliveira.<\/h5>\n<\/div><\/div>\n\n\n\n
\n

Photography<\/strong><\/h2>\n\n\n\n

Thomaz Farkas. Filmagens de Viramundo, 1964. Thomaz Farkas Collection\/ Instituto Moreira Salles<\/p>\n<\/div><\/div>\n\n\n\n

\n

Bibliography<\/strong><\/h2>\n\n\n\n

Oliveira, Rosiska Darcy de. \u201cPerto de Clarice\u201d. In Clarice Lispector. Perto do cora\u00e7\u00e3o selvagem<\/em>. Rio de Janeiro: Francisco Alves. 1992. 5-10.<\/p>\n\n\n\n

Kimmel, Michael. The Gendered Society<\/em>. New York and Oxford: Oxford <\/p>\n\n\n\n

UP. 2004.<\/p>\n\n\n\n

Lispector, Clarice. The Apple in the Dark<\/em>. Translated by Gregory Rabassa. London: Haus. 2009. <\/p>\n\n\n\n

_________. \u201cThe Message.\u201d The Complete Stories<\/em>. Translated by Katrina Dodson. New York: New Directions, 2015.<\/p>\n\n\n\n

_________. The Hour of the Star<\/em>. Translated by Benjamin Moser. New York: New Directions. 2011.<\/p>\n\n\n\n

_________. \u201cThe Dinner.\u201d The Complete Stories<\/em>. Translated by Katrina Dodson. New York: New Directions, 2015.<\/p>\n\n\n\n

_________. \u201cThe Buffalo.\u201d The Complete Stories<\/em>. Translated by Katrina Dodson. New York: New Directions, 2015.<\/p>\n\n\n\n

_________. Near to the Wild Heart<\/em>. <\/em>Translated by Giovanni Pontiero. New York: New Directions, 1990.<\/p>\n<\/div><\/div>\n\n\n\n

\n

About the author <\/strong><\/h2>\n\n\n\n
Born in Portugal, Ant\u00f3nio Ladeira is currently Associate Professor of Lusophone Literature at Texas Tech University. He holds a bachelor\u2019s degree in Modern Languages \u200b\u200band Literatures from the New University of Lisbon and a PhD in Hispanic Languages \u200b\u200band Literatures from the University of California at Santa Barbara. He was also a professor at Middlebury College and Yale University. As a Fulbright Scholar, he was a researcher at the University of S\u00e3o Paulo (USP) with a project on Clarice Lispector, an author about whom he has published articles and is preparing some more extensive works on masculinity and gender issues. A poet and fiction writer, he has published works in Portugal, Colombia, and Brazil.<\/strong><\/h5>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

The fact that The Hour of the Star was the last book published in Clarice Lispector\u2019s lifetime would be enough to make it a work of very particular importance. As was said of the author\u2019s first book Near to the Wild Heart, which was \u201cthe bottle of essences from Clarice\u2019s work\u201d (Oliveira, p.10), the germ […]<\/p>\n","protected":false},"author":30,"featured_media":12789,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[564,1],"tags":[],"class_list":["post-12772","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essays","category-uncategorized"],"yoast_head":"\nOl\u00edmpico: The Last Man Will Be the First - Clarice Lispector<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/site.claricelispector.ims.com.br\/2022\/05\/25\/olimpico-the-last-man-will-be-the-first\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ol\u00edmpico: The Last Man Will Be the First - Clarice Lispector\" \/>\n<meta property=\"og:description\" content=\"The fact that The Hour of the Star was the last book published in Clarice Lispector\u2019s lifetime would be enough to make it a work of very particular importance. 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