{"id":13238,"date":"2024-02-22T13:48:58","date_gmt":"2024-02-22T16:48:58","guid":{"rendered":"https:\/\/site.claricelispector.ims.com.br\/?p=13238"},"modified":"2024-02-23T11:53:19","modified_gmt":"2024-02-23T14:53:19","slug":"the-unfamiliar","status":"publish","type":"post","link":"https:\/\/site.claricelispector.ims.com.br\/en\/2024\/02\/22\/the-unfamiliar\/","title":{"rendered":"The Unfamiliar"},"content":{"rendered":"\n

The word \u201cunfamiliar\u201d is used by Clarice Lispector in several of her works. To be precise, in the original Portuguese, Clarice employed the neologism infamiliar<\/em>, 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 \u201cunfamiliar\u201d at least sixteen times1<\/a><\/sup>, whether in novels, short stories, or chronicles, the author makes this unique signifier an object of greater attention. Even more so if we consider that the terms \u201cstrange\u201d and \u201cstrangeness,\u201d both correlated to the meaning of \u201cunfamiliar,\u201d appear no less than hundreds of times in the narratives.2<\/a><\/sup><\/p>\n\n\n\n

The meanings that the word encapsulates, as will be seen, condense one of the most characteristic features of her texts. It is not uncommon for male and female readers, as well as critics in general, to evoke the \u201cunfamiliar\u201d effect of Clarice\u2019s plots, alongside the semantic and syntactic layers of Lispector\u2019s unusual writing. In fact, \u201cunusual\u201d gravitates in the same lexical field as \u201cunfamiliar,\u201d whose sign power comes from its connection with other knowledge that gave rise to it, psychoanalysis being the territory in which the word gains more particular resonance.<\/p>\n\n\n\n

For an initial apprehension of the concept-word \u201cunfamiliar\u201d within Freudian studies, it must be said that, in Brazil, on the centenary of Freud\u2019s remarkable essay \u201cDas Unheimliche\u201d (1919), the title was translated precisely as \u201cO infamiliar\u201d (The Unfamiliar) \u2013 Freud\u2019s article transformed into a noun what was a quality of feeling \u2013 thus echoing, coincidentally, Clarice\u2019s use of the word infamiliar<\/em>, which appeared long before the aforementioned translation, already in her second novel, The Chandelier<\/em> (1946).3<\/a><\/sup> Before and after this happy discovery by the translators, the difficulty in finding a word that encompassed the phenomenon, as Freud conceived it, led to attempts in several languages4<\/a><\/sup>, \u200b\u200band in Portuguese we had a few choices, such as \u201cstrange,\u201d \u201cdisturbing,\u201d and more recently, \u201cuncomfortable.\u201d<\/p>\n\n\n\n

But what does das Unheimliche<\/em> mean in Freudian theory and what relation would Clarice Lispector have with this notion?<\/p>\n\n\n\n

In the field of aesthetics, according to Freud, there would be a domain of distressing and terrifying feelings, neglected by specialized literature aimed at the Beautiful and the Grand. The \u201cunfamiliar\u201d would be a core inside this domain. In the German language, unheimlich<\/em> is a commonly used adjective\/adverb, formed by the negative prefix un<\/em> and the word heimlich<\/em> (familiar), derived from Heimlichkeit<\/em> (familiarity), whose core is Heim<\/em> (home, address), which means domestic, intimate, known. After a vast lexicological, philological, aesthetic, and literary research to understand the meanings of the word, Freud realizes that there is an ambiguity inherent in the term heimlich<\/em>, due to its antithetical character: it refers both to what is reliable and comfortable and to what remains concealed, secret, and hidden, thus being able to coincide with its opposite, unheimlich<\/em>. Such a discovery makes Freud assert: \u201cThus heimlich<\/em> [familiar] is a word the meaning of which develops towards an ambivalence, until it finally coincides with its opposite, unheimlich <\/em>[unfamiliar]. Unheimlich<\/em> [unfamiliar] is in some way or other a sub-species of heimlich <\/em>[familiar]\u201d (p. 4). And what would make the familiar \u201cunfamiliar?\u201d According to Freud, it would be the process of repressing what should not come to the surface due to its incompatibility with consciousness, such as certain desires, thoughts, and memories: \u201cIn this case, too, the unheimlich<\/em> [unfamiliar] is what was once heimisch,<\/em> homelike, familiar; the prefix \u2018un\u2019 is the token of repression\u201d (p. 15).<\/p>\n\n\n\n

At the end of the aforementioned essay, having covered the fantastic literature of E.T.A. Hoffmann to corroborate psychoanalytic science, Freud concludes that the \u201cuncanny\u201d (a recurring term for the word Unheimliche<\/em>) reveals the anguish that affects characters in the face of what should have remained unconscious and returns, thus generating uneasiness. The \u201cunfamiliar,\u201d Freud concludes, is the effect of the undesired (re)appearance of childhood complexes, such as the experience of the double (\u201cdoubling, dividing and interchanging the self,\u201d p. 9), the fantastic (breaking the logic of causality between events, similar to magic and the supernatural), animism (believing in multiple natures that link human and non-human beings), the compulsion to repeat (involuntary returning ideas, feelings, scenes, places, etc.), and the castration complex (narcissistic cutting that refers to the horror of death). The presence of the feminine, a radical otherness to man that is hostile to him due to its strangeness and difference, as well as helplessness in the face of relentless destiny, are also possible sources of the \u201cunfamiliar\u201d analyzed by Freud.<\/p>\n\n\n\n

In any case, the feeling of the \u201cunfamiliar\u201d can result from the loss of boundaries between the psychic world and the outside world, between reality and fantasy, or between the animate and the inanimate. The anomalous sensation accompanies situations in which the natural exchanges characteristics with the supernatural or magical, thus not distinguishing one and the other due to the absence of limits and of hierarchy between them, and causing distressing strangeness when both types of nature are not differentiated.5<\/a><\/sup>)<\/p>\n\n\n\n

It is important to underscore that the sensation of such unfamiliarity (whether in clinical patients or in literature) reveals the division of the subject in relation to itself, since the supposed unity of the self is revealed to be false. The unconscious becomes the territory of experiences that become foreign to the subject itself, which establishes the non-identical at the heart of identity. Such a split, given by the process of repression, is constitutive of human subjectivity, and contents jettisoned from consciousness by defense mechanisms can, under certain circumstances, break through the blockade that prevents their expression and dominate the scene.<\/p>\n\n\n\n

It was necessary to briefly revisit Freud\u2019s essay to point out directions for Clarice\u2019s literature in frank dialogue with the same conception of the psychoanalytic subject. The modernity of Lispector\u2019s work could not fail to expose its link with the Zeitgeist<\/em> (spirit of the times) that generated the artistic vanguards of the late 19th century, as well as psychoanalysis itself. Cartesian man, in his claim to unity, rationality, and coherence with himself, is dethroned in the name of the multiplicity of \u201cselves\u201d and lack of knowledge about himself. \u201cThe ego is not master in its own house,\u201d says Freud.6<\/a><\/sup> And, when you least expect it, you experience contact with das Unheimliche<\/em>, in which instinctual intensities, sensations, and past and present ghosts are mobilized by everyday situations. It is at this moment that we rediscover the thread of Clarice Lispector\u2019s work, always attentive to what escapes the fragile egoic vigilance and the noisy silence that is heard from this \u201cdark, strange room,\u201d in Freud\u2019s words.<\/p>\n\n\n\n

\n

Clarice\u2019s Unfamiliar  <\/h3>\n<\/div><\/div>\n\n\n\n

The \u201cunfamiliar\u201d signifier pervades practically all of the author\u2019s books, but there are passages in which it appears more expressive, highlighting what Freud mapped out from Hoffmann\u2019s story, but going further. Das Unheimliche<\/em> instills in the atmosphere of the narratives something that escapes the common and the usual, arousing even horror, fright, astonishment, uneasiness, estrangement… In her second novel, The Chandelier<\/em> (1946), whose main character is Virg\u00ednia, there is a description of the space and in it the term \u201cunfamiliar\u201d appears for the first time and establishes a sinister atmosphere:<\/p>\n\n\n\n

There was in the somber and by no means extraordinary rooms something<\/em> that would stand out and alarm because it contained an involving and unfamiliar intimacy \u2014 like a strangers\u2019 dirty bathtub where you had to strip and abruptly place yourself in contact. (LISPECTOR, 2018, p. 134-135, my italics)<\/p><\/blockquote>\n\n\n\n

The scene does not define what this \u201csomething that would stand out\u201d in the \u201csomber and by no means extraordinary rooms\u201d would be, as an alarm for containing an \u201cinvolving and unfamiliar intimacy.\u201d The excerpt is mysterious, but it seems to refer to an external order that is projected into the interior universe and a subjective order that impacts the exterior, thus making the environment no longer familiar. What would it be? The second part of the sentence intensifies the idea by introducing the image of the \u201cdirty bathtub\u201d (the most private and \u201csecret\u201d space in the house) of strangers, that is, unrecognizable presences with which Virg\u00ednia, the protagonist, imagines she should \u201cstrip\u201d and place herself \u201cin contact.\u201d Shadows, intimacy, bathtub, strangers, contact, nudity… A certain violence is not absent in this encounter with strangers. If there is a return of \u201csomething\u201d childish \u2013 a child bathing in the bathtub, for example, or an invasive someone in the house \u2013 the unpleasant character draws attention precisely because of the word \u201ccontact.\u201d Das Unheimliche<\/em> appears, therefore, as a disquieting effect activated by this \u201csomething\u201d (some memory?) \u2013 perhaps an already known but repressed experience \u2013 relived now in this half-dreamlike vision of a bathtub marked by strangeness. The comparison \u201clike a strangers\u2019 dirty bathtub\u201d establishes the bridge between present and past. What until then was sneaky and unconscious, because it harbored some threat, comes to light and causes the \u201cunfamiliar\u201d feeling. The issue that \u201cstands out,\u201d therefore, is the intimacy that has become sinister, the known that appears as unusual.<\/p>\n\n\n\n

In her texts, Clarice wants to capture the moment in which a crack opens in the daily routine when \u201csomething that would stand out,\u201d to use her expression. The trigger for unfamiliar processes can be absolutely any stimulus \u2013 an egg on the kitchen table (\u201cThe Egg and the Chicken\u201d), roses in the vase (\u201cThe Imitation of the Rose\u201d), a clock (\u201cReport on the Thing\u201d), a collision between mother and daughter in the taxi (\u201cFamily Ties\u201d), a dead rat on Copacabana Avenue (\u201cForgiving God\u201d)… The anguish or disquiet aroused in the characters can come from the most unusual experiences or, paradoxically, from positive affects that are not at all gloomy but always provoked and mobilized by the friction between the inside and the outside. In the aforementioned novel, for example, sometimes it is Virg\u00ednia\u2019s own joy or happiness that brings about the \u201cunfamiliar\u201d state, as seen in the following quote:<\/p>\n\n\n\n

She remembered the afternoon with Vicente; the happiness was so violent<\/em>, shaking her so; those horrible instants had taken her outside herself<\/em>, unfamiliar<\/em>, odd and broken off from her interior; so you could perish<\/em> of happiness, she\u2019d felt so abandoned<\/em>; another minute of joy and she\u2019d have been tossed out of her world because of her daring desires, full of an intolerable<\/em> hope. (The Chandelier<\/em>, p. 221, my italics)<\/p><\/blockquote>\n\n\n\n

The italics mark unusual reactions attributed to the happiness that the character experienced on an afternoon with Vicente: violent, horrible, perish, abandoned, intolerable … The happy experience, that common sense would consider only a source of sublime and pleasurable emotions, leads Virg\u00ednia to become \u201coutside herself\u201d and feeling as if she could \u201cperish.\u201d Excess happiness, therefore, can toss the character \u201cout of her world because of her daring desires.\u201d What exceeds egoic continence also moves the \u201cunfamiliar\u201d state; the unexpected outbreak of a feeling that evokes an abandonment (\u201cshe\u2019d felt so abandoned\u201d) reappears in a horrifying way. Being outside oneself is experiencing one\u2019s own foreignness, with which one has already made contact and distanced oneself. Would it have been the intensity of \u201cdaring desires\u201d that now returns as a threat which transports her \u201cout of her world?\u201d<\/p>\n\n\n\n

The \u201cunfamiliar\u201d specter in Clarice\u2019s narratives gains multiple figurations and reveals the author\u2019s mastery in giving form to what precisely eludes acquiring finished forms. The \u201cun-familiar,\u201d as the name would have it, signals to what has lost its routine configuration, above all when the protective and imaginary covers, which mediate our connections with the everyday world, break and the Real (the Lacanian record of what is impossible to be encompassed by the symbolic) is laid bare. This is where the strange takes shape and the nakedness of things is a blinding and disturbing presence.<\/p>\n\n\n\n

The short story \u201cLove\u201d7<\/a><\/sup>, from Family Ties<\/em>, is especially revealing of the transformation of the prosaic, of domestic and everyday life, into the \u201cunfamiliar.\u201d The character Ana is sitting on the tram with her shopping bag on her lap, going back home. She recalls how she had \u201csupplanted her inner disorder\u201d in her youth, when she felt a \u201crestless exaltation so often mistaken for unbearable happiness\u201d (p. 116). She now lived an \u201cadult life\u201d (p. 116), feeling the solid and \u201cfirm root of things. And this is what a home bewilderingly had given her\u201d (p. 116), she asserts, thus legitimizing the choice for marriage and motherhood. That is when she catches sight of a blind man chewing gum standing at the tram stop. It is enough for her heart to beat \u201cviolently, at intervals.\u201d \u201cHe was chewing gum in the dark\u201d (p. 117-118), says the narrator. The blind man, who looks within, awakens Ana to what she cannot see in herself, thus operating as the mythical figure of Tiresias. The tram \u201csuddenly lurched\u201d and the groceries inside the knit sack fell to the ground, breaking the eggs: \u201cViscous, yellow yolks dripped through the mesh\u201d (p. 118). The sequence of sentences unveils the crisis that affects the protagonist: \u201cThe damage was done\u201d (p. 118), \u201cThe mesh had lost its meaning and being on a tram was a snapped thread\u201d (p. 118), \u201cThe world had become once again a distress\u201d (p. 119). And the sign of the crisis \u201cwas the intense pleasure with which she now looked at things, suffering in alarm\u201d (p. 119). The disturbing presence of the blind man, an index of the external world, causes an internal displacement (or detachment?) that projects Ana (like Virg\u00ednia) towards the \u201coutside\u201d of her known world. The rupture with the \u201cchain of life,\u201d which was built to stifle the intensity of pleasure and displeasure, expels Ana from the family and social \u201cmesh\u201d in which she played assuring roles and launches her into the terrain of unfamiliarity. The adapted identity is left behind and the gap opens to the new which, nonetheless, has always been there ready to assault the distracted subject, at the slightest contact with the fabric of life. The \u201cunfamiliar\u201d in Clarice is the unarmed encounter with Life (the capital letter belongs to the author) experienced outside its usual framework.<\/p>\n\n\n\n

She gets off the tram disoriented and enters the gates of the Botanical Garden, where she experiences an unlimited vastness and the coexistence of opposites, such as fascination and nausea, pain and pleasure. \u201cEverything was strange, too gentle, too big\u201d (p. 120). Or even: \u201cThe Garden was so pretty that she was afraid of Hell\u201d (p. 121). The memory of her children makes Ana rush back to her now unfamiliar home. \u201c[W]hat new land was this?\u201d she wonders. \u201cAnd for an instant the wholesome life she had led up till now seemed like a morally insane way to live\u201d (p. 122). The typical inversion in Clarice\u2019s texts is sealed: everyday life becomes strange and its opposite comes to be natural. The violence of the domestication of life (\u201ca morally insane way to live\u201d) is denounced by an uncorrupted gaze, which is capable of seeing the commonplace for the first time.<\/p>\n\n\n\n

To think about the \u201cunfamiliar\u201d in Clarice is to glimpse at the heart of the family itself, in the most hidden intimacy, the emergence of its greatest threat. And precisely the short stories in Family Ties<\/em> are the most affected by unusual events in the midst of the Rio middle-class family environment, which is ruled by the patriarchal order still in force in the 1950s, the period in which the book was written. The more the characters avoid contact with strangeness, the more they are caught by it. A sentence from the short story \u201cHappy Birthday,\u201d which stages (theatrically) the 89th birthday party of matriarch Dona Anita, is a good example of the effort to condone the artificiality of established relations, even if affects do not correspond to them: \u201cThe birthday girl received a cautious kiss from each of them as if her so unfamiliar skin were a trap\u201d (p. 160).8<\/a><\/sup> The relatives greet the birthday girl with caution, knowing that the protagonist views them with contempt, and they fear the unfamiliarity of her skin, a symptom of family ruin. The skin, the largest organ in the body, is what unites and separates one person from another, and through it we experience (in the flesh) the disguised loss of the bonds built.<\/p>\n\n\n\n

This is also the case of Laura, from \u201cThe Imitation of the Rose,\u201d whose \u201cfamily ties\u201d represent a maddening bond. Having returned from a psychiatric hospitalization, she makes an effort to be \u201cwell\u201d (the suggestive quotation marks are from the story), being the submissive and insignificant wife, dull in her brown dress and her brown eyes. With the same function as the blind man for Ana, it is the sight of some roses in the vase that makes what until then had been kept secret overflow. The erotic, vital, and transgressive explosion (the roses simulate a sexual act) unrepresses an entire life that illness tried to undermine. And it is like a \u201cmad woman\u201d that Laura gets on her train to Mars… Leaving so-called \u201cnormality,\u201d now seen through the eyes of estrangement, Laura experiences her feminine ecstasy without, however, returning to the socius<\/em>, as Ana does. Transformed into a rose by the force of her gaze9<\/a><\/sup>, Laura blossoms in her particular imaginary universe, distant and averse to the limiting entanglement of ordinary life. <\/p>\n\n\n\n

If in \u201cThe Imitation of the Rose\u201d the encounter with the \u201cunfamiliar\u201d introduced by the plants is the springboard to perdition (or liberation?), in other narratives it can be the operator of an essential crossing that passes through the experience of the formless. In Clarice, the dissolution of form is perfectly in tune with the idea of \u200b\u200bsomething that resists being represented \u2013 a major motif in Clarice\u2019s writing \u2013, always falling short of any sign, but which fiction seeks to remake with its web of verbal threads. In the (dis)encounter between words and things, the emergence of the \u201cunfamiliar\u201d surprises those who come into contact with what is too alive, as one reads in the chronicle \u201cThe Jelly As Alive as the Placenta.\u201d10<\/a><\/sup> It concerns the account of a nightmare had by the chronicler in which her face is reflected in a viscous matter sliding on the furniture. The term \u201cplacenta\u201d in the title suggests the image of a fetus, thus introducing the formless into the field of the beginnings of human life: \u201cThrust into horror, I wanted to flee from my counterpart \u2013 the elemental jelly.\u201d The apparition seems to come from a pre-subject without a defined form, named as \u201cmy essential deformation.\u201d The double here appears sinister.<\/p>\n\n\n\n

The novel The Passion According to G.H.<\/em> (1964)11<\/a><\/sup>, is one of the most pulsating examples of the confrontation between the human being and its radical otherness in Clarice\u2019s work, that is, the encounter with the foreigner or other of oneself, which, in turn, impacts those with whom one interacts. G.H. is a bourgeois woman who lives in a penthouse apartment in Rio de Janeiro and enters the room of the maid Janair, who has recently left her job. From another<\/em> social class, Janair (whose face G.H. does not even remember) had drawn a charcoal mural on the wall (a man, a woman, and a dog) that seems to accuse her boss of not recognizing her as a living being. In the bedroom, G.H. shudders, feeling expelled from her own home. \u201cAnd she\u2019d been lodging there inside my house, the foreigner, the indifferent enemy\u201d (p. 35). The passage through Janair leads G.H. to confrontation with the other of a different species.12<\/a><\/sup> She is frightened by a cockroach coming out of the back of the closet. After striking it, G.H. confronts the white mass that emerges from between the shells and experiences the way of the cross on an absolutely \u201cunfamiliar\u201d journey. Its \u201cshells\u201d or social and subjective layers also crumble in the face of the enigma of the self and the incomprehensible other. The abject insect brings to the surface the repressed of culture, the disorder that destabilizes ordinary life and beckons to an unbounded world of instinct:<\/p>\n\n\n\n

How else could I describe that crude and horrible, raw matter and dry plasma, that was there, as I shrank into myself with dry nausea, I falling centuries and centuries inside a mud\u2014it was mud, and not even dried mud but mud still damp and still alive, it was a mud in which the roots of my identity were still shifting with unbearable slowness.<\/p>

Take it, take all this for yourself, I don\u2019t want to be a living person! I\u2019m disgusted and amazed by myself, thick mud slowly oozing. (p. 51).<\/p><\/blockquote>\n\n\n\n

The encounter between human and non-human is, as can be seen, one more source of das Unheimliche<\/em> in Clarice, above all when the \u201cpeaceful\u201d and comfortable life is subverted, disrupted by unusual perceptions or visions that reactivate dormant anxieties. In the words of G.H.:<\/p>\n\n\n\n

I waited for the astonishment to pass, for health to return. But I was realizing, in an immemorial effort of memory, that I had felt this astonishment before: it was the same one I had experienced when I saw my own blood outside of me, and I had marveled at it. Since the blood I was seeing outside of me, that blood I was drawn to with such wonder: it was mine. (p. 53).<\/p><\/blockquote>\n\n\n\n

The fragmentation of the body\u2019s organs, spilling blood outside of it, is part of G.H.\u2019s bodily memory and signals to the horror of death and the partiality of drives as primitive experiences.13<\/a><\/sup> Before the adult organization of sexuality, Freud shows the polymorphous character of childhood sexual gratification, which must be regulated by the symbolic and civilizing path of culture. G.H. takes the opposite path, in a Homeric anti-odyssey, starting from the constructed subject toward the primary and neutral world of amorphous matter, of the it, of the inexpressive, of planctum<\/em>, of nothingness, of plasma: \u201cTo have reached that point, I was abandoning my human organization \u2013 to enter that monstrous thing that is my living neutrality\u201d (p. 99). The dismantling of her humanity, her \u201ctransformation from chrysalis into moist larva\u201d (p. 72), leads to depersonalization in the direction of the \u201ccore of life,\u201d to the mirage of a primordial and intangible origin of the organic world compacted in the ancestry of the cockroach. This inhuman portion, \u201cthe thing-part of us\u201d (p. 65), leads G.H. to feel \u201ca horrible happy unease\u201d (p. 84). The dizzying process of G.H. culminates in such an approximation to the white mass of the cockroach that the places of the woman and the insect are interchanged, the protagonist being able to inhabit the \u201cunfamiliar\u201d of the other as an estranged part of hers. After all, \u201cthe world is extremely reciprocal\u201d (p. 117), says G.H., thus evoking the animist and also perspectivist experience, according to Nodari.14<\/a><\/sup><\/p>\n\n\n\n

The unfamiliar experience also takes place between a French explorer and a pregnant African pygmy, in the short story \u201cThe Smallest Woman in the World.\u201d In this case, Cartesian rationalism meets the feminine in its raw state. The race of Likouala people, to which the smallest of the pygmies belongs, lives adhering to wild nature, without the social veneer of culture. And in the friction between the two worlds \u2013 two sides of Clarice\u2019s same coin, given the co-belonging between the shell\/crust15<\/a><\/sup> and the nucleus (or yolk\/white mass\/jelly) \u2013 the conqueror Marcel Pretre experiences the unrest of unfamiliarity when trying to understand (or control) the irreducible sign of Little Flower:<\/p>\n\n\n\n

Undoubtedly, it was only because he wasn\u2019t insane, that his soul neither fainted nor lost control. Sensing an immediate need for order, and to give a name to whatever exists, he dubbed her Little Flower. And, in order to classify her among the recognizable realities, he quickly set about collecting data on her. (LISPECTOR, 2015, p. 166) 16<\/a><\/sup><\/p><\/blockquote>\n\n\n\n

What is not recognizable in the familiar sphere of language and of scientific knowledge becomes an object imprisoned by the network of the great colonizer, who deprives his creature of any humanity in order to keep a distance from her. He approximates her to the plant (\u201cLittle Flower\u201d), the mineral (\u201cno emerald is as rare\u201d), and the animal (\u201cdark as a monkey\u201d). The photo of the pygmy in the newspaper circulates among Rio families in the city, showing the other side of civilizational refinement by exposing the rawness and cruelty of whoever finds difference strange and rejects it.<\/p>\n\n\n\n

Analogous to the previous narratives, the chronicles \u201cForgiving God\u201d17<\/a><\/sup> and \u201cMineirinho\u201d17<\/a><\/sup> present visceral experiences in which the \u201cunfamiliar\u201d is unavoidable. In the former, the narrator feels complete as the \u201cmother of God [\u2026] the Earth, the world\u201d (p. 379) while walking along Copacabana Avenue, when she is terrified as she almost steps on a dead rat. \u201cTrembling all over, I managed to keep on living. Utterly bewildered, I kept walking, my mouth made childish with surprise\u201d (p. 380). The castration of her omnipotence triggers a revolt against God and makes her question her beliefs and herself: \u201cGod\u2019s coarseness hurt and insulted me. God was a brute\u201d (p. 381). She even thinks about the \u201crevenge of the weak\u201d and wants to \u201cruin His [God\u2019s] reputation,\u201d until, in a deep personal analysis, she intuits what the cruelty of God\u2019s gesture might be: \u201cBecause the rat exists as much as I do, and perhaps neither I nor the rat are meant to be seen by our own selves, distance makes us equal. Perhaps I have to accept above all else this nature of mine that desires the death of a rat\u201d (p. 382). She and her opposite end up being equal as congenerous existences, a pair similar to that of G.H. and her other side.<\/p>\n\n\n\n

\u201cMineirinho\u201d does not present a reconciling solution through reflection. The event that provokes the chronicle is the assassination by the police of a criminal in Rio de Janeiro, with thirteen gunshots. Counting down each of the gunshots, the chronicler arrives at the last one physically identified with the criminal: \u201cthe thirteenth shot murders me \u2014 because I am the other. Because I want to be the other\u201d (p. 363). Mineirinho, the social minority of an unequal Brazil, appears as the chronicler\u2019s estranged double, silenced in order not to destroy the foundations of the system and of the psychic home of each of us: \u201cEverything that was violence in him is furtive in us, and we avoid each other\u2019s gaze so as not to run the risk of understanding each other. So that the house won\u2019t tremble.\u201d (p. 364). In Mineirinho, the figure of abandonment pulsates, \u201ca son whose father neglected him\u201d (p. 364), and the unfamiliarity that such a condition causes only reveals that the \u201cgram of radium\u201d (p. 364), which was trampled in him, likewise inhabits us: \u201cLike madmen, we know him, that dead man in whom the gram of radium caught fire\u201d (p. 365).<\/p>\n\n\n\n

*<\/h3>\n\n\n\n

Egg yolk, rose, cockroach\u2019s white mass, pygmy, radium, jelly as alive as the placenta… The signifying chain of images that become unfamiliar in Clarice (among many others) shows the complexity and vulnerability of the process of constructing the subject in the world. At the smallest step, one stumbles on mirrorings, identifications, confrontations, distractions, and contemplations. It is always narrowly that clandestine life, stifled by the meanderings of desire and its deviations, can emerge as an uncomfortable and revealing presence.<\/p>\n\n\n\n

To conclude, it is important to recognize that Clarice\u2019s \u201cunfamiliar\u201d directly hits the verbal matter that makes it exist, it being impossible to separate content and form. The defamiliarization of codes of language is fundamental as an operator of estrangement, which is close, in a certain sense, to the phenomenon of Ostranenie<\/em> studied by Shklovsky in his essay \u201cArt as Technique\u201d (1917)18<\/a><\/sup>, which is contemporary to Freud\u2019s essay. In the text, the Russian formalist explores the singularization<\/em> of the artistic object when removed from its usual context, thus suspending its ordinary meaning. The aesthetic effect, therefore, is a result of the deautomatization of perception, thus separating the object from its utilitarian determinations. It is in this sense that Clarice\u2019s \u201cunfamiliar\u201d seems to materialize Shklovsky\u2019s propositions, since the author knows that she needs to twist language to the point of dismantling the bonds that prevent the search for the unrepresentable, the unspeakable, and the wild heart of life. That is why her creations appeal to paradoxes (\u201cI hate you, she said beseeching the buffalo\u2019s love\u201d)19<\/a><\/sup>, to oxymorons (\u201ccalm ferocity\u201d)20<\/a><\/sup>,  to reversibilities of meaning (\u201cwhat is a window other than air framed by a molding?\u201d)21<\/a><\/sup>, unexpected adjectives (\u201cdifficult joy,\u201d \u201csweet nausea\u201d)22<\/a><\/sup>, pronominal reflexivities (\u201clife just is for me\u201d)23<\/a><\/sup>, etc. Without such procedures, writing would not have the power to be what its words express.<\/p>\n\n\n\n

It is at the margins of familiar language, therefore, that Clarice manufactures her \u201cunfamiliar\u201d language, de-anesthetizing worn-out meanings and creating creative gaps in the overly accustomed world.<\/p>\n\n\n\n

* Photography: Barra Funda – Esquinas, fachadas e interiores<\/em>, 1977. Dulce Soares Collection\/ Instituto Moreira Salles. <\/h5>\n
  1. According to the publisher Rocco\u2019s archive: [electronic resource] \/ Clarice Lispector. 1. ed. Rio de Janeiro: Rocco Digital, 2020. [digital resource] Romances, contos e cr\u00f4nicas<\/em> (Novels, Short Stories, and Chronicles) in pdf. Available at: Romances contos cr\u00f4nicas e cartas v.2.pdf<\/a>[↩<\/a>]<\/span><\/li>
  2. Ibid.[↩<\/a>]<\/span><\/li>
  3. LISPECTOR, Clarice. The Chandelier<\/em>. Translated by Benjamin Moser and Magdalena Edwards. New York: New Directions, 2018.[↩<\/a>]<\/span><\/li>
  4. The Portuguese titles were, respectively, \u201cO estranho\u201d (Edi\u00e7\u00e3o Standard\/Imago, 1996), \u201cO inquietante\u201d (Companhia das Letras, 2010), and \u201cO inc\u00f4modo\u201d (Blucher, 2021). In French there were at least three different translations: \u201cL\u2019inqui\u00e9tant \u00e9tranget\u00e9\u201d (Galimard), \u201cL\u2019inquietant familier\u201d (Payot), or simply \u201cL\u2019inqui\u00e9tant (PUF); in Spanish, \u201cLo siniestro\u201d (Biblioteca Nueva) or \u201cLo ominoso\u201d (Amorrortu); in Italian, \u201cIl perturbante\u201d (Boringhieri); in English, \u201cThe Uncanny\u201d (Hogarth, 1925). See \u201cFreud e o infamiliar,\u201d by Gilson Ianni and Pedro Heliodoro Tavares. In O infamiliar. [Das Unheimliche].<\/em> Ed. bilingue. (Trans. Ernani Chaves and Pedro Heliodoro Tavares). Followed by O homem da areia<\/em>, by E.T.A. Hoffmann (Trans. Romero Freitas) 1. ed. Belo Horizonte: Aut\u00eantica, 2019. The English version was first published in Imago<\/em>, Bd. V., 1919; reprinted in Sammlung<\/em>, F\u00fcnfte Folge. [Translated by Alix Strachey.]; Quotes will be followed only by the page number.[↩<\/a>]<\/span><\/li>
  5. In this respect, I refer the reader to the essay \u201cO infamiliar animismo de Clarice Lispector\u201d (The Unfamiliar Animism of Clarice Lispector), by Alexandre Nodari, in which the author shows the differences between the unfamiliar of Clarice and Freud. For the essayist, Lispector would attribute a supernature to things, people, animals, and plants, this monistic view of the world resulting in their unfamiliarity, which is not exactly the return of the repressed, but the perception of the truth of the world as it is: \u201cIn Clarice\u2019s monism […] the supernatural is not beyond the natural, does not transcend it, but constitutes its very nature, having to do with the encounter that unfamiliarizes the familiar, that undomesticates the domesticated, that estranges the naturalized\u201d (The original quote in Portuguese reads: \u201cNo monismo clariciano […] o sobrenatural n\u00e3o est\u00e1 sobre o natural, n\u00e3o o transcende, mas constitui sua pr\u00f3pria natureza, dando-se a ver com o encontro que infamiliariza o familiar, que indomestica o domesticado, que estranha o naturalizado.\u201d In Um s\u00e9culo de Clarice Lispector<\/em>. Ensaios cr\u00edticos<\/em>. Ed. Cleusa Rios P. Passos and Yudith Rosenbaum. S\u00e3o Paulo: F\u00f3sforo, 2021, p. 40-41[↩<\/a>]<\/span><\/li>
  6. In Nicholas Royle, The Uncanny<\/em>. Manchester: Manchester University Press, 2003.[↩<\/a>]<\/span><\/li>
  7. LISPECTOR, Clarice. Complete Stories<\/em>. Translated by Katrina Dodson. New York: Random House, 2022. Also available at: https:\/\/theoffingmag.com\/fiction\/love-amor\/<\/a> .[↩<\/a>]<\/span><\/li>
  8. LISPECTOR, Clarice. Complete Stories<\/em>. Translated by Katrina Dodson. New York: Random House, 2022. Also available at: https:\/\/www.wsj.com\/articles\/BL-SEB-90395<\/a>[↩<\/a>]<\/span><\/li>
  9. The power of the gaze in Clarice\u2019s literature is one of the most commented topics in her work, ever since Leitura de Clarice Lispector<\/em> (A Reading of Clarice Lispector), by Benedito Nunes (1973), and A po\u00e9tica do olhar <\/em>(The Poetics of the Gaze),<\/em> by Regina Pontieri (1999), until now, thus showing that this line of force continues to produce new interpretations.[↩<\/a>]<\/span><\/li>
  10. LISPECTOR, Clarice. Too Much of Life: Complete Chronicles<\/em>. New York: Random House, 2022.[↩<\/a>]<\/span><\/li>
  11. LISPECTOR, Clarice. The Passion According to G.H.<\/em> Translated by Idra Novey. New York: New Directions, 2012.[↩<\/a>]<\/span><\/li>
  12. In this respect, see WALDMAN, Berta. Clarice Lispector. A paix\u00e3o segundo C.L.<\/em> S\u00e3o Paulo: Escuta, 1992. p. 75.[↩<\/a>]<\/span><\/li>
  13. \u201cThe return of bodily fragmentation under the form of the outer image is relived as castration anxiety\u201d (\u201cO retorno da fragmenta\u00e7\u00e3o corporal sob a forma da imagem exterior \u00e9 revivido como ang\u00fastia da castra\u00e7\u00e3o;\u201d Rocha and Iannini, op. cit., p. 195).[↩<\/a>]<\/span><\/li>
  14. Referring to the perspectivism developed by the anthropologist Eduardo Viveiros de Castro, Nodari asserts: \u201cIt concerns, therefore, a not only animist but also perspectivist conception, in which everything that exists (living species, objects, etc.) is not only endowed with vision, agency, subjectivity, point of view, but also, linked to this, their own world or nature.\u201d That is how G.H. sees the cockroach and is also seen by it (The original quote in Portuguese reads: \u201cTrata-se, portanto, de uma concep\u00e7\u00e3o n\u00e3o s\u00f3 animista, como tamb\u00e9m perspectivista, em que tudo que existe (esp\u00e9cie viva, objeto etc.) n\u00e3o s\u00f3 \u00e9 dotado de vis\u00e3o, ag\u00eancia, subjetividade, ponto de vista, como tamb\u00e9m, atrelado a isso, um mundo ou natureza pr\u00f3prios;\u201d Nodari, op. cit., p. 43).[↩<\/a>]<\/span><\/li>
  15. It is through the paranomastic image \u201cshell\/crust,\u201d in the short story \u201cLove,\u201d that the narrator synthesizes the rupture that Ana experiences: \u201cThe days she had forged had ruptured the crust and the water was pouring out. She was facing the oyster\u201d (Op cit).[↩<\/a>]<\/span><\/li>
  16. LISPECTOR, Clarice. Complete Stories<\/em>. Translated by Katrina Dodson. Random House, 2022. Also available at: https:\/\/www.tabletmag.com\/sections\/arts-letters\/articles\/the-smallest-woman-in-the-world<\/a>[↩<\/a>]<\/span><\/li>
  17. LISPECTOR, Clarice. Complete Stories<\/em>. Translated by Katrina Dodson. Random House, 2022.[↩<\/a>]<\/span>[↩<\/a>]<\/span><\/li>
  18. SHKLOVSKY, Victor. \u201cArt as Technique.\u201d In: Lemon, Lee T.; Reis, Marion J. Russian Formalist Criticism<\/em>. Lincoln, Nebraska: U of Nebraska Press, 1965.[↩<\/a>]<\/span><\/li>
  19. LISPECTOR, Clarice. \u201cThe Buffalo.\u201d Complete Stories<\/em>. Translated by Katrina Dodson. Random House, 2022. Also available at:   https:\/\/pen.org\/the-buffalo\/<\/a>[↩<\/a>]<\/span><\/li>
  20. LISPECTOR, Clarice. \u201cCovert Joy.\u201d Complete Stories<\/em>. Translated by Katrina Dodson. Random House, 2022. Also available at: https:\/\/tinhouse.com\/lispector-week-covert-joy\/<\/a>[↩<\/a>]<\/span><\/li>
  21. LISPECTOR, Clarice. The Stream of Life<\/em>. Translated by Elizabeth Lowe and Earl Fitz. Minneapolis, Minnesota: University of Minnesota Press, 1989. p. 18.[↩<\/a>]<\/span><\/li>
  22. Lispector on The Passion According to G.H.<\/em> Translated by Idra Novey. New York: New Directions, 2012; \u201cLove.\u201d Complete Stories<\/em>. Translated by Katrina Dodson. New York: Random House, 2022. Also available at: https:\/\/theoffingmag.com\/fiction\/love-amor\/<\/a> .[↩<\/a>]<\/span><\/li>
  23. LISPECTOR, Clarice. The Passion According to G.H.<\/em> Translated by Idra Novey. New York: New Directions, 2012.[↩<\/a>]<\/span><\/li><\/ol>","protected":false},"excerpt":{"rendered":"

    The word \u201cunfamiliar\u201d 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. 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