{"id":13496,"date":"2024-05-16T05:15:37","date_gmt":"2024-05-16T08:15:37","guid":{"rendered":"https:\/\/site.claricelispector.ims.com.br\/?p=13496"},"modified":"2024-05-23T03:54:05","modified_gmt":"2024-05-23T06:54:05","slug":"the-darkness-in-darkness","status":"publish","type":"post","link":"https:\/\/site.claricelispector.ims.com.br\/en\/2024\/05\/16\/the-darkness-in-darkness\/","title":{"rendered":"The Darkness in Darkness"},"content":{"rendered":"\n

Darkness is a hollow word and one never really knows what fits inside Its dimensions are so undetermined that perhaps it could even be said that everything fits and nothing fits in it, since, being an immense storehouse of paradoxes, the ambiguous quality of immeasurable is immediately added to the primordial void that characterizes it. These attributes, thus agreed, gain particular density when prepared by the wrought of the author of The Apple in the Dark<\/em>.<\/p>\n\n\n\n

It is worth noting the passage in this novel in which the protagonist declares himself relieved to have \u201cescaped unscathed the hollow darkness,\u201d since this occurs when he realizes the absurd plot that the \u201cperfect darkness\u201d precipitates with its endless nonsense: \u201cHe was feeling elementarily protected by the darkness, though it was the darkness itself that scared him the most.\u201d It happens that, most of the time, Martim circulates through the troubled realm of chaos and, if it is definitely imposed on him as a threat, it is also from this \u201cdepth of centuries of fear and helplessness\u201d that a new and unexpected force arises in him: \u201c[a] man in the dark was a creator\u201d (LISPECTOR, 2023).<\/p>\n\n\n\n

The ability to inhabit at the same time emptiness and the immeasurable describes one of the most common dispositions among Clarice\u2019s characters, and it is often expressed by intense harmony with the realm of darkness. It is not surprising, therefore, that this word repeated countless times in the writer\u2019s fiction needs some elucidation, however minimal it is, along its equally countless pages. Actually, it concerns another paradox, since the more the signifier darkness<\/em> is present in her literature, the less it is unraveled, defined, or clarified. In short: the storytelling universe of Clarice Lispector does not admit a possible explanation for darkness or a thought that can account for whatever it might want to represent.<\/p>\n\n\n\n

Hence the idea of clarifying<\/em> \u2013 \u200b\u200bdear to a philosophy that declares itself enlightened<\/em> and unfolds in the dialectic of clarification<\/em> \u2013 becomes a kind of opposite to this sombre realm that resists any and all clarity. It should be recalled that, already since its beginnings in the eighteenth century, European Enlightenment philosophers took as a basis for their trade the definition attributed to Denis Diderot for the entry philosophe<\/em> in the great Encyclopedia<\/em>, which thus presents the thinker of the so-called \u201cSi\u00e8cle des Lumi\u00e8res:\u201d \u201cil marche la nuit, mais il est pr\u00e9c\u00e9d\u00e9 d\u2019un flambeau\u201d (DIDEROT\/ENCYCLOP\u00c9DIE, Vol. XII, p. 510). Now, this night always illuminated by the flame that precedes the philosopher, in which obscurity itself bows to the tools of reason, provides an antithesis to Clarice\u2019s darkness, which rather assumes a state of knowledge, if one may say so, of another kind and of another magnitude. Thus, if her characters also tend, in the example of the encyclopedist thinker, to move in the midst of the chaos of the night, for them it never concerns illuminating it, but rather being illuminated by it.<\/p>\n\n\n\n

There are several texts by the writer that develop this conception, which is almost always introduced in a frankly dreamlike tone. Beginning with the dream recounted in \u201cThe Jelly as Alive as a Placenta,\u201d which itself took place during a \u201cpitch-black night,\u201d whose desperate protagonist decides to kill herself by jumping from a \u201cdark terrace, my lips moist with a living thing,\u201d and suddenly encounters the unknown: \u201cMy legs were already over the edge of the balcony when I saw the eyes of the darkness. Not \u2018eyes in the darkness,\u2019 but the eyes of<\/em> the darkness. The darkness was peering at me with two large, wide-set eyes. The darkness, therefore, was also alive. Where would I find death?\u201d (LISPECTOR, 2022b)<\/p>\n\n\n\n

Darkness seems to triumph over death, thus boasting a life of its own that is only on a par with infinity.<\/p>\n\n\n\n

In the same gallery of types that are seen through the dark, it is worth evoking the unusual fragment titled \u201cThe Most Dangerous Night,\u201d in which a pleading voice asks to be believed, by making use of coded expressions that also suggest the intention of a suicide. In saying that \u201ca fateful ritual was taking place\u201d there, at a time when she was trying to explain \u201cwhat the others can\u2019t understand,\u201d she embarks on a sinuous narrative:<\/p>\n\n\n\n

[…] the drawing room lay in darkness \u2013 but the music drew me into the center of the room \u2013 something in there was awake \u2013 the room grew still darker within the darkness \u2013 I was there in the gloom \u2013 I felt that, despite the darkness, the room was still light \u2013 I wrapped myself in fear \u2013 just as I once wrapped myself in you \u2013 what did I find? \u2013 nothing, only that the dark room was filling up with a brightness illuminating nothing \u2013 and that I stood trembling in the center of that difficult light \u2013 believe me, please, however hard it is to explain. (LISPECTOR, 2022b)<\/p><\/blockquote>\n\n\n\n

Less exasperating but equally dense, the scene is even repeated in Near to the Wild Heart<\/em>, when Joana curls up \u201c[i]n her silent bed, floating in the darkness […] as if in the lost womb and forgets. Everything is vague, light and silent.\u201d For her, \u201c[s]leeping was an adventure every night, falling from the easy clarity in which she lived into the same mystery, dark and cool, crossing darkness. Dying and being reborn.\u201d Therefore, just before shrinking \u201cback inside herself, full of fear, of her unconfessed dread of the rainless nights of old, in the darkness wide awake\u201d (LISPECTOR, 2012, p. 58, 91, 125), she abandons herself to strange daydreams that, once again, suggest a form of light \u2013 it would be better to say lucidity<\/em> \u2013 which is only possible to distinguish in the thickest darkness:<\/p>\n\n\n\n

A certain degree of blindness is necessary in order to see certain things. This is perhaps the mark of an artist. Any man might know more than him and safely reason, according to the truth. But those things in particular cannot be seen with the light on. In the darkness they become phosphorescent. (LISPECTOR, 2012, p. 110). <\/p><\/blockquote>\n\n\n\n

Beings of chaos, suicides, madmen, artists, and the like often abandon themselves to the \u201cphosphorescence\u201d of formless and endless nights when they share a singular grammar of the gaze under an intense light that illuminates nothing. Aware of this, the author of The Foreign Legion<\/em> completely avoids any clarification about darkness, always preferring, when approaching it, the resource of allusion to that of revelation. After all, according to Clarice, there is nothing to be revealed in a place completely deprived of light.<\/p>\n\n\n\n

It would be the case, then, of asking \u201cwhere does the light go when it hides?\u201d1<\/a><\/sup> as Maria Filomena Molder does with great propriety. In her sharp essay on the subject, the Portuguese thinker observes that it does not concern a question about invisibility, since hiding always implies agonic \u2013 that is, dramatic \u2013 representative forms that reiterate, each in their own way, the recurring clash between day and night. For example, she mentions a powerful nocturnal figure presented in the Iliad<\/em> as a \u201ctamer of gods and men\u201d who, by contemplating \u201cthe entire collection of all hiding places, from the extreme to the most intimate,\u201d also introduces herself as a darkness that \u201cgazes at us.\u201d 2<\/a><\/sup><\/p>\n\n\n\n

Molder evokes the motif in examples that dialogue in depth with Clarice\u2019s conceptions. Among the ancients, references to Greek mythology gain prominence, in particular to the gods who invented a specific name for a very special kind of diurnal beings called \u201cephemerals,\u201d who were responsible for watching and guarding the night, \u201ceven feeling their strength yielding as soon as the light disappears.\u201d 3<\/a><\/sup> The question has repercussions in the sphere of modern authors, among whom the commentator chooses the contemporary Portuguese poet Manuel Gusm\u00e3o, thus quoting the following notable verses from his book Teatros do tempo <\/em>(Theaters of Time):<\/p>\n\n\n\n

It thus concerns having sat down looking for the gaze<\/p>

the gaze of the night that gazes at him. He stares at it for a long time \u2013<\/p>

……………………………………………. ………………………..<\/p>

This would be the light motif: the switch:<\/p>

That which switches and closes is that which opens up and turns on.<\/p>

You say: someone pressed the switch; time<\/p>

switched and the night gazes at the body of the man<\/p>

who neither hopes nor despairs; he is. (MOLDER, 2017, p. 13-15) 4<\/a><\/sup> <\/p><\/blockquote>\n\n\n\n

Now, this night that gazes \u2013 or, to translate into Lispector\u2019s terms: the great eyes of the darkness \u2013 undoubtedly demarcates the limits of human knowledge: as the poet says, he who receives this gaze, who neither hopes nor despairs, simply is<\/em>. Just like a being that seems not to have any reflexive folds, it is pure body and pure presence, inhabiting an absolute present, in the example of an immobile and living statue. It is not surprising that this image, which is likewise paradoxical, also appears transfigured in Clarice\u2019s short story \u201cThe Fifth Story,\u201d whose narrator uses an \u201celixir for drawn-out death\u201d to exterminate the disgusting insects that invade her home and about which she incessantly complains. To account for the effect of the poison, while \u201cdarkness was sleeping\u201d she crosses \u201cthe silence of the apartment\u201d and encounters the inanimate bodies of cockroaches that resemble the living dead:<\/p>\n\n\n\n

And in the darkness of dawn, a purplish glow that distances everything, I discern at my feet shadows and white forms: dozens of statues scattered, rigid. The cockroaches that have hardened from the inside out. Some, belly up. Others, in the middle of a gesture never to be completed. In the mouths of some a bit of the white food. I am the first witness of daybreak in Pompeii. I know how this last night went, I know of the orgy in the dark. Inside some of them the plaster will have hardened as slowly as during some vital process, and they, with increasingly arduous movements, will have greedily intensified the night\u2019s joys, trying to escape their own insides. Until they turn to stone, in innocent shock, and with such, such a look of wounded reproach. (LISPECTOR, 2022a, p. 310-311).<\/p><\/blockquote>\n\n\n\n

The cockroaches annihilated in the dead of night also gaze at their killer with fright and terror. A strange life animates even the most mummified, while \u201coccasional antenna of a dead cockroach quivers drily in the breeze,\u201d thus sanctioning the accusation against the \u201c[m]eticulous, ardent\u201d executioner who returns their frozen gaze (LISPECTOR, 2022a, p. 310-311). It is also with fright and terror, it is worth recalling, that the four masked youth in the story \u201cMystery in S\u00e3o Crist\u00f3v\u00e3o\u201d are petrified for an instant when invading an enchanted garden in the early hours of Rio de Janeiro, as if swallowed by the \u201cpossibilities afoot on a May evening:\u201d \u201ceverything in the dark was mute approach,\u201d the astonished narrator observes, only to add: \u201c[h]aving fallen into the ambush, they looked at each other in terror: the nature of things had been cast into relief and the four figures peered at each other with outstretched wings.\u201d (LISPECTOR, 2022a, p. 211)<\/p>\n\n\n\n

Among the several affinities that are recognized in all these passages, the focus built around not knowing<\/em> draws attention: strictly speaking, the cockroaches and their executioner, or the youth surprised by the risky unforeseen occurrences late at night, reveal the same original and ancestral mystery guarded by the haughty figure of the tamer from the Iliad<\/em> who lends her eyes to the night. According to these fables, darkness would really be a state of suspension of knowledge and perhaps it is for this reason that, in the figurative sense, most current dictionaries associate such a signifier with the \u201cabsence of knowledge.\u201d<\/p>\n\n\n\n

Everything would tend to confirm that there is actually nothing to be revealed in a place deprived of light, if it were not for the exception made by Clarice for those beings who, having \u201ca certain degree of blindness,\u201d can \u201csee certain things\u201d in complete darkness. It is a significant exception that refers to two groups of very distinct creatures, which are in fact the true inhabitants of the dark: on the one hand, the blind prophets, such as Tiresias, Bartimaeus, and many others presented in theologies and mythologies; on the other, the animals that live in the depths of the sea, such as the unusual pelagic specimens.<\/p>\n\n\n\n

Needless to say, the blind man is a recurring figure in Clarice\u2019s literature and, although he is not specifically identified as a prophet, seer, or oracle, he most often shares with them some gift of divination. Even a nearsighted child, like the boy in the story \u201cEvolution of a Myopia,\u201d makes one understand that a simple visual impairment can give access to the paths of clairvoyance, since the less he sees, the more and more he understands: \u201cIt was only as if he\u2019d taken off his glasses, and myopia itself is what made him see.\u201d After all, \u201cwhenever his confusion grew and he could barely see, he\u2019d take off his glasses under the pretext of wiping them and, without his glasses, fix his interlocutor with the reverberating stare of a blind man\u201d (LISPECTOR, 2022a, p. 308).<\/p>\n\n\n\n

An exemplary case in this sense is given by the character from the short story \u201cLove,\u201d who \u201cwas chewing gum in the dark\u201d when he is caught by Ana. Just like a prosaic fortune teller, \u201c[w]ithout suffering, eyes open,\u201d his presence is enough for the girl to come to see precisely that which it is not possible for her to see, to discover what was covered by prohibitions: in the moment that he is caught, \u201cher heart beat violently, at intervals. Leaning forward, she stared intently at the blind man, the way we stare at things that don\u2019t see us.\u201d (LISPECTOR, 2022a, p. 117-118) In fact, the state of blindness returns with great frequency in the pages of Clarice, either to refer to the \u201cblindness of the dark\u201d itself, or to highlight the \u201cmilky and translucent darkness,\u201d as can be read in The Chandelier<\/em>, thus always reinforcing the existence of a luminous power in the dark that only beings deprived of vision manage to see. In this sense, the author\u2019s fabled stories about the \u201canimals of the dark\u201d gain particular prominence (LISPECTOR, 2018, p. 6, 119).<\/p>\n\n\n\n

\u201cWhat animals?\u201d asks the protagonist of The Apple in the Dark<\/em>, only to answer with \u201cthe obstinacy of pleasure:\u201d \u201cthe animals of which the darkness is made.\u201d (LISPECTOR, 2023). If these at times gain somewhat bizarre approximations \u2013 \u201c[t]he trinkets were gleaming in a brightness of their own like deep-sea animals\u201d (LISPECTOR, 2023) \u2013, at other times they are simply associated with the animals that emerge \u201cone by one from their lairs, protected by the gentle animal possibility of the night\u201d (LISPECTOR, 2023). Their most striking appearance, however, is made in The Besieged City<\/em>, when a character recalls that \u201cmarine beings, when not affixed to the sea floor, adapt to a drifting or pelagic life.\u201d The notation is part of the studies of the strange Perseus, on a date recorded as \u201cthe afternoon of May 15, 192…\u201d Standing by the open window, \u201c[b]lind and glorious,\u201d he repeats several times, with \u201chollow luminosity:\u201d \u201cPelagic animals reproduce with profusion.\u201d And he reiterates some more, closely followed by the narrator who continues recording: \u201c\u2018Marine animals and plants with profusion,\u2019 he said without a push but without brakes because this was his degree of light. It didn\u2019t matter that in the light he was as blind as in the dark. The difference is that he was in the light. \u2018Drifting,\u2019 he said.\u201d (LISPECTOR, 2019). <\/p>\n\n\n\n

This mention of the pelagic ecosystem is still curious \u2013 pelagos<\/em> in Latin means \u201copen sea\u201d \u2013 since it is an oceanic region inhabited by living beings that, although close to the seabed, do not depend on it. It concerns a hybrid and indeterminate zone, located in an intermediary that starts below the space influenced by the tides to extend until the high seas, at depths that vary from a few dozen meters to around six thousand meters. It should be observed that, if the parts close to the surface receive sunlight, the deeper ones are home to a large number of species that are adapted to darkness, being that a few of their inhabitants answer to the imposing name of deep-sea fish.<\/p>\n\n\n\n

Clarice’s reference to the pelagic zone perhaps constitutes the closest note to what her definition of darkness would be, because if there is some element that she links to such a state, it is certainly water. It concerns, most of the time, a liquid darkness, whose water almost always comes from the sea. This is what Clarice\u2019s texts repeat exhaustively, by making use of the most diverse perspectives to propose such an affinity, beginning with the frequent allusion to characters who were \u201cfloating in the half-light\u201d or who were \u201cplunging into the darkness.\u201d Also in The Chandelier<\/em>, \u201cthe darkness was sprinkled by wet and abrupt noises,\u201d as well as \u201cstretching out uniformly and when the wind blew the bushes seemed to move in a sea\u201d (LISPECTOR, 2018, p. 19, 38). The nocturnal images related to water unfold in many directions, which pass not only through the heart, described as an \u201can organ bathed in the darkness of pain\u201d (LISPECTOR, 2022a, p. 495), but even to a room that, at night, \u201cwas floating before eyes that had just arrived from the darkness\u201d (LISPECTOR, 2019).<\/p>\n\n\n\n

It is important to highlight here that, although unlikely, the approximation between blind prophets and pelagic animals may be surprising due to its pertinence, which is justified by a greater affinity: as beings of the darkness, both have in common the knowledge of the depths: the former, due to perceiving what is beyond the visible; the latter, due to discerning nothing beyond the very obscurity that surrounds them. Indeed, both could be defined in the same terms of which the narrator of the short story \u201cThe Smallest Woman in the World\u201d makes use, when describing the inaccessible pygmy considered \u201c[d]ark as a monkey\u201d by those who do not see her humanity: \u201chaving no other resources, she was reduced to profundity\u201d (LISPECTOR, 2022a, p. 165, 171).<\/p>\n\n\n\n

In all these cases, such a reduction completely avoids clarity and prevents any identification with the naked eye. Actually, in the example of what happens with the seabed, this diffuse and impenetrable depth is never revealed to those who discern its realms from the outside, since knowing it requires complete immersion in the opacity of the unknown. This is confirmed in the passage from the text \u201cThe Servant\u201d that describes Eremita, another character who is definitely associated with the deepest recesses of existence: \u201cno one would find a thing if they descended into her depths\u2014except depth itself, as in the dark you find the dark\u201d (LISPECTOR, 2022a, p. 391).<\/p>\n\n\n\n

This perhaps outlines the most conclusive meaning from the author of Discovering the World<\/em> about the unfathomable darkness, which discreetly reappears in a few other writings, always enveloped by a certain hermetism, as is the case in the passages from The Apple in the Dark<\/em>: \u201cdarkness seeks darkness,\u201d or \u201cthe light of the dog\u2019s eyes in the darkness of the dog,\u201d or \u201c[i]f a man were to touch the darkness a single time, offering it in exchange darkness itself…\u201d (LISPECTOR, 2023), or even in the writer\u2019s brief and decisive note dated 1968: \u201cAnd the darkness is very dark\u201d (LISPECTOR, 2022b). Darkness is a closed labyrinth, with no entrance or exit: it is not surprising, therefore, that the signifier hollow<\/em> fits it so well, for projecting a void in the shape of a palindrome that has no beginning or end. 5<\/a><\/sup><\/p>\n\n\n\n

According to Clarice Lispector, darkness has no folds, is not reflected in any mirror, and does not even recognize the existence of any otherness, since it is absolute otherness. Within it there is only darkness, actually, a hollowness from which all creation can spring.<\/p>\n

  1. The original quote in Portuguese reads: \u201cpara onde vai a luz quando se esconde.\u201d[↩<\/a>]<\/span><\/li>
  2. The original quotes in Portuguese read: \u201cdomadora de deuses e de homens;\u201d \u201ca reuni\u00e3o inteira de todos os esconderijos, dos extremos aos \u00edntimos;\u201d \u201colha para n\u00f3s.\u201d[↩<\/a>]<\/span><\/li>
  3. The original quote in Portuguese reads: \u201cmesmo sentindo as for\u00e7as a ceder logo que a luz se esconde.\u201d[↩<\/a>]<\/span><\/li>
  4. The original quote in Portuguese reads:

    “Trata-se pois de se ter sentado procurando o olhar
    o olhar da noite que o olha. Longamente o fita \u2013
    ……………………………………………. ………………………..
    Seria este o motivo light: o interruptor:
    O que interrompe e fecha \u00e9 o que abre e acende.
    Dizes: algu\u00e9m carregou no interruptor; o tempo
    interrompeu-se e a noite olha o corpo do homem
    que n\u00e3o espera nem desespera; est\u00e1.\u201d[    ↩<\/a>]<\/span><\/li>
  5. I would like to thank Yudith Rosenbaum for this suggestion and others.[↩<\/a>]<\/span><\/li><\/ol>","protected":false},"excerpt":{"rendered":"

    Darkness is a hollow word and one never really knows what fits inside Its dimensions are so undetermined that perhaps it could even be said that everything fits and nothing fits in it, since, being an immense storehouse of paradoxes, the ambiguous quality of immeasurable is immediately added to the primordial void that characterizes it. […]<\/p>\n","protected":false},"author":38,"featured_media":13535,"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":[328],"tags":[],"class_list":["post-13496","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ensaios"],"yoast_head":"\nThe Darkness in Darkness - 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\/2024\/05\/16\/the-darkness-in-darkness\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Darkness in Darkness - Clarice Lispector\" \/>\n<meta property=\"og:description\" content=\"Darkness is a hollow word and one never really knows what fits inside Its dimensions are so undetermined that perhaps it could even be said that everything fits and nothing fits in it, since, being an immense storehouse of paradoxes, the ambiguous quality of immeasurable is immediately added to the primordial void that characterizes it. 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