{"id":13579,"date":"2024-05-27T11:53:19","date_gmt":"2024-05-27T14:53:19","guid":{"rendered":"https:\/\/site.claricelispector.ims.com.br\/?p=13579"},"modified":"2025-02-13T17:15:55","modified_gmt":"2025-02-13T20:15:55","slug":"me-a-witch","status":"publish","type":"post","link":"https:\/\/site.claricelispector.ims.com.br\/en\/2024\/05\/27\/me-a-witch\/","title":{"rendered":"\u201cMe, A Witch?\u201d"},"content":{"rendered":"\n

In January 1975, Clarice Lispector received an invitation letter, signed by Sim\u00f3n Gonz\u00e1lez, 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 Bogot\u00e1, Colombia. It was a standard letter, written in English, sent to all guests, with the same address: \u201cDear Friend of the Unknown.\u201d It briefly described the aims of the event, which would not be restricted to witchcraft, but would also cover other \u201ctypes of interest in the unusual\u201d: \u201cto bring together people from all walks of life who are deeply interested in the study of man\u2019s inner powers and of the universe\u2019s occult forces beyond the reach of the five senses.\u201d1<\/a><\/sup> Therefore, \u201cwitchcraft\u201d (brujer\u00eda) was understood in a broad and derivative sense, which is even more evident in the passage of the letter in which Gonz\u00e1lez refers to the recipients\u2019 field of activity: \u201cwhether your field of research is witchcraft or parapsychology, astrology or alchemy, ancient magic or modern sorcery, extrasensory perception or any other of the countless means through which men and women become aware not only of normally untapped capacities within themselves, but also of a pulsating reality beyond their senses, and of mystical realms of love, joy, and power that are never reached by unbelievers.\u201d After all, the letter also said, justifying the holding of the congress: \u201cThe universe is full of fascinating mysteries, and men and women must be open to them, prepared to delve deeply into them and thus arrive at a subtler understanding and a fuller love for life.\u201d2<\/a><\/sup> We do not have access to the letters written by Clarice Lispector about the congress, but we know that she responded affirmatively to the call in two letters: one dated January 31 and the other dated March 2, 1975.3<\/a><\/sup> In interviews, Clarice commented that she received, shortly after the letter, an international phone call, confirming the invitation.4<\/a><\/sup><\/p>\n\n\n\n

But why was Clarice Lispector invited to the First World Congress of Witchcraft? According to Teresa Montero and L\u00edcia Manzo, the invitation to the event in Bogot\u00e1 resulted from the writer\u2019s participation in the IV Congreso de la Nueva Narrativa Hispanoamericana, which was held the year before, also in Colombia, but in Cali, between August 14 and 17.5<\/a><\/sup> Clarice was accompanied by her friend Lygia Fagundes Telles, and both of them, alongside Walmir Ayala, participated, at the narrative congress, in the roundtable about contemporary Brazilian literature.6<\/a><\/sup> In fact, in a letter to Clarice talking about his participation in the Congress of Witchcraft, the Colombian writer Pedro G\u00f3mez Valderrama mentions that a mutual friend, the fellow writer Gustavo \u00c1lvarez Gardeaz\u00e1bal, had already alerted him about her desire to attend the event.7<\/a><\/sup> Gardeaz\u00e1bal had been president of the IV Congreso de la Nueva Narrativa Hispanoamericana.<\/p>\n\n\n\n

Would Clarice have said anything at that 1974 congress that could indicate some relation between her and witchcraft? Lygia Fagundes Telles, in the interview recorded on video in 2005, on the occasion of the International Literary Festival of Paraty (FLIP)8<\/a><\/sup>, when Clarice was the honored writer, recalled that her friend, urged by the audience, had spoken about Near to the Wild Heart<\/em>, while she had limited herself to her novel The Girl in the Photograph<\/em>. In principle, therefore, nothing indicated that Clarice had addressed anything that could be associated with witchcraft.<\/p>\n\n\n\n

The question then could perhaps be different: what would the event organizers have seen of witchcraft in her work? In her extensive biography about Clarice Lispector, which was recently revised and expanded, Teresa Montero recalls that, in December 1966, the literary critic Emir Rodr\u00edguez Monegal, in a text about the writer published in Mundo Nuevo<\/em>, a journal founded by him in Paris, referred to her in these terms: \u201cDue to her focus on the mythological whole, she is more of a sorceress [hechicera<\/em>] than a writer. Her books reveal the incredible power of words that work on the reader\u2019s imagination and sensibility.\u201d9<\/a><\/sup><\/p>\n\n\n\n

At the time of the First World Congress of Witchcraft, therefore, a certain halo of mystery had already been built around not only Clarice\u2019s writing, but her own person. Not by chance, Sim\u00f3n Gonz\u00e1lez opens the letter he addressed to her on July 8, 1975, by dealing with practical matters (such as tickets and accommodation in Bogot\u00e1 during the congress): \u201cBefore meeting you, when I read your books, I was forming the image of the person who wrote them. When I met you in Rio de Janeiro, my suspicions were confirmed: only a person with those eyes full of beauty, magic, and depth could have written them.\u201d10<\/a><\/sup> When commenting on Clarice\u2019s participation in the event, the Jornal do Brasil<\/em> followed suit: \u201cwith her compulsive inner strength producing on paper more magic in people than any bewitching object \u2013 perhaps she is the one that causes the most reaction in Congress.\u201d11<\/a><\/sup> When describing the outfit that Clarice had supposedly been wearing upon her arrival at the Colombian capital, M\u00e1rio Pontes, a reporter sent by that same newspaper to Bogot\u00e1, gave an image to the mythology that was created around her: \u201c[Clarice] disembarked totally dressed in black, with many amulets hanging from her neck.\u201d12<\/a><\/sup> Clarice vehemently denied, on more than one occasion, that she was dressed like that. To Isa Cambar\u00e1, she said that \u201cthe reporter who saw her dressed strangely and full of amulets must have been a victim of poor eyesight, an excessive imagination, or bad faith, even.\u201d13<\/a><\/sup> Ign\u00e1cio de Loyola Brand\u00e3o, at the time editor of Planeta<\/em> magazine and one of the Brazilian journalists who traveled to Bogot\u00e1 to cover the event (his report was published in the special issue of October 1975, in which, curiously, Clarice Lispector\u2019s participation is not mentioned)14<\/a><\/sup>, commented that, years later, Lygia Fagundes Telles would have told him the following about Clarice: \u201cWhen she spoke, she was enlightened. She was possessed.\u201d15<\/a><\/sup><\/p>\n\n\n\n

And what did Clarice herself think about this invitation? To the Di\u00e1rio de Not\u00edcias<\/em>, one of the first newspapers to report on her participation in the Congress of Witchcraft, on May 20, 1975, she was adamant: \u201cI\u2019ve never done witchcraft and I don\u2019t believe I was a victim of any.\u201d As for the invitation, she asserted that she had accepted it out of curiosity: \u201cI\u2019m going to look and listen.\u201d16<\/a><\/sup> It was a declaration that she would repeat to the Jornal do Brasil<\/em> less than a month later.17<\/a><\/sup> To this periodical, evoking the justification for holding the event that was in the first invitation letter received, she added: \u201cThe Congress talks about the development of occult forces and everything that is occult attracts me. Besides, it concerns white magic18<\/a><\/sup>, no harm can come from that, don\u2019t you think? Presently this story of witchcraft is in the air. It\u2019s as if we were suddenly revisiting some missing link from the Middle Ages. Actually, I\u2019m just curious, without taking anything too seriously, without expecting any big revelations. I\u2019m going to talk \u2013 they say I was the only Brazilian writer invited \u2013 about magic in literature. The problem is that they\u2019re expecting a lot from me, and I don\u2019t think I have much to give.\u201d19<\/a><\/sup> <\/p>\n\n\n\n

The Jornal do Brasil<\/em> also mentioned that Clarice was found \u201cfrightened and sweet as always.\u201d As for the fright, there was good reason: the congress promised to be gigantic. The report, based on a conversation with the meeting\u2019s organizer, Sim\u00f3n Gonz\u00e1lez, said that three thousand people were expected from abroad, in addition to 300 thousand Colombians. Gonz\u00e1lez also asserted that he was counting on the participation of, among others, Salvador Dal\u00ed, in addition to allegedly already being in contact with Jorge Amado. In the Di\u00e1rio de Not\u00edcias <\/em>text cited earlier, there was also talk of the participation of Federico Fellini, Gabriel Garc\u00eda M\u00e1rquez, and Carlos Casta\u00f1eda.20<\/a><\/sup> The same Di\u00e1rio de Not\u00edcias,<\/em> on the eve of the congress, guaranteed that it would include, in its program, \u201ca dissertation by the film director Michelangelo Antonioni on \u2018films and witchcraft.\u2019\u201d21<\/a><\/sup> For its part, Manchete <\/em>magazine, on August 30, in what perhaps had been the most complete coverage of the event, occupying six highly illustrated pages, reported the participation of several personalities, such as Uri Geller and the aforementioned Casta\u00f1eda, Fellini, Garc\u00eda M\u00e1rquez, and Antonioni. The industrialist Jo\u00e3o Melo da Costa would also be going, accompanied by his lawyer Jorge de Oliveira Beja, in order to try to uncover the mystery of the kidnapping of his 10-year-old son Carlos Ramires da Costa, Carlinhos, who had disappeared from his home in the neighborhood of Santa Teresa, in Rio de Janeiro, in 1973, a case that has never been solved and to this day is still surrounded by mystery.22<\/a><\/sup><\/p>\n\n\n\n

One of the ideas of the event was to make contact with spirits, such as those of John Kennedy, Papa Doc, Per\u00f3n, Hitler, Noah, and Messalina.23<\/a><\/sup> The Di\u00e1rio de Not\u00edcias<\/em> report on May 20 also ended by registering Clarice\u2019s astonishment at the magnitude that the congress was acquiring: \u201cWhen I accepted the invitation, I thought it was going to be a modest meeting of a few people about an issue that awakens everyone\u2019s curiosity, but now I\u2019m almost frightened: the idea of \u200b\u200bmeeting Garc\u00eda M\u00e1rquez and Fellini gives this meeting more responsibility and greater scope.\u201d24<\/a><\/sup> Of all those mentioned in the newspapers, only Uri Geller was present and he was the main attraction \u2013 with Clarice Lispector being the second biggest attraction.25<\/a><\/sup> Jo\u00e3o Melo da Costa, Carlinhos\u2019 father,  also attended the congress, not as a guest, but on his own.26<\/a><\/sup> Casta\u00f1eda was not there, but his experiences were discussed by his partner and university colleague, the English anthropologist Douglas Richard Price-Williams, who presented a series of experiments done with his friend regarding telepathic transmission through dreams.27<\/a><\/sup> His lecture, by the way, was given immediately after Clarice Lispector\u2019s, on Tuesday, August 26.<\/p>\n\n\n\n

On August 17, the Di\u00e1rio de Not\u00edcias<\/em>, which had been following the development of preparations for the congress, published a large report by Ubiratan Teixeira in which he interviewed some of the guests, including Clarice Lispector, of course. To the writer, he asked: \u201cWhy were you invited, Clarice?\u201d This time, she did not hesitate to respond: \u201cI don\u2019t have the slightest idea.\u201d Then she added, referring to the previous year\u2019s trip: \u201cBut the invitation filled me with honor and pride: I immediately accepted. In addition to being a chance for me to visit Colombia again, a charming country, I\u2019ll be in contact with the world of the supernatural. This is very good for a writer.\u201d28<\/a><\/sup> Later, in the same interview given at her apartment in Leme, in front of a poster of the Congress of Witchcraft hanging on the living room wall, she ventured a hypothesis for having received the invitation: \u201cYou know, maybe it was because of a curious comment that a South American critic once made about my literature. He wrote that I was \u2018una bruja<\/em>\u2019 in literature. I found that really strange. Me, a \u2018bruja<\/em>?\u2019 A witch? But later I had the chance to meet him and then he clarified, laughing. \u2018Si, la se\u00f1ora escribe con magia. Es una m\u00e1gica de las letras.<\/em>\u2019\u201d29<\/a><\/sup> It is possible that Clarice Lispector was referring to Monegal, the Uruguayan. She further asserted: \u201cI agree that the writer, in general, is even somewhat of a sorcerer, a magician. That\u2019s evident!\u201d30<\/a><\/sup> <\/p>\n\n\n\n

In the large report in Manchete<\/em> magazine, in a passing comment, Ib Teixeira had also highlighted this interest of the time: \u201cRosemary\u2019s Baby<\/em>, The Exorcist<\/em>, and the literary work of Carlos Casta\u00f1eda and Garc\u00eda M\u00e1rquez \u2013 which are very popular in Europe today \u2013 perhaps contributed to this outbreak of witchcraft.\u201d 31<\/a><\/sup> Interestingly, in the short story \u201cWhere Were You at Night,\u201d from the book of the same name by Clarice Lispector published the year before the congress, in 1974, the journalist character comments to her friend by telephone: \u201cClaudia, sorry to call at this hour on a Sunday! But I woke up with a fabulous inspiration: I\u2019m going to write a book about Black Magic! No, I didn\u2019t read that one about the Exorcist, because I heard it\u2019s no good and I don\u2019t want everybody saying I copied it.\u201d 32<\/a><\/sup> It is this same story, in fact, that discusses a strange ritual, in which several people participate and which is led by an androgynous being.<\/p>\n\n\n\n

Ever since her first statements to the newspapers with respect to her participation in the congress, Clarice had been shifting the focus from \u201cwitchcraft\u201d to \u201cmagic,\u201d the latter being related not to what could be supernatural in the world, but to what was natural. In that first report in the Di\u00e1rio de Not\u00edcias<\/em>, she had already said: \u201cEverything is very mysterious, but I don\u2019t believe it proves the mystery and I really believe that everything deep down is magical. For me, the rain falling is nature\u2019s magic. I don\u2019t look for magic in the supernatural: I find it day by day in so-called natural phenomena.\u201d33<\/a><\/sup> This would be the view adopted from then on and which would be made clear in the text written in English to be read at the congress, titled \u201cLiterature and Magic,\u201d in which she begins by relating magic and natural phenomena in almost the same terms as the statement given to the newspaper: \u201cI have little to say to a demanding audience. But I will say one thing: for me, whatever exists, exists by some kind of magic. Furthermore, natural phenomena are more magical than supernatural ones.\u201d34<\/a><\/sup> She then exemplified the assertion by recalling a violent storm that she had witnessed around two months earlier in Rio de Janeiro.<\/p>\n\n\n\n

Clarice ended up not presenting this text at the congress, but instead preferred to read her short story \u201cThe Egg and the Chicken,\u201d which had been published in The Foreign Legion<\/em>, in 1964. To introduce the reading of the story (\u201cwhich is mysterious even for me and has a secret symbology\u201d)35<\/a><\/sup>, she prepared a brief presentation text, in which, this time, she associated \u201cmagic\u201d with the unconscious, not only individual, but also collective: \u201cI have little to say about magic. Actually, I think that our contact with the supernatural should be done in silence and in a deep solitary meditation. Inspiration, in all forms of art, has a touch of magic because creation is an absolutely inexplicable thing. Nobody knows anything about it. I don\u2019t believe that inspiration comes from the outside, from supernatural forces. I suppose it emerges from a person\u2019s deepest self, from the deepest individual, collective, and cosmic unconscious.\u201d36<\/a><\/sup><\/p>\n\n\n\n

Clarice thereby reinforces what she had already suggested in interviews on account of the invitation to the Congress of Witchcraft: every artistic creation would be somewhat magical and mysterious. Every writer would consequently be somewhat of a sorcerer. Let us not forget that the narrator of \u00c1gua Viva<\/em>, when she says that she knows \u201canother life [\u2026.] a life of magical violence,\u201d describes herself as follows: \u201cI am the sorceress of that silent bacchanal.\u201d37<\/a><\/sup> Regarding the connection between literature and witchcraft, how can we not also recall the nickname that Moys\u00e9s Vellinho gave to Machado de Assis, the \u201cWizard of Cosme Velho.\u201d38<\/a><\/sup> The nickname became popular with the poem \u201cA um bruxo, com amor,\u201d [To a Wizard, with Love],39<\/a><\/sup> by Carlos Drummond de Andrade, to the point of attributing its formulation to the poet, who even wrote a text to reestablish the truth.40<\/a><\/sup> Drummond, incidentally, in another poem, \u201cQuintana\u2019s bar,\u201d imagines a meeting with the Rio Grande do Sul poet, who, at a given moment, takes him to fly \u201cover rooftops, clinging to the unearthly witch,\u201d and, from above, points out houses: \u201cthat of Rimbaud, that of Blake, and the grotto of Camoens.\u201d41<\/a><\/sup><\/p>\n\n\n\n

He ends by saying: \u201cCryptographic signs remain engraved in the eternal sky \u2014 or on the table of an extinct bar as the poet Mario Quintana, leaning over its marble top, travels on into silence.\u201d42<\/a><\/sup> Traveling, imagining: that is how it is to fly clinging to a witch.<\/p>\n\n\n\n

Returning to the congress, Domingos Meirelles, a special envoy of the O Globo<\/em> newspaper to Bogot\u00e1, hinted that, if Clarice did not read \u201cLiterature and Magic,\u201d she may have mentioned a few aspects raised by the text: \u201cClarice spoke about her personal experiences in the field of Parapsychology, described her literary work, and ended the session with the reading of one of her fantastic stories, \u2018The Chicken and the Egg\u2019 [sic], which was much appreciated by the attendees.\u201d 43<\/a><\/sup> The only photo that illustrates Meirelles\u2019 report shows Clarice Lispector, wearing glasses, reading from a paper that she has in her hands, next to Sim\u00f3n Gonz\u00e1lez, who is watching her. For her part, the Colombian Alegre Levy, who was responsible for covering the congress for El Tiempo<\/em>, in Bogot\u00e1, highlighted what seems to have been a performance associated with the reading \u2013 which she herself did not appreciate: \u201cClarice Lispector, a Ukrainian writer residing in Brazil, brought yawns to the auditorium with a complex lecture titled \u2018The Egg and the Chicken,\u2019 in which a chicken was thrown into the air several times while a dancer ate a raw egg on the ground.\u201d 44<\/a><\/sup> Ign\u00e1cio de Loyola Brand\u00e3o, who, as previously mentioned, was present at the event, said that he did not remember such a performance. But he recalled the audience\u2019s reaction to the reading: \u201cIn respectful silence, people \u2013 around five hundred \u2013 looked at Clarice attentively and, when she finished, the applause steadily increased.\u201d 15<\/a><\/sup> Isa Cambar\u00e1, who was not at the congress but interviewed Clarice shortly after her return from Bogot\u00e1, noted: \u201cHer participation in the congress \u2013 which was summed up in the reading of one of her short stories, \u2018The Egg and the Chicken\u2019 \u2013 would have been booed by some, applauded by others. According to a third version, the Brazilians present would have withdrawn, in protest against the presence of a writer at a meeting of \u2018sorcerers.\u2019\u201d 45<\/a><\/sup><\/p>\n\n\n\n

In a text for a Colombian newspaper, it is the writer and filmmaker Alberto Duque Lopez who gives more details about the reading of the short story by \u201cthe Brazilian novelist and mentalist Clarice Lispector about the egg, its role as a magical element, and the influence it exerted on the life and work of the artist\u201d and the audience\u2019s reaction. Based on his account, Clarice would not have read the story herself, but rather the interpreter \u2013 which leads us to assume that the aforementioned photograph, in which she appears reading from a paper in her hands, perhaps captures the moment in which she read the short introduction to the short story: \u201cWith reddish hair, tight lips, flanked by Sim\u00f3n Gonz\u00e1lez and an interpreter who had the exclusive mission of making known the account dedicated to the egg as a key piece in her intellectual and social formation, the celebrated writer who has published several books, which have reached the country in Argentine editions, kept the audience watching her in suspense, as she looked at the closed circuit television monitors, Francisco Norden46<\/a><\/sup> who is filming thousands of feet of film about the congress, the newly painted ceiling, the poet Cobo who was dying of laughter, and the extravagant characters who at a given moment changed the aroma of the pavilion\u2019s atmosphere.\u201d He further added: \u201c\u2018Literature and Magic\u2019 was the title of the writer\u2019s lecture: it was an authentic \u2018happening\u2019 with the participation of not only the lecturer who almost did not open her lips, her translator, Gonz\u00e1lez, and hundreds of spectators who did not know what attitude to adopt in the face of a magical, poetic, and naive material that summarized the position of the Brazilian intellectual in the face of the main problems of today. […] When the reading ended, Sim\u00f3n Gonz\u00e1lez, surely interpreting the feelings of several spectators, told her, after giving her a hug, that it was one of the most beautiful and poetic moments of the congress.\u201d47<\/a><\/sup> The director of the documentary Congreso Internacional de Brujer\u00eda \u2013 El Woodstock de la brujer\u00eda<\/em> (2022), Roberto De Zubir\u00eda, in a roundtable about the film, provided a good explanation for so much hearsay about the reception of \u201cThe Egg and the Chicken,\u201d by Clarice: given the complexity of the story, the interpreter was unable to translate it right. \u201cHe got all confused in the translation and the people who were watching didn\u2019t understand what was going on,\u201d48<\/a><\/sup> he said. <\/p>\n\n\n\n

If \u201cThe Egg and the Chicken,\u201d by itself, was already mysterious even for its own author, in the imprecise translation presented at the event, the errors probably multiplied the mystery. Nonetheless, perhaps we could think like the Author of A Breath of Life<\/em>, a book that Clarice had been preparing precisely during that period in which she participated in the Congress of  Witchcraft: \u201cperhaps whatever is correct lies precisely in error?\u201d49<\/a><\/sup> Perhaps? With Clarice, one never knows the truth (or the error). This is her greatest spell.<\/p>\n

  1. Letter from Sim\u00f3n Gonz\u00e1lez to Clarice Lispector, Jan. 1975. Rui Barbosa House Foundation Collection.[↩<\/a>]<\/span><\/li>
  2. Idem.[↩<\/a>]<\/span><\/li>
  3. Cf. Letter from Pedro G\u00f3mez Valderrama to Clarice Lispector, March 21, 1975. Rui Barbosa House Foundation Collection.[↩<\/a>]<\/span><\/li>
  4. Cf. \u201cAs bruxas ainda \u00e0 solta,\u201d Jornal do Brasil, June 11, 1975, p. 5; \u201cClarice surpresa com o vulto dos bruxos,\u201d Di\u00e1rio de Not\u00edcias, May 20, 1975, p. 7.[↩<\/a>]<\/span><\/li>
  5. Teresa Montero and L\u00edcia Manzo (ed.), Clarice Lispector: outros escritos<\/em>, Rio de Janeiro: Rocco, 2005, p. 119.[↩<\/a>]<\/span><\/li>
  6. Tavares de Miranda, \u201cLiteratura brasileira na Col\u00f4mbia,\u201d O Cruzeiro<\/em>, Sept. 11, 1974, p. 106. Cf. also Teresa Cristina Montero Ferreira, \u00c0 procura da pr\u00f3pria coisa<\/em>, Rio de Janeiro: Rocco, 2021, p. 592. In this extensive biography of Clarice Lispector, which has recently been re-edited and expanded, Teresa Montero also suggests that the invitation was due to the generation that orbited around the magazine Mito<\/em>, including Pedro G\u00f3mez Valderrama, who responded to the writer\u2019s letter of acceptance. The periodical, however, had not been around for 12 years when the congress was held in Cali; it circulated between 1955 and 1962.[↩<\/a>]<\/span><\/li>
  7. Letter from Pedro G\u00f3mez Valderrama to Clarice Lispector Op.<\/em> cit.<\/em>[↩<\/a>]<\/span><\/li>
  8. Available at: https:\/\/www.youtube.com\/watch?v=UGg7Xg89m1c.[↩<\/a>]<\/span><\/li>
  9. Apud<\/em> Teresa Cristina Montero Ferreira, \u00c0 procura da pr\u00f3pria coisa<\/em>, Rio de Janeiro: Rocco, 2021, p. 591.[↩<\/a>]<\/span><\/li>
  10. Letter from Sim\u00f3n Gonz\u00e1lez to Clarice Lispector, July 8, 1975. Rui Barbosa House Foundation Collection.[↩<\/a>]<\/span><\/li>
  11. \u201cAs bruxas ainda \u00e0 solta\u201d Op.<\/em> cit.<\/em>[↩<\/a>]<\/span><\/li>
  12. M\u00e1rio Pontes, \u201cBruxos se re\u00fanem no dia do diabo,\u201d Jornal do Brasil<\/em>, Caderno B<\/em>, Aug. 25, 1975, p. 1.[↩<\/a>]<\/span><\/li>
  13. Isa Cambar\u00e1, \u201cClarice Lispector: \u2018N\u00e3o escrevo para agradar a ningu\u00e9m,\u2019\u201d Folha de S. Paulo<\/em>, Sept. 10, 1975, p. 40. Cf. also Walda Menezes, \u201cMulher em dia \u2013 Movimento,\u201d Di\u00e1rio de Not\u00edcias<\/em>, Revista Feminina<\/em>, Sept. 21, 1975, p. 5.[↩<\/a>]<\/span><\/li>
  14. Cf. O Congresso de Bruxaria de Bogot\u00e1<\/em>, Planeta Especial<\/em>, no. 37-A, Oct. 1975.[↩<\/a>]<\/span><\/li>
  15. Telephone conversation with Ign\u00e1cio de Loyola Brand\u00e3o, Oct. 6, 2020.[↩<\/a>]<\/span>[↩<\/a>]<\/span><\/li>
  16. \u201cClarice surpresa com o vulto dos bruxos\u201d Op.<\/em> cit<\/em>. [↩<\/a>]<\/span><\/li>
  17. \u201cAs bruxas ainda \u00e0 solta\u201d Op.<\/em> cit.<\/em> [↩<\/a>]<\/span><\/li>
  18. There was, especially in Brazil, a concern about the term \u201cwitchcraft\u201d for the congress, as expressed, for example, by Jairo Alves de Barros, an attorney for Saturin, a Rio de Janeiro travel agency responsible for selling the packages. He draws attention to the pejorative meaning that the word \u201cwitchcraft\u201d would have in Portuguese: \u201cWe prefer the name Congress of Occult Sciences, because \u2018witchcraft\u2019 in Brazil is associated with macumba<\/em> [voodoo], with low-level occult rites. In Colombia, \u2018brujer\u00eda\u2019 is understood as the set of all subjects that scientists have not yet unraveled. It is research, a science, too.\u201d [\u201cN\u00f3s preferimos o nome de Congresso de Ci\u00eancias Ocultas, porque \u2018bruxaria\u2019 no Brasil tem um sentido de macumba, de ritos baixos do ocultismo. Na Col\u00f4mbia, entende-se por \u2018brujer\u00eda\u2019 o conjunto de todos os assuntos que os cientistas ainda n\u00e3o desvendaram. \u00c9 pesquisa, ci\u00eancia tamb\u00e9m.\u201d] (\u201cPara o congresso de bruxaria, muitos inscritos no Rio,\u201d O Globo<\/em>, July 16, 1975, p. 13).[↩<\/a>]<\/span><\/li>
  19. \u201cAs bruxas ainda \u00e0 solta\u201d Op. cit.<\/em> [↩<\/a>]<\/span><\/li>
  20. \u201cClarice surpresa com o vulto dos bruxos\u201d Op. cit.<\/em> [↩<\/a>]<\/span><\/li>
  21. \u201cBruxaria em Bogot\u00e1: estudo ou embuste?\u201d Di\u00e1rio de Not\u00edcias<\/em>, Aug. 14, p. 2.[↩<\/a>]<\/span><\/li>
  22. Ib Teixeira, \u201cA grande festa dos bruxos,\u201d Manchete<\/em>, Aug. 30, 1975, pp. 5-11.[↩<\/a>]<\/span><\/li>
  23. The Di\u00e1rio de Pernambuco<\/em> had already anticipated, based on a conversation with parapsychologist Alberto Vel\u00e1zquez, that one of the attractions would be \u201cgiving material form to a spirit\u201d [\u201cdar forma material a um esp\u00edrito\u201d], such as those of the Haitian dictator Fran\u00e7ois Duvalier \u201cPapa Doc\u201d and the Venezuelan doctor Jos\u00e9 Gregorio Hernandez, \u201cto whose spirit miraculous cures are attributed\u201d [\u201ca cujo esp\u00edrito se atribuem curas milagrosas\u201d] To achieve such an objective, seven mediums from Venezuela and \u201cseveral\u201d [\u201cv\u00e1rios\u201d] from Colombia would be present (\u201cCongresso de bruxas promete,\u201d Di\u00e1rio de Pernambuco<\/em>, July 13, 1975, p. 14). Cf. also \u201cBruxos invocar\u00e3o Papa Doc,\u201d O Globo<\/em>, July 13, 1975, p. 17; \u201cPara o congresso de bruxaria, muitos inscritos no Rio,\u201d O Globo<\/em>, July 16, 1975, p. 13.[↩<\/a>]<\/span><\/li>
  24. \u201cClarice surpresa com o vulto dos bruxos\u201d Op. cit.<\/em> [↩<\/a>]<\/span><\/li>
  25. Cf. Juli\u00e1n S\u00e1nchez Gonz\u00e1lez, \u201cActivismo cultural e contracultura souvenir: el Primer Congreso Mundial de Brujer\u00eda, 1975,\u201d Bolet\u00edn Cultural y Bibliogr\u00e1fico<\/em>, vol. LVII, no. 104, 2023, p. 9.[↩<\/a>]<\/span><\/li>
  26. According to Manchete <\/em>magazine: \u201cThe industrialist Jo\u00e3o Melo da Costa Ramires arranged a complimentary plane ticket, stayed in a modest hotel, and sought to make contact with the biggest experts in the occult sciences. The famous Uri Geller, who bends forks by the force of thought, was as frank as possible: \u2018Your son has never seen me and that\u2019s why we can\u2019t communicate mentally.\u2019 Carlinhos\u2019 father was not discouraged. He knocked on several doors, spoke to pythonesses and magicians, but nobody wanted to have anything to do with it. Finally, he found a little hope with the Arhuaco Indians. Claiming that the reigning confusion in Bogot\u00e1 was not conducive to in-depth work, the Indians asked Jo\u00e3o Melo to return in October. They kept Carlinhos\u2019 photos and belongings and will get to work right away, trying to locate the boy through ancient occult processes. The Arhuaco Indians inhabit a region of the Sierra Nevada de Santa Marta. They went down to Bogot\u00e1 only as observers, but they avoided getting involved in the witchcraft happening there. They were the only ones who understood the drama of the kidnapped child and, even though they may not be able to help in any way, just the fact that they had given hope to a desperate father already counts in their favor. Jo\u00e3o Melo never believed that his son is dead, mainly after a psychic in Amsterdam assured him that Carlinhos was still alive. With the Arhuaco Indians, he intends to arrive at the end of his crucible, since he no longer expects anything from the police.\u201d [\u201cO industrial Jo\u00e3o Melo da Costa Ramires arranjou uma passagem a\u00e9rea de cortesia, hospedou-se num hotel modesto e procurou entrar em contato com os maiores cobras das ci\u00eancias ocultas. O famoso Uri Geller, que entorta garfos pela for\u00e7a do pensamento, foi o mais franco poss\u00edvel: \u2018Seu filho nunca me viu e por isso n\u00e3o podemos entrar em comunica\u00e7\u00e3o mental\u2019. O pai de Carlinhos n\u00e3o desanimou. Bateu em v\u00e1rias portas, falou com pitonisas e magos, mas todos procuraram tirar o corpo fora. Por fim, encontrou um pouco de esperan\u00e7a com os \u00edndios aruacos. Alegando que a confus\u00e3o reinante em Bogot\u00e1 n\u00e3o era prop\u00edcia a um trabalho de profundidade, os \u00edndios pediram que Jo\u00e3o Melo voltasse em outubro. Ficaram com fotos e pertences de Carlinhos e v\u00e3o trabalhar desde j\u00e1, tentando localizar o menino atrav\u00e9s de milenares processos ocultistas. Os \u00edndios aruacos habitam uma regi\u00e3o de Sierra Nevada de Santa Marta. Desceram at\u00e9 Bogot\u00e1 apenas como observadores, mas evitaram se imiscuir nas bruxarias ali verificadas. Foram os \u00fanicos que compreenderam o drama da crian\u00e7a sequestrada e, ainda que n\u00e3o possam ajudar em nada, s\u00f3 o fato de terem dado esperan\u00e7a a um pai desesperado j\u00e1 conta pontos a favor deles. Jo\u00e3o Melo nunca acreditou que o seu filho esteja morto, principalmente depois que um vidente de Amsterd\u00e3 garantiu que Carlinhos ainda estava vivo. Com os \u00edndios aruacos ele pretende chegar ao fim de seu calv\u00e1rio, pois da pol\u00edcia j\u00e1 n\u00e3o espera mais nada.\u201d] (Maria Isabel Garcia, \u201cO crep\u00fasculo dos bruxos,\u201d Manchete<\/em>, Sept. 13, 1975, p. 11).[↩<\/a>]<\/span><\/li>
  27. The special number of Planeta<\/em> magazine dedicated to the Congress of Witchcraft reproduces the talk by Price-Williams. Cf. Planeta Especial \u2013 O Congresso de Bruxaria de Bogot\u00e1<\/em>, no. 37-A, Oct. 1975, pp. 23-33.[↩<\/a>]<\/span><\/li>
  28. Clarice Lispector in an interview with Ubiratan Teixeira, \u201cQuando os bruxos se encontram,\u201d Di\u00e1rio de Not\u00edcias<\/em>, Aug. 17, 1975, p. 22.[↩<\/a>]<\/span><\/li>
  29. Idem<\/em>. [↩<\/a>]<\/span><\/li>
  30. Idem<\/em>. [↩<\/a>]<\/span><\/li>
  31. Ib Teixeira, \u201cA grande festa dos bruxos\u201d Op. cit.<\/em>, p. 9. Other press outlets at the time also highlighted this interest in the supernatural. Helena Ferraz, in a report from O Globo<\/em>, mentioned, in passing, a return to the supernatural after the \u201cachievements of our century\u201d [\u201cconquistas do nosso s\u00e9culo\u201d], such as \u201castronaut tourism\u201d [\u201co turismo dos astronautas\u201d] (\u201cO diabo sem preconceito\u201d, O Globo<\/em>, July 5, 1975, p. 27). Cf. also \u201cBruxas voam soltas entre as torres do Kremlin,\u201d O Globo<\/em>, Aug. 17, 1975, p. 27.[↩<\/a>]<\/span><\/li>
  32. Clarice Lispector, \u201cWhere You Were at Night,\u201d Complete Stories<\/em>, Translated by Katrina Dodson. Random House, 2022, p. 467.[↩<\/a>]<\/span><\/li>
  33. \u201cClarice surpresa com o vulto dos bruxos\u201d Op<\/em>. cit.<\/em> It is worth recalling that Emir Rodr\u00edguez Monegal, in the same text in which he calls Clarice a \u201csorceress,\u201d asserted: \u201cCaptured by her prose, the reader discovers that in her novels, everyday reality becomes hallucinatory. At the same time, hallucinations are presented as ordinary things.\u201d [\u201cCapturado por sua prosa, o leitor descobre que em suas novelas a realidade cotidiana se converte em alucinat\u00f3ria. Ao mesmo tempo, as alucina\u00e7\u00f5es s\u00e3o apresentadas como coisas correntes\u201d] (\u201cLa novela brasile\u00f1a,\u201d Mundo Nuevo<\/em>, no. 6, Dec. 1966, p. 13).[↩<\/a>]<\/span><\/li>
  34. Clarice Lispector, \u201cLiteratura e magia,\u201d Teresa Montero and L\u00edcia Manzo (ed.), Clarice Lispector: outros escritos Op. cit<\/em>., p. 122.[↩<\/a>]<\/span><\/li>
  35. Clarice Lispector, \u201cIntrodu\u00e7\u00e3o\u201d, a manuscript that is part of the collection of the Rui Barbosa House Foundation.[↩<\/a>]<\/span><\/li>
  36. Idem<\/em>. Afterwards, Clarice returned to the association with natural phenomena: \u201cBut it is also true that everything that has life and is called \u2018natural\u2019 by us is actually as inexplicable as if it were supernatural.\u201d [\u201cMas tamb\u00e9m \u00e9 verdade que tudo o que tem vida e \u00e9 chamado por n\u00f3s de \u2018natural\u2019 \u00e9 na verdade t\u00e3o inexplic\u00e1vel como se fosse sobrenatural.\u201d][↩<\/a>]<\/span><\/li>
  37. Clarice Lispector, \u00c1gua Viva<\/em>, translated by Stefan Tobler, New York: New Directions, 2012, p. 63.[↩<\/a>]<\/span><\/li>
  38. Moys\u00e9s Vellinho, Letras da prov\u00edncia<\/em>, Porto Alegre: Globo, 1944, p. 46.[↩<\/a>]<\/span><\/li>
  39. Carlos Drummond de Andrade, \u201cA um bruxo, com amor,\u201d originally published in Poemas<\/em> (1959), compiled in Reuni\u00e3o<\/em>, Rio de Janeiro: Jos\u00e9 Olympio Editora, 1969, pp. 238-239.[↩<\/a>]<\/span><\/li>
  40. Carlos Drummond de Andrade, \u201cCorreio \u00e0 margem,\u201d Correio da Manh\u00e3<\/em>, Sept. 11, 1964, p. 6.[↩<\/a>]<\/span><\/li>
  41. Carlos Drummond de Andrade, \u201cQuintana\u2019s Bar,\u201d in Byrne, C., Mackenzie, A. L. and Correa, F. B. (2018). \u201cThe poems and aphorisms of Mario Quintana.\u201d Bulletin of Spanish Studies, <\/em>95(2-3), pp. 265-330. (doi:10.1080\/14753820.2018.1471822).[↩<\/a>]<\/span><\/li>
  42. Idem<\/em>. [↩<\/a>]<\/span><\/li>
  43. Domingos Meirelles, \u201cBruxos brasileiros baixam na terceira noite do Congresso,\u201d O Globo<\/em>, Aug. 27, 1975, p. 17.[↩<\/a>]<\/span><\/li>
  44. Alegre Levy, \u201cEscalofriante sesi\u00f3n de vud\u00fa,\u201d El Tiempo<\/em>, Aug. 27, 1975, p. 6A.[↩<\/a>]<\/span><\/li>
  45. Isa Cambar\u00e1, \u201cClarice Lispector: \u2018N\u00e3o escrevo para agradar a ningu\u00e9m,\u2019\u201d Op. cit.<\/em>[↩<\/a>]<\/span><\/li>
  46. The Colombian filmmaker Francisco Norden made a 16mm medium-length documentary about the congress, which was completed that same year.[↩<\/a>]<\/span><\/li>
  47. Text presented at the roundtable Congreso Internacional de Brujer\u00eda<\/em>, with the film of the same name\u2019s director Roberto De Zubir\u00eda and producer Ana Greiffenstein. The film was promoted by Otraparte Audiovisual and connected to the Casa Museo Otraparte, which was founded by Sim\u00f3n Gonz\u00e1lez, in Bogot\u00e1. The event took place online. Available at: https:\/\/www.youtube.com\/watch?v=ziRF5o0SUhY<\/a>.[↩<\/a>]<\/span><\/li>
  48. Idem<\/em>. [↩<\/a>]<\/span><\/li>
  49. Clarice Lispector, A Breath of Life (Pulsations)<\/em>, translated by Johnny Lorenz, New York: New Directions, p. 67[↩<\/a>]<\/span><\/li><\/ol>","protected":false},"excerpt":{"rendered":"

    In January 1975, Clarice Lispector received an invitation letter, signed by Sim\u00f3n Gonz\u00e1lez, 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 Bogot\u00e1, Colombia. It was a standard letter, written in English, […]<\/p>\n","protected":false},"author":40,"featured_media":13651,"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-13579","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essays","category-uncategorized"],"yoast_head":"\n\u201cMe, A Witch?\u201d - 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\/27\/me-a-witch\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cMe, A Witch?\u201d - Clarice Lispector\" \/>\n<meta property=\"og:description\" content=\"In January 1975, Clarice Lispector received an invitation letter, signed by Sim\u00f3n Gonz\u00e1lez, 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 Bogot\u00e1, Colombia. It was a standard letter, written in English, […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/\" \/>\n<meta property=\"og:site_name\" content=\"Clarice Lispector\" \/>\n<meta property=\"article:published_time\" content=\"2024-05-27T14:53:19+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-02-13T20:15:55+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/site.claricelispector.ims.com.br\/wp-content\/uploads\/0000_009SB004-4web.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2500\" \/>\n\t<meta property=\"og:image:height\" content=\"1471\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Veronica Stigger\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Veronica Stigger\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"27 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/\"},\"author\":{\"name\":\"Veronica Stigger\",\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/#\/schema\/person\/d297fa08855fccecce5a05f1f3a15beb\"},\"headline\":\"\u201cMe, A Witch?\u201d\",\"datePublished\":\"2024-05-27T14:53:19+00:00\",\"dateModified\":\"2025-02-13T20:15:55+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/\"},\"wordCount\":5347,\"publisher\":{\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/#organization\"},\"image\":{\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/site.claricelispector.ims.com.br\/wp-content\/uploads\/0000_009SB004-4web.jpg\",\"articleSection\":[\"Essays\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/\",\"url\":\"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/\",\"name\":\"\u201cMe, A Witch?\u201d - Clarice Lispector\",\"isPartOf\":{\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/site.claricelispector.ims.com.br\/wp-content\/uploads\/0000_009SB004-4web.jpg\",\"datePublished\":\"2024-05-27T14:53:19+00:00\",\"dateModified\":\"2025-02-13T20:15:55+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/#primaryimage\",\"url\":\"https:\/\/site.claricelispector.ims.com.br\/wp-content\/uploads\/0000_009SB004-4web.jpg\",\"contentUrl\":\"https:\/\/site.claricelispector.ims.com.br\/wp-content\/uploads\/0000_009SB004-4web.jpg\",\"width\":2500,\"height\":1471,\"caption\":\"S\u00e9rie A infinita hist\u00f3ria. Sofia Borges. 2018. Acervo Fotografia Contempor\u00e2nea\/ IMS.\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"In\u00edcio\",\"item\":\"https:\/\/site.claricelispector.ims.com.br\/en\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"\u201cMe, A Witch?\u201d\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/#website\",\"url\":\"https:\/\/site.claricelispector.ims.com.br\/\",\"name\":\"Clarice Lispector\",\"description\":\"\",\"publisher\":{\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/site.claricelispector.ims.com.br\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/#organization\",\"name\":\"Clarice Lispector\",\"url\":\"https:\/\/site.claricelispector.ims.com.br\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/site.claricelispector.ims.com.br\/wp-content\/uploads\/2020\/05\/logo.svg\",\"contentUrl\":\"https:\/\/site.claricelispector.ims.com.br\/wp-content\/uploads\/2020\/05\/logo.svg\",\"width\":320,\"height\":35,\"caption\":\"Clarice Lispector\"},\"image\":{\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/#\/schema\/logo\/image\/\"}},{\"@type\":\"Person\",\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/#\/schema\/person\/d297fa08855fccecce5a05f1f3a15beb\",\"name\":\"Veronica Stigger\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/011a73b4f8ee8e4b780b885469857306b614dd713c1db2448aa7ca5df9a31192?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/011a73b4f8ee8e4b780b885469857306b614dd713c1db2448aa7ca5df9a31192?s=96&d=mm&r=g\",\"caption\":\"Veronica Stigger\"},\"url\":\"https:\/\/site.claricelispector.ims.com.br\/en\/author\/veronica-stigger\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"\u201cMe, A Witch?\u201d - Clarice Lispector","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/","og_locale":"en_US","og_type":"article","og_title":"\u201cMe, A Witch?\u201d - Clarice Lispector","og_description":"In January 1975, Clarice Lispector received an invitation letter, signed by Sim\u00f3n Gonz\u00e1lez, 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 Bogot\u00e1, Colombia. It was a standard letter, written in English, […]","og_url":"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/","og_site_name":"Clarice Lispector","article_published_time":"2024-05-27T14:53:19+00:00","article_modified_time":"2025-02-13T20:15:55+00:00","og_image":[{"width":2500,"height":1471,"url":"https:\/\/site.claricelispector.ims.com.br\/wp-content\/uploads\/0000_009SB004-4web.jpg","type":"image\/jpeg"}],"author":"Veronica Stigger","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Veronica Stigger","Est. reading time":"27 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/#article","isPartOf":{"@id":"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/"},"author":{"name":"Veronica Stigger","@id":"https:\/\/site.claricelispector.ims.com.br\/#\/schema\/person\/d297fa08855fccecce5a05f1f3a15beb"},"headline":"\u201cMe, A Witch?\u201d","datePublished":"2024-05-27T14:53:19+00:00","dateModified":"2025-02-13T20:15:55+00:00","mainEntityOfPage":{"@id":"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/"},"wordCount":5347,"publisher":{"@id":"https:\/\/site.claricelispector.ims.com.br\/#organization"},"image":{"@id":"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/#primaryimage"},"thumbnailUrl":"https:\/\/site.claricelispector.ims.com.br\/wp-content\/uploads\/0000_009SB004-4web.jpg","articleSection":["Essays"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/","url":"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/","name":"\u201cMe, A Witch?\u201d - Clarice Lispector","isPartOf":{"@id":"https:\/\/site.claricelispector.ims.com.br\/#website"},"primaryImageOfPage":{"@id":"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/#primaryimage"},"image":{"@id":"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/#primaryimage"},"thumbnailUrl":"https:\/\/site.claricelispector.ims.com.br\/wp-content\/uploads\/0000_009SB004-4web.jpg","datePublished":"2024-05-27T14:53:19+00:00","dateModified":"2025-02-13T20:15:55+00:00","breadcrumb":{"@id":"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/#primaryimage","url":"https:\/\/site.claricelispector.ims.com.br\/wp-content\/uploads\/0000_009SB004-4web.jpg","contentUrl":"https:\/\/site.claricelispector.ims.com.br\/wp-content\/uploads\/0000_009SB004-4web.jpg","width":2500,"height":1471,"caption":"S\u00e9rie A infinita hist\u00f3ria. Sofia Borges. 2018. Acervo Fotografia Contempor\u00e2nea\/ IMS."},{"@type":"BreadcrumbList","@id":"https:\/\/site.claricelispector.ims.com.br\/2024\/05\/27\/me-a-witch\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"In\u00edcio","item":"https:\/\/site.claricelispector.ims.com.br\/en\/"},{"@type":"ListItem","position":2,"name":"\u201cMe, A Witch?\u201d"}]},{"@type":"WebSite","@id":"https:\/\/site.claricelispector.ims.com.br\/#website","url":"https:\/\/site.claricelispector.ims.com.br\/","name":"Clarice Lispector","description":"","publisher":{"@id":"https:\/\/site.claricelispector.ims.com.br\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/site.claricelispector.ims.com.br\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/site.claricelispector.ims.com.br\/#organization","name":"Clarice Lispector","url":"https:\/\/site.claricelispector.ims.com.br\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/site.claricelispector.ims.com.br\/#\/schema\/logo\/image\/","url":"https:\/\/site.claricelispector.ims.com.br\/wp-content\/uploads\/2020\/05\/logo.svg","contentUrl":"https:\/\/site.claricelispector.ims.com.br\/wp-content\/uploads\/2020\/05\/logo.svg","width":320,"height":35,"caption":"Clarice Lispector"},"image":{"@id":"https:\/\/site.claricelispector.ims.com.br\/#\/schema\/logo\/image\/"}},{"@type":"Person","@id":"https:\/\/site.claricelispector.ims.com.br\/#\/schema\/person\/d297fa08855fccecce5a05f1f3a15beb","name":"Veronica Stigger","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/site.claricelispector.ims.com.br\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/011a73b4f8ee8e4b780b885469857306b614dd713c1db2448aa7ca5df9a31192?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/011a73b4f8ee8e4b780b885469857306b614dd713c1db2448aa7ca5df9a31192?s=96&d=mm&r=g","caption":"Veronica Stigger"},"url":"https:\/\/site.claricelispector.ims.com.br\/en\/author\/veronica-stigger\/"}]}},"_links":{"self":[{"href":"https:\/\/site.claricelispector.ims.com.br\/en\/wp-json\/wp\/v2\/posts\/13579","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/site.claricelispector.ims.com.br\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/site.claricelispector.ims.com.br\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/site.claricelispector.ims.com.br\/en\/wp-json\/wp\/v2\/users\/40"}],"replies":[{"embeddable":true,"href":"https:\/\/site.claricelispector.ims.com.br\/en\/wp-json\/wp\/v2\/comments?post=13579"}],"version-history":[{"count":50,"href":"https:\/\/site.claricelispector.ims.com.br\/en\/wp-json\/wp\/v2\/posts\/13579\/revisions"}],"predecessor-version":[{"id":13644,"href":"https:\/\/site.claricelispector.ims.com.br\/en\/wp-json\/wp\/v2\/posts\/13579\/revisions\/13644"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/site.claricelispector.ims.com.br\/en\/wp-json\/wp\/v2\/media\/13651"}],"wp:attachment":[{"href":"https:\/\/site.claricelispector.ims.com.br\/en\/wp-json\/wp\/v2\/media?parent=13579"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/site.claricelispector.ims.com.br\/en\/wp-json\/wp\/v2\/categories?post=13579"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/site.claricelispector.ims.com.br\/en\/wp-json\/wp\/v2\/tags?post=13579"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}