{"id":4604,"date":"2019-05-13T00:00:00","date_gmt":"2019-05-13T03:00:00","guid":{"rendered":"http:\/\/site.claricelispector.ims.com.br\/as-mulheres-sao-selvagens\/"},"modified":"2020-12-15T12:14:50","modified_gmt":"2020-12-15T15:14:50","slug":"as-mulheres-sao-selvagens","status":"publish","type":"post","link":"https:\/\/site.claricelispector.ims.com.br\/en\/2019\/05\/13\/as-mulheres-sao-selvagens\/","title":{"rendered":"\u201cWomen Are Wild\u201d"},"content":{"rendered":"\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<h2 class=\"wp-block-heading\">1<\/h2>\n<\/div><\/div>\n\n\n\n<p>The \u201cCultura|s\u201d magazine, from the <em>La Vanguardia<\/em> newspaper, recently celebrated the Spanish edition of <em>Todos los cuentos<\/em>, by Clarice Lispector. The book was translated by Cristina Peri Rossi, Elena&nbsp;Losada, Juan Garc\u00eda Gayo, Marcelo Cohen, and Mario Morales, and there is a preface by Benjamin Moser, who is also the author of <em>\u00bfPor qu\u00e9 este mundo?<\/em>, a biography of Clarice also published by Siruela, in 2017.<\/p>\n\n\n\n<p>In the article \u201cToda la vida de una mujer\u201d (The whole life of a woman), written by Laura Freixas, the Brazilian writer is acclaimed as a myth, known in Brazil only by her first name. According to the journalist, Clarice not only enjoys academic prestige, but is also popular. Her works inspire songs, television series, theatrical plays, and choreographies. Nonetheless, international fame would only come posthumously, when the French feminist writer H\u00e9l\u00e8ne Cixous raised the Brazilian author to the highest exponent of women\u2019s writing and awakened the interest of European publishers and American universities.&nbsp;&nbsp;<\/p>\n\n\n\n<p>The journalist further stresses the Brazilian writer\u2019s capacity to \u201cexplore women\u2019s identity with a depth that no one has achieved until now.\u201d Housewives, bourgeois ladies, matriarchs surrounded by the family clan; for her, Clarice\u2019s female characters, who appear to be conventional and hardly interesting, hide beneath the surface the germ of nonconformity \u2013 \u201cthe women are wild,\u201d she affirms. They are furthermore \u201ccheerful, free, powerful, happy in their emotional and sensorial symbiosis with nature.\u201d&nbsp;&nbsp;&nbsp;This feminine way of being in the world can be seen, according to the journalist, ever since Clarice\u2019s first short story, \u201cThe Triumph,\u201d which was published in 1940 in <em>Pan<\/em> magazine.<\/p>\n\n\n\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<h2 class=\"wp-block-heading\">2<\/h2>\n<\/div><\/div>\n\n\n\n<p>It is worth looking more carefully at this short story.<\/p>\n\n\n\n<p>Lu\u00edsa, the main character, awakens at her home under an unusual silence, interrupted by the loud and resonant striking of the clock, which sounds like a foreshadowing of what is to come.<\/p>\n\n\n\n<p>From the beginning of the short story, the rhythm and the word choice describe Lu\u00edsa\u2019s awakening in an erotic communion with the new day. Beginning with the image of the \u201cstain of sunlight,\u201d which advances \u201clittle by little over the lawn\u201d and encounters an opening in the window \u2014 \u201cpenetrates,\u201d she writes. The verb, used in the present tense (which coincides with the second-person imperative, you), sounds potent, virile, all alone in the sentence. The \u201clawn,\u201d in the Portuguese original \u201crelva,\u201d refers to the image of pubic hair. And when the sunlight reaches the room, the character, still lying in bed, \u201can arm here, another there, crucified by lassitude,\u201d she curls her eyebrow and grimaces, evoking orgasmic pleasure. The day \u201centers her body.\u201d&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/p>\n\n\n\n<p>Lu\u00edsa, however, perceived an absence: \u201c\u2026 what about those domestic noises of every morning?\u201d, she asks herself. For it is in their silencing that new sounds arise. She hears \u201cfootsteps in the distance, tiny and hurried,\u201d \u201cdry leaves crunching underfoot;\u201d she thinks of a child running in the road. At this point, she still finds herself on the threshold between being asleep and awake, a state of consciousness called hypnagogia, when the senses are sharp and receptive and we can be stricken by illuminating oneiric visions.&nbsp;<\/p>\n\n\n\n<p>Suddenly, the silence again, which is \u201cabsolute, like the silence of death.\u201d<\/p>\n\n\n\n<p>We find out that her husband had abandoned her the afternoon before, after a fight, another one, to which Lu\u00edsa had always reacted with fear. Absorbed in the gravity of the empty house, she then goes to Jorge\u2019s table, hoping to find a note for her that said something like: \u201cIn spite of everything, I love you. I\u2019ll be back tomorrow.\u201d Instead, she finds a sheet of paper on which he confessed to feeling mediocre for not being able to focus on the book that he was writing. A revealing Freudian slip occurs here. Lu\u00edsa identifies with Jorge and takes his feeling as her own \u2014 \u201cSo he knew it, then?\u201d, she asks herself. It was also what \u201cshe\u2019d always felt, only vaguely: mediocrity.\u201d&nbsp;&nbsp;&nbsp;<\/p>\n\n\n\n<p>Before this, we accompany one of the couple\u2019s fights, remembered by Lu\u00edsa. He accuses her: \u201cYou, you trap me, you annihilate me! Keep your love, give it to someone who wants it, someone who has nothing better to do! Got it? Yes! Ever since I met you I haven\u2019t produced a thing! I feel tied down. Tied down by your fussing, your caresses, your excessive zeal, by you yourself! I despise you!\u201d<\/p>\n\n\n\n<p>In previous fights, a pallid Lu\u00edsa, normally \u201cso full of dignity, so ironic and sure of herself\u201d begged him not to abandon her. But, this time, according to him, Lu\u00edsa had interrupted him \u201cright when a new idea was stirring, luminous, in his brain. She\u2019d cut off his inspiration at the very instant it was springing forth, with a silly comment about the weather, and concluding with a loathsome: \u2018isn\u2019t it, darling?\u2019\u201d<\/p>\n\n\n\n<p>The scene reveals a common incompatibility between men and women. According to Simone de Beauvoir, man wishes to reach transcendence, and to do so, since he was born of a woman, of course, he seeks to detach himself from her to go ahead with the realization of a project. Woman, for her part, is bound to nature; she is the fountain that attracts man to immanence, to the earth. Thus, Lu\u00edsa\u2019s frugal and devoted love is, for Jorge, the reason for his great indignation; he says that he feels \u201ctied down by your fussing, your caresses, your excessive zeal.\u201d&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/p>\n\n\n\n<p>Furthermore, for Simone de Beauvoir, the mother-woman has \u201ca face of darkness: she is chaos, where everything comes from and must return to one day; she is Nothingness. (\u2026) He aspires to the sky, to light, to sunny heights, to the pure and crystal clear cold of blue; and underfoot is a moist, hot, and dark gulf ready to swallow him; many legends have the hero falling and forever lost in maternal darkness: a cave, an abyss, hell.\u201d&nbsp;&nbsp;<\/p>\n\n\n\n<p>Another divergence that appears highlighted in the text is man\u2019s inclination to reason, in contrast to woman\u2019s sensuality. As Kierkegaard affirms, \u201cwoman is more sensuous than man.\u201d Based on such a rationale, it would be possible to think that the menstrual cycle (and its possible consequences: pregnancy, childbirth), in concert with the movements of the moon and the tides, is, in itself, an evident manifestation of woman as a sensible part of a cosmic harmony.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/p>\n\n\n\n<p>It is also in this sense that H\u00e9l\u00e8ne Cixous, quoted in the article from \u201cCultura|s,\u201d observes the incidence of characters in Clarice\u2019s work who have impaired vision. For her, this aspect indicates a form of approximation to the world that does not occur through rational distancing, but through emotional and sensorial fusion. It is worth recalling that vision, since before Aristotle \u2013 even though, in <em>Metaphysics<\/em>, this had been the motive for deep reflection \u2013 has been a sense that is traditionally associated with reason.&nbsp;&nbsp;&nbsp;&nbsp;<\/p>\n\n\n\n<p>There is, consequently, a praise of sensuality that pervades the whole narrative.<\/p>\n\n\n\n<p>It is worth repeating that the motive for the fight that culminated in the couple\u2019s separation was \u201ca silly comment about the weather\u201d spoken by Lu\u00edsa. And that she had imprudently interrupted Jorge precisely \u201cright when a new idea was stirring, luminous, in his brain..\u201d Beforehand, the narrator describes the image of a scene with the couple that is often repeated: \u201cShe, silent, before him. He, the refined, superior intellectual.\u201d<\/p>\n\n\n\n<p>There are still other indications of this valorization throughout the text. When Lu\u00edsa notices that Jorge has left, she wipes her head in order to \u201cpush away her thoughts.\u201d In another moment, we read: \u201cShe seemed to hear his ironic laugh, quoting Schopenhauer, Plato, who thought and thought\u2026.\u201d&nbsp; The act of thinking, which echoes here somewhat ironically \u2013 and which is also mirrored in words such as \u201cidea,\u201d \u201cbrain,\u201d \u201cthoughts,\u201d and in the names of philosophers \u2013, sounds blatantly opposed to the lack of sensibility of Jorge, who is incapable of receiving his wife\u2019s loving gesture without thinking beyond his selfish interests.&nbsp;&nbsp;&nbsp;<\/p>\n\n\n\n<p>Such a perspective appears in exemplary fashion in the role reserved for intuition. Intuition \u2013 understood as wisdom of the body over which there is no explanation \u2013 is the main driving force behind Lu\u00edsa\u2019s actions and will lead her to erotic ecstasy at the end of the short story. Intuition is a theme in other texts by Clarice, and is even a part of her creative process. In another of her chronicles [\u201cForma e conte\u00fado,\u201d (Form and content) <em>Todas cr\u00f4nicas<\/em>], she writes: \u201cOnly intuition touches the truth without need content or form. Intuition is the deep unconscious that does without form, while it itself, works before surfacing.\u201d&nbsp;&nbsp;<\/p>\n\n\n\n<p>Thus, since waking, touched by the sunlight and absorbed by the street noises, Lu\u00edsa synaesthetically surrenders herself to the surrounding stimuli. She weeps for her absent husband. Then (and here the short sentences accompany the character\u2019s panting breath), goes to the sink and splashes her face. Sensation of coolness, release. She\u2019s waking. She perks up. Braids her hair, pins it up. Scrubs her face with soap, until her skin feels taut, shiny.\u201d Her gestures are impetuous, just like the movement of nature and of things: \u201cthrows open the windows;\u201d \u201cthe new air enters swiftly;\u201d \u201cthe clock seems to strike more vigorously.\u201d&nbsp;&nbsp;<\/p>\n\n\n\n<p>Lu\u00edsa then begins to see with renewed freshness the intimate environment of the house, which seemed obscured, beforehand, by Jorge\u2019s presence: \u201cShe\u2019d always lived there with him. He was everything. He alone existed. He was gone. And things hadn\u2019t entirely lost their charm. They had a life of their own.\u201d<\/p>\n\n\n\n<p>Allowing herself to feel swept away by some unknown force, \u201cafraid of thinking\u201d (again \u201cthought\u201d is bad), Lu\u00edsa grabs a few items of clothing and begins to wash them in the large wash basin in the backyard. The description seems like a sexual act: \u201cShe rolled up her pajama sleeves and pants and started scrubbing everything with soap. Bent over like that, moving her arms vehemently, biting her lower lip from the effort, the blood pulsing strong throughout her body, she surprised herself.\u201d&nbsp;&nbsp;&nbsp;<\/p>\n\n\n\n<p>When she finished her chore, after a short break, a new wave finally leads Lu\u00edsa to climax:&nbsp;&nbsp;<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>\u00a0She looked at the large spigot, gushing clear water. She felt a wave of heat\u2026 Suddenly an idea came to her. She took off her clothes, opened the spigot all the way, and the cold water coursed over her body, making her shriek at the cold. That improvised bath made her laugh with pleasure.<\/p><\/blockquote>\n\n\n\n<p>It is important to note here that the \u201cidea\u201d which comes to her is not of a masculine nature; it is an action-idea, provoked by a consequent gesture that triggers it.<\/p>\n\n\n\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<h2 class=\"wp-block-heading\">3<\/h2>\n<\/div><\/div>\n\n\n\n<p>The journalist from <em>La Vanguardia<\/em>&nbsp;highlights the importance of Clarice\u2019s feminine voice in a world in which women are habitually defined by men: \u201cpoliticians, theologians, scientists, poets,\u201d according to Laura Freixas. And it is precisely in this world of roles and chores defined by masculine authority that Clarice\u2019s writing engenders a possibility of rupture. It is curious to observe, for example, that the most clich\u00e9 chore of a housewife \u2013 washing clothes in a basin \u2013 comes to be decisive for the ecstatic experience that will lead the character to emancipation in relation to her husband \u2013 Lu\u00edsa\u2019s triumph. For the fear of being abandoned is a reiterated observation over the course of the narrative: \u201cIf he leaves, I\u2019ll die, I\u2019ll die\u201d; or \u201cHow would she live now? (\u2026) She kept repeating and repeating: what now?\u201d&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/p>\n\n\n\n<p>If one cannot say that Clarice was a feminist in the strict sense, the author, in her narratives, brings to the foreground common women who experience the tension between the yoke and autonomy in a society whose laws are predominantly created by men. In the apparent frailty of the female characters, it is possible to see the strength of those who know things through the senses, closely, on the inside.&nbsp;&nbsp;&nbsp;<\/p>\n\n\n\n<p>This strength arises in an unprecedented manner at the end of the short story. The freedom attained by Lu\u00edsa does not inspire, as it would be easy to suppose, autonomy or the desire to live alone (even though now it would be possible for her to do so), but rather the opposite, the serene and confident feeling that Jorge would return: \u201cA warm ray of sunshine enveloped her. She laughed. He\u2019d be back, because she was the stronger one.\u201d Thus ends \u201cThe Triumph,\u201d a debut writer\u2019s first step.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>1 The \u201cCultura|s\u201d magazine, from the La Vanguardia newspaper, recently celebrated the Spanish edition of Todos los cuentos, by Clarice Lispector. The book was translated by Cristina Peri Rossi, Elena&nbsp;Losada, Juan Garc\u00eda Gayo, Marcelo Cohen, and Mario Morales, and there is a preface by Benjamin Moser, who is also the author of \u00bfPor qu\u00e9 este [&hellip;]<\/p>\n","protected":false},"author":5,"featured_media":4746,"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":[564,552],"tags":[],"class_list":["post-4604","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essays","category-news"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.5 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>\u201cWomen Are Wild\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\/en\/2019\/05\/13\/as-mulheres-sao-selvagens\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cWomen Are Wild\u201d - Clarice Lispector\" \/>\n<meta property=\"og:description\" content=\"1 The \u201cCultura|s\u201d magazine, from the La Vanguardia newspaper, recently celebrated the Spanish edition of Todos los cuentos, by Clarice Lispector. The book was translated by Cristina Peri Rossi, Elena&nbsp;Losada, Juan Garc\u00eda Gayo, Marcelo Cohen, and Mario Morales, and there is a preface by Benjamin Moser, who is also the author of \u00bfPor qu\u00e9 este [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/site.claricelispector.ims.com.br\/en\/2019\/05\/13\/as-mulheres-sao-selvagens\/\" \/>\n<meta property=\"og:site_name\" content=\"Clarice Lispector\" \/>\n<meta property=\"article:published_time\" content=\"2019-05-13T03:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2020-12-15T15:14:50+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/site.claricelispector.ims.com.br\/wp-content\/uploads\/livro-a-livro-6.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"807\" \/>\n\t<meta property=\"og:image:height\" content=\"1024\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Bruno Cosentino\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Bruno Cosentino\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 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\/en\/2019\/05\/13\/as-mulheres-sao-selvagens\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/en\/2019\/05\/13\/as-mulheres-sao-selvagens\/\"},\"author\":{\"name\":\"Bruno Cosentino\",\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/#\/schema\/person\/9b1f567463e919f007b85c81f58ab7d4\"},\"headline\":\"\u201cWomen Are Wild\u201d\",\"datePublished\":\"2019-05-13T03:00:00+00:00\",\"dateModified\":\"2020-12-15T15:14:50+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/en\/2019\/05\/13\/as-mulheres-sao-selvagens\/\"},\"wordCount\":2157,\"publisher\":{\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/#organization\"},\"image\":{\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/en\/2019\/05\/13\/as-mulheres-sao-selvagens\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/site.claricelispector.ims.com.br\/wp-content\/uploads\/livro-a-livro-6.jpg\",\"articleSection\":[\"Essays\",\"News\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/site.claricelispector.ims.com.br\/en\/2019\/05\/13\/as-mulheres-sao-selvagens\/\",\"url\":\"https:\/\/site.claricelispector.ims.com.br\/en\/2019\/05\/13\/as-mulheres-sao-selvagens\/\",\"name\":\"\u201cWomen Are Wild\u201d - 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