{"id":4609,"date":"2018-10-24T00:00:00","date_gmt":"2018-10-24T03:00:00","guid":{"rendered":"http:\/\/site.claricelispector.ims.com.br\/cazuza-ao-som-de-lispector\/"},"modified":"2020-12-15T12:48:50","modified_gmt":"2020-12-15T15:48:50","slug":"cazuza-ao-som-de-lispector","status":"publish","type":"post","link":"https:\/\/site.claricelispector.ims.com.br\/en\/2018\/10\/24\/cazuza-ao-som-de-lispector\/","title":{"rendered":"Cazuza to the sound of Lispector"},"content":{"rendered":"\n

\u201cI wanted to announce the following: the person I love most in life is named Clarice Lispector.\u201d This affirmation was made by Cazuza, who was already a bit tipsy, during his participation in a Angela Ro Ro concert at Morro da Urca, in Rio de Janeiro, in 1988.[1]<\/sup><\/a>\u00a0The artist then said to the audience that he would like to sing a \u201cpoem\u201d by Clarice that he had set to music. The so-called poem was, in fact, a passage from \u00c1gua Viva<\/a><\/em> (1973), which was duly adapted to become the lyrics for the song \u201cQue o Deus venha\u201d (May God come).[2]<\/sup><\/a>\u00a0\u00a0\u00a0\u00a0<\/p>\n\n\n\n

The songwriter was also inspired by Clarice to compose \u201cA via-cr\u00facis do corpo\u201d (The Via Crucis of the Flesh),[3]<\/sup><\/a> based on the book of the same name, which was published in 1974. Beyond these more direct relations, it is possible to find echoes of Clarice in several of Cazuza\u2019s images, as well as in the recurrence of the theme of freedom, which is often projected in a process of apprenticeship through love and through pleasure (such as in An Apprenticeship Or the Book of Delights<\/a><\/em>, from 1969) that is actually constructed through a sort of \u201cunapprenticeship\u201d of established social values.<\/p>\n\n\n\n

It is also worth thinking about the proximity between the composer and the writer based on the timeline that connects them. Clarice Lispector\u2019s work spans over 30 years, beginning in the 1940s (with Near to the\u00a0Wild Heart<\/a><\/em>, in 1943) and ending in the 1970s (with the author\u2019s death in 1977). It can be seen that Clarice lives through a fundamental moment in the history of the 20th<\/sup> century, in a period that offers a glimpse of the bridge that leads from the existentialist discussions and gender debates developed in the first half of the 20th<\/sup> century (especially the respective works of Sartre and Simone de Beauvoir) to the liberation movements of the 1960s and 1970s.\u00a0\u00a0<\/p>\n\n\n\n

Thus, the existentialist premises that existence precedes essence and that human beings are \u201ccondemned\u201d to be free, as well as the understanding that the social roles linked to gender (but also to class, race, and sexual orientation) are socially constructed, allowed new perspectives on the issue of freedom. In this sense, the counterculture of the 1960s and 1970s proposed to contest the values of the bourgeois patriarchal society, refusing the establishment and pointing to new forms of experience. In this group, we should consider not only the hippie and punk movement, and May 1968, but also all of the identity movements that gained force at that moment. In addition, we need to look at the emergence of rock\u2019n\u2019roll and its derivatives, which functioned as the soundtrack for the youth protests of the time.   <\/p>\n\n\n\n

Cazuza was born in 1958, and was therefore an adolescent during the 1970s, already under the influence of these countercultural movements. Somehow, his work in the 1980s reveals, in a peculiar way, the points of intersection between this universe and that of Clarice Lispector, also shedding light on the historical trajectory that involves all of these expressions. In addition, it is worth considering the impact of AIDS in the 1980s (and of the famous cases of overdose in the 1970s) in relation to these liberation movements, which served as raw material for the song \u201cIdeologia\u201d (Ideology) by Cazuza, released on an album of the same name in 1988, the same year as the show where the artist affirmed his love for Clarice and sang his version of \u201cQue o Deus venha.\u201d<\/p>\n\n\n\n

According to a later statement by his bandmate Frejat, Cazuza had given him the draft of the song so that he could make adjustments, provoking surprise by explaining that it was a text by the writer: \u201cI could never have imagined that it was a text by Clarice, since it was so similar to the way he writes.\u201d To understand the similarities, it is worth quoting the original fragment:<\/p>\n\n\n\n

I\u2019m restless and harsh and hopeless. Though I have love inside myself. It\u2019s just that I don\u2019t know how to use love. Sometimes it scratches like barbs. If I received so much love inside and nonetheless am restless it\u2019s because I need the God to come.  Come before it\u2019s too late. I\u2019m in danger like every person who lives. And the only thing I can expect is precisely the unexpected. But I know that I shall have peace before death and that one day I shall taste the delicateness of life. I shall notice \u2013 as we eat and live the taste of food. (LISPECTOR, 2012, p.49)<\/p>\n\n\n\n

Cazuza\u2019s adaptation is generally limited to shifting the lyrical I to a male speaker and editing the verses, highlighting the poetic (and musical) nature of Clarice Lispector\u2019s narrative fragment, which undergoes only slight modifications. In relation to the content, it is possible to identify a feeling of disquiet, which is similarly manifested in the work of both the composer and the writer. <\/p>\n\n\n\n

Clarice\u2019s characters see themselves faced with three great instances of imprisonment, which can be schematized in the following manner: the social condition (in which gender oppression is especially significant), the human condition (in which the lack of control over one\u2019s destiny is problematic), and finally, language (which tries to apprehend and give meaning to reality). The clash between this convulsive interior world and these limitations provides material for a large part of the writer\u2019s work.  <\/p>\n\n\n\n

In Near to the Wild Heart<\/em> (1943), for example, the character Joana affirms: \u201cFreedom isn\u2019t enough. What I desire doesn\u2019t have a name yet.\u201d[4]<\/sup><\/a> This celebrated fragment illustrates not only the centrality of this theme in Clarice\u2019s work, but the very clash with language, that is, with the impossibility of giving precise names to the dimensions of the subjective world. In the same book, freedom appears as a heroic option, when it does not appear as an extreme and unnarratable desire, fruit of the anguish caused by the limitations of the human condition and by its likewise limited (and limiting) language \u2013 \u201cFreedom? It\u2019s my final refuge, I forced myself to freedom and I bear it not like a talent but with heroism: I\u2019m heroically free. And I want the flow.\u201d[5]<\/sup><\/a> In this sense, to \u201cwant the flow\u201d would correspond to denying existential, social, and expressional frameworks. The option of being free is heroic to the extent that it carries all the burden of the gauchismo <\/em>of Rio Grande do Sul, of the pain of not belonging, of the struggle against a pre-established system that is already addicted to pretense.   <\/p>\n\n\n\n

The title Near to the Wild Heart<\/em> (1943) itself \u2013 whose epigraph reveals a reference to James Joyce, who writes about someone who was alone, \u201cnear to the wild heart of life\u201d \u2013 already foretells that the narrative will be centered in this subjective, untamable, and disquieted world. It is worth pointing out that a similar universe can be found in iconic songs by Cazuza, such as \u201cDown em mim\u201d (Down in myself) \u2013 \u201cEu n\u00e3o sei o que meu corpo abriga\/ nessas noites quentes de ver\u00e3o\/ e nem me importa que mil raios partam\/ qualquer sentido vago de raz\u00e3o\u201d (I don\u2019t know what my body holds\/ on these hot summer nights\/ and I don\u2019t even care if a thousand lightning bolts shatter\/ any vague sense of reason) and of \u201cS\u00f3 as m\u00e3es s\u00e3o felizes\u201d (Only mothers are happy), in which precisely the mother figure is painted in a negative light in relation to the creatures who inhabit \u201cthe dark side of life:\u201d \u201cnunca viu Lou Reed\/ walking on the wild side\u201d (you\u2019ve never seen Lou Reed\/ walking on the wild side) or \u201cvoc\u00ea nunca ouviu falar de maldi\u00e7\u00e3o\/ nunca viu um milagre\/ nunca chorou sozinha num banheiro sujo\/ nem nunca quis ver a face de Deus\u201d (you\u2019ve never heard of curses\/ never seen a miracle\/ never cried alone in a dirty bathroom\/ or ever wanted to see God\u2019s face).   <\/p>\n\n\n\n

According to critic Benedito Nunes, more than a preoccupation with philosophizing, establishing, or discussing doctrines, there is in the writer\u2019s works \u201ca sensible intuition to write about the threat of anguish that embraces us, when one yearns to live under the sign of the search for freedom.\u201d[6]<\/sup><\/a> Without a doubt, this anguish and this disquiet, which are primarily linked to the desire for freedom, are points that profoundly unite the works of Clarice and Cazuza.<\/p>\n\n\n\n

As already mentioned, Cazuza was also directly inspired by Clarice Lispector to write \u201cA via-cr\u00facis do corpo\u201d (The Via Crucis of the Flesh), in reference to the writer\u2019s 1974 book of short stories with the same name<\/a>. The composition revisits Clarice\u2019s universe, not only in general, but also through references to this specific work, such as in the verses: \u201cS\u00f3 n\u00e3o volta a inf\u00e2ncia perdida\/ s\u00f3 n\u00e3o nos livramos de morrer \u00e0 toa\u201d (Our lost childhood never returns\/ we never free ourselves from dying for nothing), \u201cA dor pode ser disfar\u00e7ada\/ mas a via-cr\u00facis do corpo\/ j\u00e1 foi h\u00e1 muito tra\u00e7ada\u201d (Pain can be disguised\/ but the Via Crucis of the body\/ has long been traced), and \u201cSer\u00e1 que eu tenho um destino?\/\u00a0 N\u00e3o quero ter a vida pronta\/ como um plano de trabalho\/ como um sorvete de menta\u201d (Do I have a destiny?\/ I don\u2019t want to have a ready-made life\/ like a work plan\/ like mint ice cream).\u00a0<\/p>\n\n\n\n

The song\u2019s lyrical subject, mirroring the incomplete and disquieted narrator, asks himself about the pain of existence \u2013 the Via-Crucis of the body and the soul \u2013 and the doubt about human destiny, in which freedom is, at the same time, a blessing and a curse. Note that these verses also echo the book \u00c1gua Viva<\/em>, which gave rise to \u201cQue Deus venha,\u201d in which the delimited figure of God reveals the beginning and the end of all things, attributing meaning to life and to death, not only by bringing plenitude and quietude to subjects, but also by offering himself as an interlocutor for the questions about existence. Just as in \u201cS\u00f3 as m\u00e3es s\u00e3o felizes,\u201d the creatures on the dark side of life are precisely those who aspire to see God\u2019s face.           <\/p>\n\n\n\n

The specific fragment that gave rise to \u201cQue Deus venha\u201d touches a point of constant disquiet in Cazuza\u2019s work: the inability to love, which is presented as the composer\u2019s great pathos. The recurring affirmation of not knowing how to love (in tension with his intense desire for a loving relationship) pervades several of his compositions and becomes notorious in the verses \u201cembora amor dentro de mim eu tenha\/ s\u00f3 que eu n\u00e3o sei usar amor\u201d (although I have love inside me\/ I just don\u2019t know how to use love).   <\/p>\n\n\n\n

Similar formulations appear in the lyrics to \u201cMalandragem\u201d (Malandroism), \u201ceu sou poeta e n\u00e3o aprendi a amar\u201d (I\u2019m a poet and I haven\u2019t learned how to love); \u201cRock\u2019n\u2019geral\u201d (Rock\u2019n\u2019general), \u201cou de um cora\u00e7\u00e3o meio surdo que n\u00e3o sabe amar\u201d (or from a half-deaf heart that doesn\u2019t know how to love); \u201cN\u00e3o amo ningu\u00e9m\u201d (I don\u2019t love anyone), \u201cn\u00e3o amo ningu\u00e9m e \u00e9 s\u00f3 amor que eu respiro\u201d (I don\u2019t love anyone and I breathe only love); \u201cFilho \u00fanico\u201d (Only child), \u201cestou na mais completa solid\u00e3o\/ do ser que \u00e9 amado e n\u00e3o ama\u201d (I\u2019m so utterly lonely\/ being loved but unloving); \u201cNunca sofri por amor\u201d (I\u2019ve never suffered because of love), \u201cser\u00e1 que nunca amei de verdade\/ ou o verdadeiro amor \u00e9 assim\u201d (maybe I\u2019ve never truly been in love\/ or true love is like this); \u201cCarente profissional\u201d (Professionally needy), \u201clevando em frente\/ um cora\u00e7\u00e3o deprimente\/ viciado em amar errado\/ crente que o que ele sente\/ \u00e9 sagrado\/ e \u00e9 tudo piada\u201d (carrying on\/ with a depressing heart\/ that\u2019s addicted to misguided love\/ that believes what it feels\/ is sacred\/ and everything is a joke); and \u201cFracasso\u201d (Failure), \u201cmas eu tenho a impress\u00e3o\/ que todos n\u00f3s somos fracassados\/ eu, por exemplo: n\u00e3o amo\u2026\u201d (but I have the impression\/ that all of us are failures\/ me, for example: I don\u2019t love…).<\/p>\n\n\n\n

In a broad sense, \u00c1gua Viva<\/em> speaks of the mystery of the instant that is life and death at the same time \u2013 creation and destruction. Beginning with the \u201calleluia\u201d of a childbirth, the \u201chuman howl of the pain of separation,\u201d but which is a \u201cshout of diabolic joy,\u201d speaks of the explosion of birth, of transition, of the existence that occurs in the limit between pain and joy, always advancing to the next instant, which provokes fear and fascination, for it concerns the unknown. The adapted verses of Cazuza concentrate these feelings by pointing out the danger of life, the always unexpected.    <\/p>\n\n\n\n

It is also worth noting that there are several words that are repeated in this book, as well as in all the writer\u2019s work: \u201cshout,\u201d \u201cburn,\u201d \u201cpulse,\u201d \u201cvibrate,\u201d \u201cflow.\u201d As already mentioned, these words are directly connected to an untamable interior space, which is imprisoned by the limits of the human condition, by the social frameworks that are imposed, and by discourse. This same set of words (or at least their meanings) pervade Cazuza\u2019s compositions to a great extent. Additionally, the \u201cscreaming object\u201d that is narrated in \u00c1gua Viva<\/em> is also closely related to the rock\u2019n\u2019roll universe, from where the artist takes the nature of his songs and cries.        <\/p>\n\n\n\n

Finally, it is worth thinking that \u201cthe dark side of life,\u201d or that which is found \u201cnear to the wild heart,\u201d would not have as much strength if there were not a tension between the sacred and the profane, the cries and the silence, the flux and the limit, transgression and redemption, theft and the rose. And thus, the lyrics that begin with the \u201charsh,\u201d \u201cdisquieted,\u201d and \u201chopeless\u201d subject projects the hope of finding peace before death, and furthermore, a deep desire for delicacy. And it is in this space of conflict that the works of Cazuza and Clarice Lispector are mutually illuminated.          <\/p>\n\n\n\n

[1]<\/sup><\/a> The audio recording of Angela\u2019s show, in which Cazuza makes this declaration and sings \u201cQue Deus venha,\u201d is available at www.youtube.com\/watch?v=X3JzJHJg758<\/a>. Accessed on 07\/2018.  
[2]<\/sup><\/a> \u201cQue o Deus venha\u201d (Frejat\/ Cazuza\/ Clarice Lispector). Originally recorded by Bar\u00e3o Vermelho on the album Declare Guerra<\/em> (1986) and rerecorded by C\u00e1ssia Eller on C\u00e1ssia Eller<\/em> (1990). The only recording with Cazuza\u2019s voice is precisely the informal audio recording from this show by Angela Ro Ro.  
[3]<\/sup><\/a> \u201cA via-cr\u00facis do corpo\u201d (Cazuza). Text not set to music.
[4]<\/sup><\/a> In: Perto do Cora\u00e7\u00e3o Selvagem <\/em>(LISPECTOR, 1998:70)
[5]<\/sup><\/a> In: \u00c1gua Viva <\/em>(LISPECTOR, 1998, p.16)
[6]<\/sup><\/a> NUNES quoted in HELENA, 2006:38.<\/p>\n","protected":false},"excerpt":{"rendered":"

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