The Daily

Posts Tagged ‘Clarice Lispector’

Bring Home a Little Piece of Obscenity, and Other News

October 2, 2015 | by

Detail from Robert Mapplethorpe’s Self Portrait, 1983.

  • If you’ve got an extra $250k–$350k lying around, you could own a part of obscenity history—a print of Robert Mapplethorpe’s electrifying photograph Man in Polyester Suit is up for auction. That’s the one, you’ll recall, that features “a tightly cropped picture of the torso of a black man wearing a three-piece suit, with his large penis hanging out, like a Montgomery Ward catalog hacked by Tom of Finland, with an assist from Duchamp and Groucho Marx.” Twenty-five years ago, Mapplethorpe’s photography unleashed a righteous fury; Jesse Helms and other congressional fuddy-duddies called it obscene and wrote a bunch of angry letters to people. To own Man in Polyester Suit is to give the middle finger to such types, always and forever. I’m sorry I can’t afford it myself. But if someone were to wish to buy it for me as a gift …
  • Elizabeth Bishop met Clarice Lispector in 1962, and immediately set about trying to help the Brazilian writer to break out in America. But there was some kind of a hiccup, and things between them cooled: “It is notably odd that Lispector was not more interested in Bishop’s offer to foster relationships with American publishers; she had struggled to get the elite presses of Brazil to take on her books and would struggle to make money after separating from her husband … Bishop personally negotiated the relationships and letters of interests with these editors, but it seems that she never realized or acknowledged that the power she wielded, often with an air of superiority, was precisely what was offensive … The last time Bishop writes about Lispector to Lowell, she says, ‘She’s hopeless, really.’ ”
  • Whither e-reading? A few years ago, e-books were poised to take over the world—but reading on a screen has failed to live up to its promise, and e-books are just … kind of boring, especially on the much-vaunted Kindle. “Amazon has built seamless, efficient plumbing for digital books. But after a book has made its way through the plumbing and onto the devices, the once-fresh experience now feels neglected … I’ve found that it’s much more effortless to dip back into my physical library—for inspiration or reference—than my digital library. The books are there. They’re obvious. They welcome me back.”
  • If Nietzsche gave a commencement speech—I know, thank God he’s dead, and won’t—he might draw from a part of his Untimely Meditations, devoted to Schopenhauer as an educator, but littered with weird nuggets of quasi-self-help: “There is no drearier, sorrier creature in nature than the man who has evaded his own genius and who squints now towards the right, now towards the left, now backwards, now in any direction whatever … No one can build you the bridge on which you, and only you, must cross the river of life. There may be countless trails and bridges and demigods who would gladly carry you across; but only at the price of pawning and forgoing yourself. There is one path in the world that none can walk but you. Where does it lead? Don’t ask, walk!”
  • In John Keene’s collection Counternarratives, “every available form of literary irony—every possible way of forcing stubborn words to mean more than they pretend—­seems to be working at once.” Keene (“black, gay, raised in St. Louis, enamored with language, tormented by it”) is intent on using silence and absence in his fiction; his stories are full of missing texts. “This time, they are the reader’s assumptions and expectations, the dominant narratives—historical and political as well as strictly literary—with which we conjure the world and reproduce it, exclusions and erasures intact.”

Passionate Acolytes: An Interview with Benjamin Moser

August 17, 2015 | by

Photo: Paulo Gurgel Valente

I’ve gotten accustomed to talking about the “Clarice Lispector tidal wave.” For weeks on end, I’ve scarcely been able to go online without seeing Lispector, who died in 1977, raved about, serialized, reviewed, discussed, or marveled at.

The occasion for this outpouring of attention is the publication of The Complete Stories by Clarice Lispector, translated by Katrina Dodson and edited by Benjamin Moser. But this story goes back much further, at least to 2009, when Moser published his biography of Lispector, Why This World. Since then, we’ve seen a remarkable resurgence of interest in the author, whom many consider to be among the best Brazil ever produced, and one who is often compared to Virginia Woolf. Why This World was followed by Moser’s translation of Lispector’s final novel, The Hour of the Star, and then new translations of four of Lispector’s major novels, each by a different translator.

With The Complete Stories upon us, I asked Moser why Lispector is worthy of all this effort, what makes the new book such a monumental publication, and what’s next for the Brazilian author.

Let’s begin with a very basic question—why Lispector?

Sometimes you meet someone in a bar and end up in bed after a few drinks. And sometimes you wake up and look over at the person snoring by your side and gasp and say, What was I thinking? But other times that person turns out to be the love of your life. With Clarice, I certainly had no idea that our relationship would be as long or as intense as it turned out to be. Writing her biography taught me about her life, introduced me to her world, her country, her friends. Translating her books brought me into her mind on the molecular level where the translator has to work. And the better I got to know her, the more my love deepened. Read More »

It Changes Nothing

December 10, 2014 | by

If you’ve never seen it, watch Clarice Lispector’s first and only TV interview, from February 1977, when she appeared on TV Cultura in São Paulo. She’d arrived intending to appear in a program about film, apparently, when the station’s director summoned his nerve and asked for an interview. She died later that year.

Lispector is restless, and charmingly curt, throughout the interview—it seems as if she really, really doesn’t want to be there. Even under duress, though, she gives stronger, more meaningful answers than many writers give at their most accessible. “I write without the hope that what I write can change anything at all. It changes nothing … Because at the end of the day we’re not trying to change things. We’re trying to open up somehow.”

At one point, the interlocutor asks, “What, in your opinion, is the role of the Brazilian writer today?”

“To speak as little as possible,” she says, her head tilted, her thumb half-massaging her temple, a cigarette between her fingers.


Precious Cargo

June 28, 2013 | by

Handbag, Hermès, French, 1998 Alligator skin and metal Accessi

I practiced, practiced, practiced my versions of Rio de Janeiro’s local customs throughout July 2003, from ordering an açai with granola at the corner juice bar to people-watching, while being watched, on the beach. One internationally accepted custom that varies in local execution is looking put-together while not attracting the attention of pickpockets or scammers. I studied the poses and gestures of Carioca women–esse jeitinho, that little way of doing it–so that I might communicate, without over-communicating, that my sporty red fabric cross-body bag and my canvas tote held nothing worth pinching.

The usual contents of my two bags: a notebook, a cell phone with a prepaid SIM card, some cash, a bottle of water, and a book or two if I was headed to PUC, Rio’s Catholic University nestled at the edge of the lush Tijuca Forest, or to the Botafogo neighborhood to visit the Rui Barbosa Foundation’s special archives, which include the literary papers of Vinícius de Moraes, Carlos Drummond de Andrade, Manuel Bandeira, João Cabral de Melo Neto, and Clarice Lispector, all translated into English by Elizabeth Bishop during her years in Brazil.

One afternoon I decided to walk from PUC, in Rio’s Gávea neighborhood, to my apartment in Ipanema. July is the coldest month in Rio, with an average temperature of 18°C (64°F), and this particular day was cloudy, so almost no one was on the beach. As I entered Ipanema by way of the bustling foot traffic on Rua Visconde de Pirajá, I noticed that the street vendors, who usually displayed their wares on large pieces of dark fabric that could be made quickly into knapsacks if the police arrived, held the day’s items tightly to their chests. A cluster of women, and a few men, jostled each other with arms outstretched to buy.

I stopped and stared at what was being sold: dark brown handbags stamped in a gold monogram pattern and decorated with pink smiling flowers arranged in whimsical irregularity. The flowers beckoned me with their red mouths, which I then noticed were open, midlaughter. The prospective buyers’ tensed expressions, and the fact that others on the sidewalk were studying the scene, made me ask myself, Do I want one too?

I had witnessed, and wanted, an extravaganza of counterfeit Louis Vuitton handbags in the cherry blossom motif created by Takashi Murakami and commissioned by Marc Jacobs. Some say these are among the most counterfeited handbags ever. Read More »


What We’re Loving: Angry Generals, Contemptuous Gumshoes

October 19, 2012 | by

Several of us are in San Francisco at the moment. As such, I am obviously revisiting that hard-boiled Fog City classic, The Maltese Falcon. How can you beat it? “Spade took her face between his hands and he kissed her mouth roughly and contemptuously. Then he sat back and said: ‘I’ll think it over.’” —Sadie Stein

This week I’ve returned to The Coal Life, the 2012 debut collection from Birmingham Poetry Review editor Adam Vines. And it’s still staggeringly good. Vines has this way of delivering a deliciously playful line with a face so straight you feel like a fool for thinking words could work any other way. Check out “River Politics” over at Poetry for a prime example, and then spring for the full set—Samuel Fox

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Staff Picks: Monkey Minds, the Singing Butler, and Rum Cookies

June 22, 2012 | by

Last night Daniel Smith taught me the word anxiolytics. It means “anxiety reducers.” (Dan is the author of Monkey Mind: A Memoir of Anxiety, so he should know.) His favorite nonchemical anxiolytic is Singin’ in the Rain. Mine, for now, is “Jesus Dropped the Charges,” by the O’Neal Twins. —Lorin Stein

The 1935 Silly Symphony cartoon “Cookie Carnival” raises so many questions, but most pressing: What is a rum cookie? The highly enlightening Wikipedia article informs us that the animated short, in which various varieties of baked good compete for the title of Cookie Queen, is a take on the Atlantic City bathing-beauty contests of the day, precursors to Miss America pageants. (Incidentally, the gingerbread hobo is voiced by the same actor who immortalized Goofy.) As a friend of mine commented, “Misses Licorice and Coconut were robbed.” And it’s true: Sugar Cookie’s easy victory (after she dons a blonde taffy wig, that is) is a testament to how little standards of beauty have changed, however much baked goods have. —Sadie Stein

Leanne Shapton’s Swimming Studies, which comes out in early July, needs to be on everyone’s bookshelf this summer. Or, more fittingly, in the pool house. And the latest Vanity Fair has a fun article about the origins of that hideously romantic painting The Singing Butler, which I’m sure you’ll recognize once you see it. —Thessaly La Force

Helpless,” by Poindexter. I heard this song playing in a store downtown and was convinced it was a new track by French electro band Phoenix. Poindexter gets it right with well-placed cymbal crashes and the type of moody synth that sound tracks an eighties teenage tryst on a foggy night. You can buy “Helpless” off fashion’s jack of all trades (Kitsune) album Kitsune America. SO DO IT. —Noah Wunsch

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