Clarice Lispector

"Martin is convinced that he has murdered his wife. In a delirium of guilt and grief, he wanders through a forest until he comes across an isolated farm run by Vitoria - an indomitable spinster who is 'afraid to live', and her flighty, obsessive cousin Ermelinda, who is terrified of death. As Martin works on Vitoria's land he is both haunted and comforted by memories of his wife and son." "In the intense heat of the Brazilian summer, drought threatens both the farm and its inhabitants, and these three very different but equally domineering characters provoke each other into a realisation of their individual psychological isolation."--Jacket.

"Fresh from the enormous success of her debut novel Near to the Wild Heart, Hurricane Clarice let loose something stormier in 1946 with her second novel, The Chandelier. In a body of work renowned for its potent idiosyncratic genius, The Chandelier in many ways has pride of place. "It stands out," her biographer Benjamin Moser noted, "in a strange and difficult body of work, as perhaps her strangest and most difficult book." Of glacial intensity, consisting almost entirely of interior monologues--interrupted by odd and jarring fragments of dialogue and action--the novel moves in slow waves that crest in moments of revelation. As she seeks freedom via creation, the drama of Virginia's isolated life is almost entirely internal: from childhood, she sculpts clay figurines with "the best clay one could desire: white, supple, sticky, cold. She got a clear and tender material from which she could shape a world. How, how to explain the miracle..." While on one level simply the story of a woman's life, The Chandelier's real drama lies in Lispector's attempt "to find the nucleus made of a single instant ...the tenuous triumph and the defeat, perhaps nothing more than breathing." The Chandelier pushes Lispector's lifelong quest for that nucleus into deeper territories than any of her amazing works" --

Narrated by the cosmopolitan Rodrigo S.M., this brief, strange, and haunting tale is the story of Macabéa, one of life's unfortunates. Living in the slums of Rio and eking out a poor living as a typist, Macabéa loves movies, Coca-Colas, and her rat of a boyfriend; she would like to be like Marilyn Monroe, but she is ugly, underfed, sickly and unloved. Rodrigo recoils from her wretchedness, and yet he cannot avoid the realization that for all her outward misery, Macabéa is inwardly free/She doesn't seem to know how unhappy she should be. Lispector employs her pathetic heroine against her urbane, empty narrator—edge of despair to edge of despair—and, working them like a pair of scissors, she cuts away the reader's preconceived notions about poverty, identity, love and the art of fiction. In her last book she takes readers close to the true mystery of life and leave us deep in Lispector territory indeed.

"Revised edition of Lispector's third novel is based on its second edition, the last one reformulated by the author"--Handbook of Latin American Studies, v. 58.

'The morning became a long, drawn-out afternoon that became depthless night dawning innocently through the house' Tales of desire and madness from this giant of Brazilian literature.

The Passion According to G.H., Clarice Lispector's mystical novel of 1964, concerns a well-to-do Rio sculptress, G.H., who enters her maid's room, sees a cockroach crawling out of the wardrobe, and, panicking, slams the door - crushing the cockroach - and then watches it die. At the end of the novel, at the height of a spiritual crisis, comes the most famous and most genuinely shocking scene in Brazilian literature.... Lispector wrote that of all her works, this novel was the one that "best corresponded to her demands as a writer."

Narrative epiphanies and interior monologue frame the life of Joana, from her middle-class childhood through her unhappy marriage and its dissolution to transcendence, when she proclaims: zI shall arise as strong and comely as a young colt.y.

Água viva dá continuidade ao projeto de edições especiais reproduzindo os manuscritos e datiloscritos originais de Clarice Lispector, iniciado com A hora da estrela e que será continuado com Um sopro de vida. Obedecendo ao conceito geral da coleção, este volume reúne importantes textos de referência, assim como a carta do filósofo José Américo Pessanha que teve influência decisiva na transformação de Objeto gritante em Água viva, obra que é ao mesmo tempo a mais autobiográfica e a mais misteriosa da bibliografia clariceana. Igualmente importantes são os ensaios de Alexandrino Severino, Sônia Roncador, Ana Claudia Abrantes e Teresa Montero, que lançam luz sobre diferentes aspectos de Água viva, o único livro que, reconhecidamente, Clarice Lispector hesitou em editar em virtude de seu caráter revelador, experimental e "antiliterário".