Clarice Lispector
Clarice Lispector was a Brazilian writer. Acclaimed internationally for her innovative novels and short stories, she was also a journalist. Born to a Jewish family in Podolia in Western Ukraine, she was brought to Brazil as an infant, amidst the disasters engulfing her native land following the First World War.
She grew up in northeastern Brazil, where her mother died when she was nine. The family moved to Rio de Janeiro when she was in her teens. While in law school in Rio she began publishing her first journalistic work and short stories, catapulting to fame at age 23 with the publication of her first novel, 'Near to the Wild Heart' (Perto do Coração Selvagem), written as an interior monologue in a style and language that was considered revolutionary in Brazil.
She left Brazil in 1944, following her marriage to a Brazilian diplomat, and spent the next decade and a half in Europe and the United States. Upon return to Rio de Janeiro in 1959, she began producing her most famous works, including the stories of Family Ties (Laços de Família), the great mystic novel The Passion According to G.H. (A Paixão Segundo G.H.), and the novel many consider to be her masterpiece, Água Viva. Injured in an accident in 1966, she spent the last decade of her life in frequent pain, steadily writing and publishing novels and stories until her premature death in 1977.
She has been the subject of numerous books and references to her, and her works are common in Brazilian literature and music. Several of her works have been turned into films, one being 'Hour of the Star' and she was the subject of a recent biography, Why This World, by Benjamin Moser.
“(...)sentou-se para descansar e em breve fazia de conta que ela era uma mulher azul porque o crepúsculo mais tarde talvez fosse azul, faz de conta que fiava com fios de ouro as sensações. faz de conta que a infância era hoje e prateada de brinquedos, faz de conta que uma veia não se abrira e faz de conta que dela não estava em silêncio alvíssimo escorrendo sangue escarlate, e que ela não estivesse pálida de morte mas isso fazia de conta que estava mesmo de verdade, precisava no meio do faz de conta falar a verdade de pedra opaca para que contrastasse com o faz de conta verde-cintilante, faz de conta que amava e era amada, faz de conta que não precisava morrer de saudade, faz de conta que estava deitada na palma transparente de Deus, não Lóri mas o seu nome secreto que ela por enquanto ainda não podia usufruir, faz de conta que vivia e não que estivesse morrendo pois viver afinal não passava de se aproximar cada vez mais da morte, faz de conta que ela não ficava de braços caídos de perplexidade quando os fios de ouro que fiava se embaraçavam e ela não sabia desfazer o fino fio frio, faz de conta que ela era sábia bastante para desfazer os nós de corda de marinheiro que lhe atavam os pulsos, faz de conta que tinha um cesto de pérolas só para olhar a cor da lua pois ela era lunar, faz de conta que ela fechasse os olhos e seres amados surgissem quando abrisse os olhos úmidos de gratidão, faz de conta que tudo o que tinha não era faz de conta, faz de conta que se descontraía o peito e uma luz douradíssima e leve guiava por uma floresta de açudes mudos e de tranqüilas mortalidades, faz de conta que ela não era lunar, faz de conta que ela não estava chorando por dentro.”
“I write and that way rid myself of me and then at last I can rest.”
“Do not mourn the dead. They know what they are doing.”
“Haber nacido me ha estropeado la salud.”
“Everything in the world began with a yes. One molecule said yes to another molecule and life was born.”
“Ela acreditava em anjo e, porque acreditava, eles existiam" | "She believed in angels, and, because she believed, they existed”
“Por te falar eu te assustarei e te perderei? mas se eu não falar eu me perderei, e por me perder eu te perderia.”
“I' is merely one of the world's instantaneous spasms.”
“Reality prior to my language exists as an unthinkable thought. . . . life precedes love, bodily matter precedes the body, and one day in its turn language shall have preceded possession of silence.”
“What I want is to live of that initial and primordial something that was what made some things reach the point of aspiring to be human.”
“In the world there exists no aesthetic plane, not even the aesthetic plane of goodness.”
“The mystery of human destiny is that we are fated, but that we have the freedom to fulfill or not fulfill our fate: realization of our fated destiny depends on us. While inhuman beings like the cockroach realize the entire cycle without going astray because they make no choices.”
“The world's continual breathing is what we hear and call silence.”
“Ignorance of the law of irreducibility was no excuse. I could no longer excuse myself with the claim that I didn't know the law -- for knowledge of self and of the world is the law that, even though unattainable, cannot be broken, and no one can excuse himself by saying that he doesn't know it. . . . The renewed originality of the sin is this: I have to carry out my unknowing, I shall be sinning originally against life.”
“I do not know much. But there are certain advantages in not knowing. Like virgin territory, the mind is free of preconceptions. Everything I do not know forms the greater part of me: This is my largesse. And with this I understand everything. The things I do not know constitute my truth.”
“I ask myself: is every story that has ever been written in this world, a story of suffering and affliction?”
“Things were somehow so good that they were in danger of becoming very bad because what is fully mature is very close to rotting”
“Who has not asked himself at some time or other: am I a monster or is this what it means to be a person?”
“I only achieve simplicity with enormous effort”
“Que ninguém se engane: só se consegue a simplicidade através de muito trabalho.”
“O que não sei dizer é mais importante do que o que eu digo.”
“And I want to be held down. I don't know what to do with the horrifying freedom that can destroy me.”