A meditation on the nature of life and time, Agua Viva (1973) shows Lispector discovering a new means of writing about herself, more deeply transforming her individual experience into a universal poetry. In a body of work as emotionally powerful, formally innovative, and philosophically profound as Clarice Lispector s, Agua Viva stands out as a particular triumph."

Lori, a primary school teacher, is isolated and nervous, comfortable with children but unable to connect to adults. When she meets Ulisses, a professor of philosophy, an opportunity opens: a chance to escape the shipwreck of introspection and embrace the love, including the sexual love, of a man. Her attempt, as Sheila Heti writes in her afterword, is not only "to love and to be loved," but also "to be worthy of life itself." Published in 1968, An Apprenticeship is Clarice Lispector's attempt to reinvent herself following the exhausting effort of her metaphysical masterpiece The Passion According to G. H. Here, in this unconventional love story, she explores the ways in which people try to bridge the gaps between them, and the result, unusual in her work, surprised many readers and became a bestseller. Some appreciated its accessibility; others denounced it as sexist or superficial. To both admirers and critics, the olympian Clarice gave a typically elliptical answer: "I humanized myself," she said. "The book reflects that."

Near to the Wild Heart, published in Rio de Janeiro in 1943, introduced Brazil to what one writer called Hurricane Clarice: a twenty-three-year-old girl who wrote her first book in a tiny rented room and then baptized it with a title taken from Joyce: He was alone, unheeded, near to the wild heart of life.

The book was an unprecedented sensation the discovery of a genius. 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: I shall arise as strong and comely as a young colt. "

A mystical dialogue between a male author (a thinly disguised Clarice Lispector) and his/her creation, a woman named Angela, this posthumous work has never before been translated. Lispector did not even live to see it published.

At her death, a mountain of fragments remained to be structured by Olga Borelli. These fragments form a dialogue between a god-like author who infuses the breath of life into his creation: the speaking, breathing, dying creation herself, Angela Pralini. The work s almost occult appeal arises from the perception that if Angela dies, Clarice will have to die as well. And she did."

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.

Here, gathered in one volume, are the stories that made Clarice a Brazilian legend. Originally a cloth edition of eighty-six stories, now we have eighty- nine in all, covering her whole amazing career, from her teenage years to her deathbed. In these pages, we meet teenagers becoming aware of their sexual and artistic powers, humdrum housewives whose lives are shattered by unexpected epiphanies, old people who don't know what to do with themselves- and in their stories, Clarice takes us through their lives-and hers-and ours.

The Hour of the Star, Clarice Lispector's consummate final novel, may well be her masterpiece. Narrated by the cosmopolitan Rodrigo S.M., this brief, strange, and haunting tale is the story of Macabea, one of life's unfortunates. Living in the slums of Rio and eking out a poor living as a typist, Macabea loves movies, Coca-Cola, 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, Macabea is inwardly free. She doesn't seem to know how unhappy she should be. As Macabea heads toward her absurd death, 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 leaves us deep in Lispector territory indeed.

'One of the hidden geniuses of the twentieth century' - Colm Tóibín

A housewife’s life is shattered by a sudden epiphany. A simple tale of killing cockroaches fragments into multiple narratives, each uncovering new truths. In this selection of haunting short stories, Lispector reveals the permeable boundaries between past and present, the real and the surreal, showing ordinary moments to contain the deepest existential truths.

In �gua Viva Clarice Lispector aims to 'capture the present'. Her direct, confessional and unfiltered meditations on everything from life and time to perfume and sleep are strange and hypnotic in their emotional power and have been a huge influence on many artists and writers, including one Brazilian musician who read it one hundred and eleven times. Despite its apparent spontaneity, this is a masterly work of art, which rearranges language and plays in the gaps between reality and fiction.

The Chandelier, written when Lispector was only twenty-three, reveals a very different author from the college student whose debut novel, Near to the Wild Heart, announced the landfall of "Hurricane Clarice." Virginia and her cruel, beautiful brother, Daniel, grow up in a decaying country mansion. They leave for the city, but the change of locale leaves Virginia's internal life unperturbed. In intensely poetic language, Lispector conducts a stratigraphic excavation of Virginia's thoughts, revealing the drama of Clarice's lifelong quest to discover "the nucleus made of a single instant"-and displaying a new face of this great writer, blazing with the vitality of youth.

Living in the slums of Rio and eking out a living as a typist, Macabea loves movies, Coca-Cola and her philandering rat of a boyfriend; she would like to be like Marilyn Monroe, but she is ugly and unloved. Yet telling her story is the narrator Rodrigo S.M., who tries to direct Macabea's fate but comes to realize that, for all her outward misery, she is inwardly free. Slyly subverting ideas of poverty, identity, love and the art of writing itself, Clarice Lispector's audacious last novel is a haunting portrayal of innocence in a bad world.

The publication of Clarice Lispector's Complete Stories, eighty-five in all, is a major literary event. Now, for the first time in English, are all the stories that made her a Brazilian legend: from teenagers coming into awareness of their sexual and artistic powers to humdrum housewives whose lives are shattered by unexpected epiphanies to old people who don't know what to do with themselves. Lispector's stories take us through their lives - and ours. From one of the greatest modern writers, these 85 stories, gathered from the nine collections published during her lifetime, follow Clarice Lispector throughout her life.

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. "

'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. Penguin Modern: fifty new books celebrating the pioneering spirit of the iconic Penguin Modern Classics series, with each one offering a concentrated hit of its contemporary, international flavour. Here are authors ranging from Kathy Acker to James Baldwin, Truman Capote to Stanislaw Lem and George Orwell to Shirley Jackson; essays radical and inspiring; poems moving and disturbing; stories surreal and fabulous; taking us from the deep South to modern Japan, New York's underground scene to the farthest reaches of outer space.

“It’s the best one,� Clarice Lispector remarked on the occasion of the publication of The Apple in the Dark: “I can’t define it, how it is, I can only say that it’s much better constructed than the previous ones.� A book in three chapters, with three central characters, The Apple in the Dark is in fact highly sculpted, while being chiefly a metaphysical book, and in this stunning new translation, the novel’s mysteries and allegories glow with a fresh scintillating light. Martim, fleeing from a murder he believes he committed, plunges into the dark nocturnal jungle: stumbling along, in a state of both fear and wonder, eventually he comes to a remote, quiet ranch and finds work with the two women who own it. The women are tranquil enough before his arrival, but are affected by his radical mystery. Soaked through with Martim’s inner night (his soul is in the darkness where everything is created), the novel vibrates with his perpetual searching state of vigil. Often he feels close to an epiphany: “for the first time he was present in the moment in which whatever is happening is happening.� Yet such flashes flicker out, so he’s ever on the watch for “life to take on the dimensions of a destiny.� In an interview, Lispector once said: “I am Martim.� As she puts it in The Apple in the Dark: “All I’ve got is hunger. And that unstable way of grasping an apple in the dark—without letting it fall.�  

We're born with a hunger for roots and a desire to pass on a legacy. The past two decades have seen a boom in family history services that combine genealogy with DNA testing, though this is less a sign of a robust connection to past generations than of its absence. Everywhere we see a pervasive rootlessness coupled with a cult of youth that thinks there is little to learn from our elders. The nursing home tragedies of the Covid-19 pandemic laid bare this devaluing of the old. But it's not only the elderly who are negatively affected when the links between generations break down; the young lose out too. When the hollowing-out of intergenerational connections deprives youth of the sense of belonging to a story beyond themselves, other sources of identity, from trivial to noxious, will fill the void. Yet however important biological kinship is, the New Testament tells us it is less important than the family called into being by God's promises. "Who is my mother, and who are my brothers?" Jesus asks a crowd of listeners, then answers: "Whoever does the will of my Father in heaven is my brother, and sister, and mother." In this great intergenerational family, we are linked by a bond of brotherhood and sisterhood to believers from every era of the human story, past, present, and yet to be born. To be sure, our biological families and inheritances still matter, but heredity and blood kinship are no longer the primary source of our identity. Here is a cure for rootlessness. On this theme: - Matthew Lee Anderson argues that even in an age of IVF no one has a right to have a child. - Emmanuel Katongole describes how African Christians are responding to ecological degradation by returning to their roots. - Louise Perry worries that young environmentalist don't want kids. - Helmuth Eiwen asks what we can do about the ongoing effects of the sins of our ancestors. - Terence Sweeney misses an absent father who left him nothing. - Wendy Kiyomi gives personal insight into the challenges of adopting children with trauma in their past. - Alastair Roberts decodes that long list of "begats" in Matthew's Gospel. - Rhys Laverty explains why his hometown, Chessington, UK, is still a family-friendly neighborhood. - Springs Toledo recounts, for the first time, a buried family story of crime and forgiveness. - Monica Pelliccia profiles three generations of women who feed migrants riding the trains north. Also in the issue: - A new Christmas story by Oscar Esquivias, translated from the Spanish - Original poetry by Aaron Poochigian - Reviews of Kim Haines-Eitzen's Sonorous Desert, Matthew P. Schneider's God Loves the Autistic Mind, Adam Nicolson's Life between the Tides, and Ash Davidson's Damnation Spring. - An appreciation for Augustine's mother, Monica - Short sketches by Clarice Lispector of her father and son Plough Quarterly features stories, ideas, and culture for people eager to apply their faith to the challenges we face. Each issue includes in-depth articles, interviews, poetry, book reviews, and art.

'One of the very great writers of the last century' Guardian 'Lispector had an ability to write as though no one had ever written before' Colm Toibin 'He'd wait for her, she knew that now. Until she learned' Lori yearns for love yet is scared of herself, and of connecting with another human. When she meets Ulisses, a Professor of Philosophy, she is forced to confront her fears. As both of them will learn, to be worthy of another person, they must first be fully themselves. The book of which Clarice Lispector said, 'I humanized myself', An Apprenticeship is about the ultimate unknowability of the other in a relationship, and what it means to love and be loved. Translated by Stefan Tobler Edited by Benjamin Moser with an Afterword by Sheila Heti

"That woman who killed the fish unfortunately is me," begins the title story, but "if it were my fault, I'd own up to you, since I don't lie to boys and girls. I only lie sometimes to a certain type of grownup because there's no other way." Enumerating all the animals she's loved-cats, dogs, lizards, chickens, monkeys-Clarice finally asks: "Do you forgive me?" "The Mystery of the Thinking Rabbit" is a detective story which explains that bunnies think with their noses: for a single idea a bunny might "scrunch up his nose fifteen thousand times" (he may not be too bright, but "he's not foolish at all when it comes to making babies"). The third tale, "Almost True," is a shaggy dog yarn narrated by a pooch who is very worried about a wicked witch: "I am a dog named Ulisses and my owner is Clarice." The wonderful last story, "Laura's Intimate Life" stars "the nicest hen I've ever seen." Laura is "quite dumb," but she has her "little thoughts and feelings. Not a lot, but she's definitely got them. Just knowing she's not completely dumb makes her feel all chatty and giddy. She thinks that she thinks." A one-eyed visitor from Jupiter arrives and vows Laura will never be eaten: she's been worrying, because "humans are a weird sort of person" who can love hens and eat them, too. Such throwaway wisdom abounds: "Don't even get me started." These delightful, high-hearted stories, written for her own boys, have charm to burn-and are a treat for every Lispector reader.

A TLS Book of the Year This exhilarating collection of non-fiction sees one of the greatest twentieth-century writers meditating on the moments that make up a life 'How did I so unwittingly transform the joy of living into the great luxury of being alive?' Between 1967 and 1977, the internationally renowned author Clarice Lispector wrote weekly dispatches from her desk in Rio for the Jornal do Brasil. Already famous for her revolutionary, interior, metaphysical novels and short stories, in her Chronicles she turned her attention to the everyday, reshaping the material of her life into profound, touching and funny, tiny revelations. Observing the world around her, small encounters like hearing tales of the lost loves of a taxi driver, or the bitterness lurking beneath the prettiness of an old friend, become an exposition of the currents and foibles that define our lives. Everything from the meaning of cosmonauts to the new ideas, writers and artists that populate the sparkling international world of the sixties and seventies are considered and transformed into jewels of insight, delight and devastation. Sincere and playful, exhilarating and contemplative, Too Much of Life: Complete Chronicles opens up a new way of seeing the world.

Translations of chronicles first published between 1967-73 in Lispector's weekly column for Jornal do Brasil and representing about two-thirds of the volume A descoberta do mundo (HLAS 48:6221). That work was translated by Pontiero under title Discovering the world (HLAS 54:5084)"--Handbook of Latin American Studies, v. 58.

This is Clarice Lispector's final novel, 'written in agony', which she did not live to see published. Sensual and mysterious, it is a mystical dialogue between a god-like author and the creation he breathes life into: the speaking, shifting, indefinable Angela Pralini. As he has created Angela, so, eventually, he must let her die, for life is merely 'a kind of madness that death makes.' This is a unique, elegiac meditation on the creation of life, and of art.Review: A text that resonates endlessly ... her images dazzle The Times Literary Supplement Lispector had an ability to write as though no one had ever written before Colm Toibin A thrilling book Pedro Almodovar

One of Elena Ferrante's Top 40 Books by Women G.H., a well-to-do Rio sculptress, enters the room of her maid, which is as clear and white 'as in an insane asylum from which dangerous objects have been removed'. There she sees a cockroach - black, dusty, prehistoric - crawling out of the wardrobe and, panicking, slams the door on it. Her irresistible fascination with the dying insect provokes a spiritual crisis, in which she questions her place in the universe and her very identity, propelling her towards an act of shocking transgression. Clarice Lispector's spare, deeply disturbing yet luminous novel transforms language into something otherworldly, and is one of her most unsettling and compelling works. Clarice Lispector was a Brazilian novelist and short story writer. Her innovation in fiction brought her international renown. References to her literary work pervade the music and literature of Brazil and Latin America. She was born in the Ukraine in 1920, but in the aftermath of World War I and the Russian Civil War, the family fled to Romania and eventually sailed to Brazil. She published her first novel, Near to the Wildheart in 1943 when she was just twenty-three, and the next year was awarded the Graça Aranha Prize for the best first novel. Many felt she had given Brazillian literature a unique voice in the larger context of Portuguese literature. After living variously in Italy, the UK, Switzerland and the US, in 1959, Lispector with her children returned to Brazil where she wrote her most influential novels including The Passion According to G.H. She died in 1977, shortly after the publication of her final novel, The Hour of the Star.

The things I've learned from taxi drivers would be enough to fill a book. They know a lot: they really do get around. I may know a lot about Antonioni that they don't know. Or maybe they do even when they don't. There are various ways of knowing by not-knowing. I know: it happens to me too. The cronica, a literary genre peculiar to Brazilian newspapers, allows writers (or even soccer stars) to address a wide readership on any theme they like. Chatty, mystical, intimate, flirtatious, and revelatory, Clarice Lispector's pieces for the Saturday edition of Rio's leading paper, the Jornal do Brasil, from 1967 to 1973, take the forms of memories, essays, aphorisms, and serialized stories. Endlessly delightful, her insights make one sit up and think, whether about children or social ills or pets or society women or the business of writing or love. This new, large, and beautifully translated volume, Too Much of Life: The Complete Cronicas presents a new aspect of the great writer-at once off the cuff and spot on.

In the mistaken belief that he has killed his wife, Martim flees the city and arrives, in a state of both fear and wonder, at a remote ranch. There, he will have to remake himself, emerging, from the beast-like state in which his crime has plunged him, to the fullness of a reinvented humanity. Along the way, he will mark the lives of the two women who run the ranch, brambly, authoritarian Vitória and her weepy cousin Ermelinda. But the real drama is interior: Clarice Lispector's most wrenching, and most intoxicating, exploration of how a man becomes a human - and of how language can transform a life into a destiny. A highly sculpted, metaphysical book whose mysteries and allegories glow with a scintillating light, Apple in the Dark is a masterpiece by 'one of the hidden geniuses of the twentieth century' (Colm Tóibín). Translated by Benjamin Moser.

'One of the hidden geniuses of the twentieth century' Colm Toibin 'She suddenly leaned toward the mirror and sought the love liest way to see herself' Lucrecia Neves is vain, unreflective, insolently superficial, almost mute. She may have no inner life at all. As she morphs from small-town girl to worldly wife of a rich man, and her small home town surrenders to the forces of progress, Lucrecia seeks perfection: to be an object, serene, smooth, beyond the burden of words or even thought itself. A book that obsessed its author, The Besieged City is unlike any other work in Lispector's canon: a story of transformation, of what it means to see and to be seen.