HomeGroupsTalkMoreZeitgeist
Search Site
This site uses cookies to deliver our services, improve performance, for analytics, and (if not signed in) for advertising. By using LibraryThing you acknowledge that you have read and understand our Terms of Service and Privacy Policy. Your use of the site and services is subject to these policies and terms.

Results from Google Books

Click on a thumbnail to go to Google Books.

Loading...

The Complete Stories (2015)

by Clarice Lispector

Other authors: See the other authors section.

MembersReviewsPopularityAverage ratingMentions
8171126,629 (4.18)29
From one of the greatest modern writers, these stories, gathered from the nine collections published during her lifetime, follow an unbroken time line of success as a writer, from her adolescence to her death bed.
Loading...

Sign up for LibraryThing to find out whether you'll like this book.

No current Talk conversations about this book.

» See also 29 mentions

English (10)  Spanish (1)  All languages (11)
Showing 1-5 of 10 (next | show all)
Utterly magnificent. ( )
  archangelsbooks | Sep 8, 2023 |
23. The Complete Stories by Clarice Lispector
translation: from Portuguese by Katrina Dodson, 2015
introduction: Benjamin Moser, titled Glamour and Grammar, 2015
narrators: Gabrielle De Cuir, Susan Denaker, Hillary Huber, Kate Orsini, Emily Rankin, John Rubenstein, Stefan Rudnicki
published: 2015
format: 22:53 audible audiobook
acquired: March 24 listened: Mar 24 – May 11
rating: 5
genre/style: modern classic short stories theme: random audio
locations: Brazil
about the author: Ukrainian-born Jewish Brazilian novelist, 1920-1977

sections: The book is broken into sections that roughly correspond to Clarice's published short story collections
- Glamour and Grammar - an introduction by [[Benjamin Moser]]*(2015)
- First Stories - corresponds to Alguns contos, or Some Stories (1952)
- [548587::Family Ties] - Laços de família (1960)
- [1396967::The Foreign Legion] - A legião estrangeira (1964)
- “Back of the Drawer” – a subset of the [1396967::The Foreign Legion]
- Covert Joy - [1728538::Felicidade clandestina] (1971)
- The Imitation of the Rose - [28089::A imitação da rosa] (1973)
- Where You Were at Night - [2553642::Onde estivestes de noite] (1974)
- [1129728::The Via Crucis of the Body] - A via crucis do corpo (1974)
- Visions of Splendor – one story, [650446::Brasilia] - based on her visits to the Brazilian capital in 1962 and 1974. The city was built in 1960
- Final Stories – three stories from two posthumously published collections: Not to Forget - [6317822::Para não esquecer] (1978) & Beauty and the Beast - [2553638::A bela e a fera] (1979)
- Appendix – Clarice’s comments on her writing of [548587::Family Ties]. It was published in the “Back of the Drawer” section of [1396967::The Foreign Legion], 1964
- Translator’s Note by [[Katrina Dodson]], 2015

*Benjamin Moser has published a biography of Clarice, [Why This World: A Biography of Clarice Lispector], and has written a fantastic introduction here

This was my first time reading Clarice Lispector. She was defined for me early on in this collection, first by an excellent introduction, and then by her early stories, which are so fiercely direct and confident. In the midst of these early stories, especially after reading a longer story called Obsession, I wrote: "I'm really enjoying this on audio so far. These stories. Each one the narrator is looking you straight in the eye, speaking in full confidence, clear, rebellious and defiant, no matter how crazy they get. It's a wonderful series of studies of the desire for rebellion against the confines of life, the intent and act, and the inevitable compromises." I enjoyed this whole collection, but nothing else would inspire this response.

Obsession was for me one of most powerful stories. It brings up for me Amos Oz's [My Michael], and Leonard Cohen's Master Song. And I liked to imagine both artists having this story nearby as they wrote, Oz for the voice, and Cohen for the impression. She does not ever come back to such raw writing in her stories. After these early stories, her stories evolved into different styles, but always there is a little distance, a normal distance, between writer and reader. These are 85 stories in 23 hours. They are short and pass by quickly, making stronger and weaker impressions. Sometimes they are very complex and sometimes they are quite simple, even sketches. At one extreme "A via crucis do corpo was written in three days after a challenge from her publisher, Álvaro Pacheco, to write three stories about themes relating to sex" (quoting Wikipedia, but it's also in mentioned in this book). I was certainly partial to her early stories and I also especially enjoyed [1396967::The Foreign Legion], which was full of deeply worked out stories. I wasn't crazy about [548587::Family Ties], which I think is one of her more popular works, but felt to me like a collection of sketches. And I didn't take to story [650446::Brasilia] as some worshipping webpages do - but then I have no awareness of Brazil or its capital.

This is a collection to mull over. As the introduction points out, it covers a life, youth, marriage, motherhood, aging, the confines of being a woman and a mother. Working through was an experience, and created a kind of reader's remove, or at least took me away. The seven audiobook narrators are consistently very good and that helped a lot. The collection goes a lot of places, and it's odd to have it all come to end in a translator's note. It wants a writer's epilogue, a retrospective. She wrote in 1974 in [650446::Brasilia] about the crazy plans for the city to celebrate the turn of the millennium in 2000 and wondered what she might think of it, should she see it. But she died rather suddenly of ovarian cancer in 1977, aged 57, diagnosed after she completed what would be her final novel.

Recommended.

2022
https://www.librarything.com/topic/341027#7838415 ( )
1 vote dchaikin | May 15, 2022 |
Gran descubrta e inspiración deste 2020 ( )
  MRMP | Jan 9, 2021 |
Gran descubrta e inspiración deste 2020 ( )
  MRMP | Jan 9, 2021 |


Literature saves -- master of the craft, Clarice Lispector from Brazil

This recently published collection translated from the Portuguese by Katrina Dodson of all eighty-six Clarice Lispector short stories is a treasure. Inventive in both style and content, a number of these masterful stories will haunt a reader, but, for me, none more haunting than the following piece I have chosen to make the focus of my review:

THE FIFTH STORY
The Attack: One of the acknowledged kings of fiction editing, Gordon Lish, termed the first lines of a short story “the attack.” No better example of a literary attack than: “This story could be called “The Statues.” Another possible name is “The Murder.” And also “How to Kill Cockroaches.” So I will tell at least three stories, all true because they don’t contradict each other. Through a single story they would be a thousand and one, were I given a thousand and one nights.” Oh, Clarice! Fantastic way to build dramatic tension – your first-person narrator has such a story to tell, a veritable weaving Shahrazad, she will tell her story several different ways, and, given the chance, she could tell the same story in a thousand and one diverse ways.

How to Kill Cockroaches: Cockroach problem? Our narrator (let’s call her Livia) employs an effective solution. From one vantage point this sounds so cut and dry but for the person sensitive to the entire web of life, killing is never cut and dry. There are a good number of spiritual traditions, Buddhism for example, that emphasize compassion for all living beings, including insects. The Jain religion of India is even more extreme, a religion founded upon the tradition of nonviolence to all living creatures where many devotees even go so far as to wear masks so as not to breathe in microorganisms.

The Murderess, One: Livia lets us know this story, although told second, is actually the first, a story starting out where she is overheard complaining about cockroaches, a complaint lodged in the abstract, that is, not her actual problem but rather a general complaint about the insects, since the cockroaches were on the ground floor and would crawl up the pipes to her home. But, she says, once she prepared the mixture, the cockroaches became, in fact, her cockroaches. Very true. When we actively engage with others, even animals or insects, at that exact point we enter into a personal relationship.

The Murderess, Two: At this juncture in the story, we read: “In our name, then, I began to measure and weigh the ingredients with a slightly more intense concentration. A vague resentment had overtaken me, a sense of outrage. By day the cockroaches were invisible and no one would believe in the secret curse that gnawed at such a peaceful home.” My goodness, the narrator’s emotions are fully engaged. This version of the story kicks into high gear with language touching on the sacred and religious.

The Murderess, Three: Oh, yes, Livia measures out the deadly elixir for those cockroaches’ drawn-out death, an excited apprehension and her own clandestine curse providing the direction. She has reached that dramatic climax where, icily, she desires but one thing: death to all cockroaches. Is this story beginning to sound a bit sinister, as if our narrator has crossing over to the dark side?

The Murderess, Four: Livia reflects how cockroaches will crawl up the pipes while we, exhausted, dream. But now she’s ready: she has spread the powder expertly, making it look like something from the natural world. She wakes the next morning and inspects: there they all are on the laundry room floor, hard and huge. Not only is there is something eerie and unsettling about what she sees, those many petrified cockroaches, dark, still bodies on a white floor, but also the manner in which she uses language to frame her seeing.

Statues: In this third version of the story, Livia waxes poetic, eulogizing in many exquisite, excruciating details how the cockroaches have hardened from the inside out. She likens herself to the first witness at daybreak in ancient Pompeii. Here’s a snip from her panegyric: “Others—suddenly assaulted by their own core, without even the slightest inkling that some internal mold was being petrified!—these suddenly crystallize the way a word is cut off in the mouth: it’s you I . . . “

The Fourth Story: As she tells us, this forth version initiates a new era in her home. She looks over at the pipe where the cockroaches enter and knows she will prepare the lethal mixture each night as if performing a rite. Then eagerly anticipating bearing witness to the mass death toll the next morning, Livia trembles at the double life she is now living as a sorceress. Think of how many thousands of novels and stories have been written in the genres of dark fantasy and horror. To my mind, Clarice Lispector’s brief tale powerfully encapsulates much of the underlying psychology of these genres.

The Fifth Story: The narrator’s fifth version has an exotic title, a title including the name Leibniz, the German philosopher and co-inventor of calculus, as well as the transcendental nature of love. Thanks, Clarice! Number five can gyrate into at least a thousand and one tales, a gyration serving as a pronouncement: imagination rules! Very true - given the slightest bit of tension, even something seemingly minor, like the extermination of insects, for a fiction writer on fire, such tension opens wide into a world of near infinite possibilities. And to think this is but one of her eighty-six stories collected in this book. Happy reading.
( )
  Glenn_Russell | Nov 13, 2018 |
Showing 1-5 of 10 (next | show all)
no reviews | add a review

» Add other authors (8 possible)

Author nameRoleType of authorWork?Status
Lispector, Clariceprimary authorall editionsconfirmed
Abramo, PaulaTranslatorsecondary authorsome editionsconfirmed
Cohen, MarceloTranslatorsecondary authorsome editionsconfirmed
De Cuir, GabrielleNarratorsecondary authorsome editionsconfirmed
Denaker, SusanNarratorsecondary authorsome editionsconfirmed
Dodson, KatrinaTranslatorsecondary authorsome editionsconfirmed
García Gayó, JuanTranslatorsecondary authorsome editionsconfirmed
Huber, HillaryNarratorsecondary authorsome editionsconfirmed
Losada, ElenaTranslatorsecondary authorsome editionsconfirmed
Morales, MarioTranslatorsecondary authorsome editionsconfirmed
Moser, BenjaminForewordsecondary authorsome editionsconfirmed
Orsini, KateNarratorsecondary authorsome editionsconfirmed
Peri Rossi, CristinaTranslatorsecondary authorsome editionsconfirmed
Rankin, EmilyNarratorsecondary authorsome editionsconfirmed
Rubenstein, JohnNarratorsecondary authorsome editionsconfirmed
Rudnicki, StefanNarratorsecondary authorsome editionsconfirmed
Sahre, PaulCover designersecondary authorsome editionsconfirmed
You must log in to edit Common Knowledge data.
For more help see the Common Knowledge help page.
Canonical title
Original title
Alternative titles
Original publication date
People/Characters
Important places
Important events
Related movies
Epigraph
Dedication
First words
Quotations
Last words
Disambiguation notice
Publisher's editors
Blurbers
Original language
Canonical DDC/MDS
Canonical LCC

References to this work on external resources.

Wikipedia in English

None

From one of the greatest modern writers, these stories, gathered from the nine collections published during her lifetime, follow an unbroken time line of success as a writer, from her adolescence to her death bed.

No library descriptions found.

Book description
Haiku summary

Current Discussions

None

Popular covers

Quick Links

Rating

Average: (4.18)
0.5
1 3
1.5
2
2.5 1
3 7
3.5 1
4 22
4.5 2
5 29

Is this you?

Become a LibraryThing Author.

 

About | Contact | Privacy/Terms | Help/FAQs | Blog | Store | APIs | TinyCat | Legacy Libraries | Early Reviewers | Common Knowledge | 203,189,984 books! | Top bar: Always visible