Passion H

Review of: Passion H

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On 20.04.2020
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Passion H

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Passion H

By putting things in order, I create and understand at the same time. In between these poles — the free-associative meditation on universal laws prevalent in her later work which, to me, does not succeed as G.

And somehow this unique mode, this combination of tones never before attempted, allows Clarice Lispector — gives her the privilege — to write like this: The first bind had already involuntarily burst, and I was breaking loose from the law, though I intuited that I was going to enter the hell of living matter — what kind of hell awaited me?

So I opened my eyes all at once, and saw the full endless vastness of the room, that room that was vibrating in silence, laboratory of hell.

Somehow, G. Somehow, this beyond-rudimentary framework of a woman in a room with a roach fully justifies the most cosmic of mind-flights.

A true achievement. Probably one of the great achievements in writing of the 20th century. I wrote the above halfway through G.

To re-read. How I entered whatever exists between the number one and the number two, how I saw the line of mystery and fire, and which is surreptitious line.

A note exists between two notes of music, between two facts exists a fact, between two grains of sand no matter how close together there exists an interval of space, a sense that exists between senses- in the interstices of primordial matter is the line of mystery, and fire that is the breathing of the world, and the continual breathing of the world is what we hear and call silence.

This book was very intense. It follows the emotions and inner turmoil of a South American sculptress, G. I must admit that I was perplexed for the first few chapters.

The book was a confusing inner monologue written after the cockroach was crushed. It made me wonder how someone could react like that to a cockroach being killed.

There were musings on love, identity, religion, journeys, into her past, flashbacks…. All G. This is one of those books I would need to re-read in order to fully appreciate its brilliance.

A little more and it would petrify me. I was the image of what I was not, and that image of not-being overwhelmed me. View all 8 comments.

An extraordinary work by the greatest writer of the interior crisis, of the fragmented and the fragmenting, of the breaking and the broken Her technique is impeccable - the breadcrumbs of an exterior life, of "plot" and "reasons", which are just enough to keep the reader correctly situated but never undermine the mythic and the universally personal the self that is all self.

I need to re-read it though, I need to go slow and listen hard instead of being caught up in the flow View all 3 comments.

Aug 26, Joselito Honestly and Brilliantly rated it it was ok. I suspect Clarice Lispector copied here the style in Fernando Pessoa's "The Book of Disquiet" to produce this exasperating, introspective, highfalutin nonsense.

Like "The Book of Disquiet" it is written in the first person singular, plot-less, tackles life's big issues God, existence, death, soul, time, etc.

Here, there are even chapters where Lispector makes liberal use of Pessoa's favorite word: "tedium" and "disquiet" or "disquietude" too.

Sometimes, Pessoa is difficult to understand but for the most part of his "The Book of Disquiet" one gets to understand what he means.

Here, however, Lispecter chose to fly away above our--and her own--heads. Like she has fuzzy ideas she herself cannot grasp, uses a language she also does not herself understand to describe these ideas, and then hopes that by some strange process she and her readers will get the idea in these non-ideas.

Or language used not to communicate, but to draw out something that can be squeezed out from the incomprehensible. She wrote towards the end that: "that is the splendor of having a language.

But I have much more to the extent that I am unable to determine. Reality is raw material, language is the way I seek it--and how I don't find it.

But it is from seeking and not finding that what I have not known is born, and I instantly recognize it. Language is my human endeavor. I have fatefully to go seeking and fatefully I return with empty hands.

But--I return with the unsayable. The unsayable can be given me only through the failure of my language.

Only when the construct falters do I reach what it could not accomplish. Until it is finally revealed to me that the life in me does not bear my name.

And I too have no name, and that is my name. And because I depersonalize myself to the point of not having my name, I reply whenever someone says: I.

If you are here, you already know the "plot. I am not here trying for an imitation of the passion according to G. I am instead opening myself to the infection of the reading of the words that are still getting as close to the ineffable as possible.

There is the beauty of the unsayable. And there is the moving of the understanding as in a hand slowly groping towards the grasping of the subject-object.

Lispector has done something rare and beautiful in pushing through the horror of the unsayable, and by the end, the first sentence of this review makes so much sense that you feel as if she has taught you to read and think in a new way, or to see the old things in new ways.

And not to fear the ugliness of words miscombined because all of the attempts at expressing the inexpressible will be miscombinations by definition.

Clarice makes me want to learn Portuguese just to hear the sound of her voice unfiltered through a translation, though Ms. Novey, I think, has done a fine job.

I think I slowly start to get what Clarice is doing here. And the more I get the more I admire it. But there is no way how I can write about it properly.

Hence, many quotes. A woman is facing the moment of epiphany by fatally wounding a cockroach. It catalyses the terrific meditation which makes her to strip off her human identity.

It makes her go beyond the fear, beyond what we call beauty and much farther. Then she reassess how hard it is to be fully within the present.

This requires the effor I think I slowly start to get what Clarice is doing here. I was delaying the present for the promise of the future.

By that she is approaching to the pure essence of life, life of the matter. And how hard she needs to work to get there. Whatever exists, and which is just a piece of thing, yet I must place my hand over my eyes against the opacity of that thing.

Ah, the violent loving unconsciousness of whatever exists surpasses the possibility of my consciousness. I am afraid of so much matter - the matter vibrates with attention, vibrates with process, vibrates with inherent present time.

Whatever exists beats in strong waves against the unbreakable grain that I am, and that grain whirls between abysses of calm billows of existence, if whirls and does not dissolve, that grain-seed.

Kudos to Clarice. View all 7 comments. For within myself I saw what Hell is like. My whole anxiety has been this untranscendable and excessively close proximity.

I am more what is not within me. And that is why the hand that I was holding has abandoned me. No, no. It was I who let go of the hand, because I now have to go on alone.

Sep 27, Rory rated it really liked it Recommends it for: thinkers. I had a very difficult time reading this book.

Clarice Lispector gives you the first person account of this fictional woman as she goes through an intense unraveling of self. The style is very unconventional, using a great deal of repetion, contradiction, and free form stream of consciousness, as well as very fractured grammar.

All this makes the flow of the prose seem to undulate back and forth, sometimes flowing, sometimes stilted, but at some point you begin to understand that she seems to be I had a very difficult time reading this book.

All this makes the flow of the prose seem to undulate back and forth, sometimes flowing, sometimes stilted, but at some point you begin to understand that she seems to be ignoring rules in favor of lyricism, mood and tone.

Though I found the content to be extremely melodramatic, wishy-washy, feminine indecision at first, by the end I could see that it all had a thematic importance and the content of her thoughts made me really begin to examine my own ideas of self and existence.

I can truly say this was one of the most difficult books I've ever read. I am still conflicted about it, which perhaps is why I find it interesting.

View 1 comment. Nov 19, Antonio rated it it was amazing Shelves: brazilian-authors , read-in I don't know what to do with the horrifying freedom that can destroy me.

In all its whiteness and flawless, a dirty contrast emerges: a cockroach. Absorbed by an epiphany, G.

An outstanding out-of-the-comfort-zone book written by the genius Clarice Lispector. Highly recommended!

This is not a book of which one can speak nor will it be appreciated by everyone confronted with its meticulous description of an outrageous epiphany.

What needs to be said is that Clarice Lispector has given us a rare opportunity to confront our own existential precariousness.

If you decide to read this book, make arrangements with a friend to check in on you regularly and make sure you remember to eat.

Occasionally it's astonishing, and I'm sure different readers will be struck by different scenes. My memory of the book will probably be the scene itself, which I see as one of those highly schematic, brightly lit Florentine annunciations, only the angel is a half-dead roach.

Rather too often, it's also borderline unreadable. This might be a problem with the translation, but the introduction suggests that the novel is one of those "redrafting and fixing sentences would just get in the way of the authentic emotion" deals, which are close to my least favorite deals.

No novel should aim to produce the sensations you get from reading those textbooks. Deeply deeply introspective. Almost equal parts wisdom and nonsense.

I wavered between being moved and being exasperated. Mar 29, Elizabeth rated it it was amazing. How I went into what exists between the number one and the number two, how I saw the mysterious, fiery line, how it is a surreptitious line.

Update: Apparently, Lispector never let go of my hand even after I finished the book, because she seems to have sparked a violent experience of my own mirroring the one in The Passion.

It's been creeping up on me slowly, sometimes in sudden flashes, sometimes in long sessions of crying and laughing interchangeably. Bach P 3 This file is based on high-resolution images obtained from the source using a method explained on this page.

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Passions-Cantate von dem weyl. The room was the opposite of what I had created in my house, the opposite of the soft beauty that came from my talent for arrangement, my talent for living, the opposite of my serene irony, of my sweet and exempt irony: it was a violation of my quotation marks, of the quotation marks that made me a citation of myself.

The room was the portrait of an empty stomach. Only one thing disturbs the room's perfect order: black carbon scratches on the dry white wall, outlining a man, a woman, and a dog.

Pondering the inscrutable drawing, she realizes that the black maid, whose name she has forgotten, and whose face she has trouble calling to mind, had hated her.

Overwhelmed by anger, she opens the door to the wardrobe. Terrified by the cockroach she sees emerging, she slams the door shut, severing the cockroach in its centre, and sees the still-living animal's entrails beginning to ooze out.

She wants to scream, but she knows it is already too late: "If I raised the alarm at being alive, voiceless and hard they would drag me away since they drag away those who depart the possible world, the exceptional being is dragged away, the screaming being [sic].

Staring at the insect, her human personality begins to break down; finally, at the height of her mystic crisis, she famously takes the matter oozing from the cockroach — the fundamental, anonymous matter of the universe which she shares with the roach — and puts it in her mouth.

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