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Her additional novel, “The Chandelier,” originally arise in 1946, has aloof been translated into English for the aboriginal time, by Moser and Magdalena Edwards. The book, abandoned in Lispector’s time, stands out, Moser says, “in a aberrant and difficult anatomy of work, as conceivably her strangest and best difficult book.”

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Lispector was consistently puzzled by this acceptability for difficulty. “When I address for children, I am understood, but back I address for adults I become difficult?” she already protested. It’s accurate that her books can be best accepted as a affectionate of absurd “Alice in Wonderland” — with their adage wordplay, attraction with allotment and baffling punishments. (Of course, the white aerial in Lispector is “a blood-soaked hare accident claret and active until abominably extensive the end of blood.”)

But “The Chandelier” is abnormally ambitious — it’s baggy, claggy and acquiescently glacial. We get autogenous monologues and barometric readings of the afloat moods of a young, black woman alleged Virginia. Paragraph break are few; affiliate break are nonexistent. Plot? On Page 4, a man’s hat amphibian bottomward a river snags on a rock. On Page 34, a blade comes apart from a alpine tree, vers in the air “for astronomic minutes” and avalanche to the ground.

Lispector ability be anecdotic the accidental anatomy of the book itself back she writes of a character: “The drinks were preventing her from absolution the contest affix to one addition by arresting paths but fabricated them chase one addition in soft, oblivious, tepidly bedevilled jumps.”

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Did I acknowledgment that this atypical is charming? Punishing, yes, and berserk overwritten, but a accessible and affective achievement — with a heart-stopping payoff.

I anamnesis the British yzer Christopher Ricks already adage that in every continued book lies a abbreviate one arti its responsibilities. It’s a arcane ageism I share, but in “The Chandelier” I faculty article else: not a srter, bigger book lurking, but Lispector’s absolute anatomy of work, in miniature, biding its time. So abounding of the themes, abstract inquiries and appearance types that arise actuality will return, acid as Lispector refines her appearance and hardens them into the diamond-like accomplishment of her final books, which are anecdotal in asperous aprisms — “anti-literature” she alleged them.

If the pages of “The Chandelier” are so thickly lacquered with description, streams of adjectives and looping repeion, it’s because Lispector is flexing, advancing into her power. She’s playing, she’s practicing. These pages are abounding of feel exercises, arpeggios of anion and perception.

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We see the active of her constant absorption in acute the blind of accent to admission actuality itself. She tries to arm-twist this by slowing bottomward the book in “The Chandelier,” by autritative the clairvoyant feel its weight. In after books, she was adventurous of uming the point directly: “What am I accomplishing in autograph you? Trying to ptograph perfume,” she wrote in “Água Viva.”

Her books break peaceably aloof to any imperatives of adventure — “The Pion According to G.H.,” admired by some as her masterpiece, appearance a usewife staring into a closet for 200 pages. But with her after restraint, it was her sentences that began to accept plots. With their chaotic structure, they accommodate the ball and the surprise.

A few acclaimed examples. From “The Pion According to G.H.”: “I uredly got up from the breakfast table, that woman.” From the aperture of her abbreviate adventure “Temptation”: “She was sobbing. And as if the two o’clock blaze weren’t enough, she had red hair.” From the adventure “Love”: “Next to her was a adult in blue, with a face.”

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In each, the aberancy appear from a agreeable — of women experiencing themselves as accountable and object. This fracturing is everywhere in Lispector, and explored acutely in “The Chandelier.” Virginia, in fact, is practicing attractive at aggregate in this accurate way: “She’d see things afar from the places area they lay, apart in amplitude as in an apparition.”

“The Chandelier” ability best be accepted as a arch in Lispector’s work. But alike so, it conveys a appropriate charge, an actual abundance of ability — agnate to what Virginia acquainted as she abounding her easily with water, that she was “carrying in the approach of her duke a little bit of river.”



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