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A legião estrangeira {story} (1964)

por Clarice Lispector

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The Foreign Legion is a collection in two parts, gathering both stories and chronicles, and it offers wonderful evidence of Clarice Lispector's unique sensibility and range as an exponent of experimental prose. It opens with thirteen stories and the second part of the book presents her newspaper cronicas, which Lispector said she retrieved from a bottom drawer.… (mais)
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Mostrando 5 de 5
Os dois exemplares estão em EstSalaE7
  ulisin | Jul 25, 2022 |


Clarice Lispector (1920 –1977) – World-class author from Brazil, who experienced remarkable success with the publication of her first novel at age 23. One of the most celebrated of Latin America writers, internationally acclaimed for her experimental, innovative short stories and novels.

The stories in this collection are a prime example of her experimental, highly imaginative writing. For example, we encounter a narrator who appreciates her daughter telling her she looks like a marmoset, a basset hound who has a stronger character than a human, a friendship kept alive by two friends agreeing never to see one another again, and an eerie tale rotating through five different versions of a woman mixing a solution to turn cockroaches into petrified statues. However, there is one story in particular I will never forget and it is this story below I’ve made the focus of my review. Spoiler alert: my analysis is of the complete story, from beginning to end.

The Solution
Hidden Danger: Right from the start, Clarice Lispector injects a hefty dose of tension: the main character, a young lady by the name of Almira, had grown too fat and she has strong, unsettling feelings about being fat. Indeed, the whole psychology of obesity, how being obese can completely shift one’s self-identity and sense of self-worth - many are the number of obese people who refuse to leave the relative safety of their home for days or weeks or even months at a time.

Friendship, One: Alice is Almira’s best friend, but there’s an issue: the less friendship Alice displays toward Almira, the fatter Almira grows. Oh, my. This is not a good sign. Unfortunately, relying on another person to shape our identity (no pun intended) is all too common in our modern world and such reliance is compounded when food and eating are so directly linked to that relationship.

Friendship, Two: Almira is all eagerness; she never hides her eagerness, it shows all over her oval, velvety face and her shiny nose; same goes for the way she feels toward food, by far her most immediate and direct contact with the world. With all that fat and all that eagerness, the other typists in their department at work have always been puzzled why Alice puts up with Almira and how these two always seem to do things at the same time, like leaving the office and catching the bus, Almira forever looking after Alice. Small, delicate Alice, in turn, remains distant, letting herself be adored by Almira. Nowadays we have a term for this type of relationship: codependency. Another sign that bodes trouble.

Friendship, Three: In an attempt to please Alice, Almira will frequently say things like how she loves a particular TV show, but Alice doesn’t give Almira the satisfaction she craves. Poor Almira is in a quandary, always needing to please, always needing satisfaction and, on top of this, she has such a delicate nature: she’s fat but delicate, so delicate she loses sleep over things like not having chosen the proper word. In such times of anxiety, after a sleepless night of tossing and turning, a piece of yummy chocolate can suddenly turn bitter in her mouth. Chocolate turning bitter in Almira’s mouth? Now for a fat person, that’s delicate!

Telling Words: As readers, we’re told the day it happened, Alicia sped off for work still munching on a piece of bread. The author’s sparse words, a powerful, direct foreshadowing of an event that will change Almira’s and Alice’s relationship forever. Whenever a master storyteller like Raymond Carver, Jorge Luis Borges, Julio Cortázar or, in this case, Clarice Lispector, utilize such words as ‘the day it happened,’ I sit up and brace myself for what’s to come.

The Special Treat: At the office, Alicia doesn’t see Alice at her desk. Something is up, for sure. Later that morning, Alice finally shows up with bloodshot eyes, not wanting to speak or answer any of Alicia’s anxious questions. Serious upset – typing away, Alice was nearly shedding tears over her typewriter. When it is time to break for lunch Alicia pleads for Alice to have lunch with her, her treat.

The Rage: We read how it’s exactly during their lunchtime meal that the episode transpired, a more laser-sharp foreshadowing, for sure. Their conversation over lunch has Almira repeatedly asking: Why late to the office? What’s with the bloodshot eyes? Sad, doleful, glum, Alice scarcely mumbles a few words. Almira won’t let up, as she stuffs her mouth, she keeps pressing Alice for answers. Alice explodes, in a rage: You fatso! Can’t you leave me the hell alone? Almira chokes on her food, attempts to voice some words but can’t. Alice continues: You are a nuisance and blabbermouth! So, you want to know. Well, I’ll tell you: Zequinha left for Porto Alegre and he ain’t coming back. Are you satisfied now, fatso?

The Snap: Almira snaps. She takes her fork and stabs Alice in the neck. The next day people read in the newspaper how everyone in the restaurant rose to their feet but the fat woman just sat there, starring at the ground, not even casting her eyes on all the blood.

Aftermath, One: Alice goes to the emergency room and when she leaves, her neck in bandages, her eyes are still huge, round, bulging as if in the grip of some unspeakable horrific vision. The police arrest Almira on the spot. People in the know speak of how there was always something off between Almira and Alice. Some other people speak of how Almira’s grandmother was always a strange woman. Making these types of connections would be the usual reaction to an outbreak of seemingly random violence. Of course, connections and implicit accusations of one stripe or another could be make about the relationship between any two people. After all, we are human with four million years of human and prehuman evolution in our genes, an evolution where aggression and outbursts of violence were ongoing – think of the fear and need to defend oneself at night when attacked by a predator such as a leopard or tiger. All this to say, snapping out is a very real possibility for all of us – it’s a matter of having our buttons pushed in just the right (or wrong) ways.

Aftermath, Two: As it turns out, once in prison, although occasionally tinged with sadness, on the whole Almira is quite cheerful along with being agreeable. At long last Almira has companions in her fellow female prison inmates. Ah, friendship! Almira even gets along well with the prison guards who occasionally slip her a chocolate bar as if Almira was an elephant in the circus. Ouch, Clarice! Not exactly a flattering metaphor.

Coda: I wanted to focus on this one story as a way of sharing a taste of the power of Clarice Lispector’s storytelling. Of course, I paraphrased. To appreciate the full impact of the author’s writing, you will have to read for yourself. And how about the title of this story for a stroke of irony?

Clarice Lispector - a typewriter and a smoke. Move over Jorge Luis Borges and Gabriel García Márquez, this lady is ready to write some serious fiction. ( )
  Glenn_Russell | Nov 13, 2018 |


Clarice Lispector (1920 –1977) – World-class author from Brazil, who experienced remarkable success with the publication of her first novel at age 23. One of the most celebrated of Latin America writers, internationally acclaimed for her experimental, innovative short stories and novels.

The stories in this collection are a prime example of her experimental, highly imaginative writing. For example, we encounter a narrator who appreciates her daughter telling her she looks like a marmoset, a basset hound who has a stronger character than a human, a friendship kept alive by two friends agreeing never to see one another again, and an eerie tale rotating through five different versions of a woman mixing a solution to turn cockroaches into petrified statues. However, there is one story in particular I will never forget and it is this story below I’ve made the focus of my review. Spoiler alert: my analysis is of the complete story, from beginning to end.

The Solution
Hidden Danger: Right from the start, Clarice Lispector injects a hefty dose of tension: the main character, a young lady by the name of Almira, had grown too fat and she has strong, unsettling feelings about being fat. Indeed, the whole psychology of obesity, how being obese can completely shift one’s self-identity and sense of self-worth - many are the number of obese people who refuse to leave the relative safety of their home for days or weeks or even months at a time.

Friendship, One: Alice is Almira’s best friend, but there’s an issue: the less friendship Alice displays toward Almira, the fatter Almira grows. Oh, my. This is not a good sign. Unfortunately, relying on another person to shape our identity (no pun intended) is all too common in our modern world and such reliance is compounded when food and eating are so directly linked to that relationship.

Friendship, Two: Almira is all eagerness; she never hides her eagerness, it shows all over her oval, velvety face and her shiny nose; same goes for the way she feels toward food, by far her most immediate and direct contact with the world. With all that fat and all that eagerness, the other typists in their department at work have always been puzzled why Alice puts up with Almira and how these two always seem to do things at the same time, like leaving the office and catching the bus, Almira forever looking after Alice. Small, delicate Alice, in turn, remains distant, letting herself be adored by Almira. Nowadays we have a term for this type of relationship: codependency. Another sign that bodes trouble.

Friendship, Three: In an attempt to please Alice, Almira will frequently say things like how she loves a particular TV show, but Alice doesn’t give Almira the satisfaction she craves. Poor Almira is in a quandary, always needing to please, always needing satisfaction and, on top of this, she has such a delicate nature: she’s fat but delicate, so delicate she loses sleep over things like not having chosen the proper word. In such times of anxiety, after a sleepless night of tossing and turning, a piece of yummy chocolate can suddenly turn bitter in her mouth. Chocolate turning bitter in Almira’s mouth? Now for a fat person, that’s delicate!

Telling Words: As readers, we’re told the day it happened, Alicia sped off for work still munching on a piece of bread. The author’s sparse words, a powerful, direct foreshadowing of an event that will change Almira’s and Alice’s relationship forever. Whenever a master storyteller like Raymond Carver, Jorge Luis Borges, Julio Cortázar or, in this case, Clarice Lispector, utilize such words as ‘the day it happened,’ I sit up and brace myself for what’s to come.

The Special Treat: At the office, Alicia doesn’t see Alice at her desk. Something is up, for sure. Later that morning, Alice finally shows up with bloodshot eyes, not wanting to speak or answer any of Alicia’s anxious questions. Serious upset – typing away, Alice was nearly shedding tears over her typewriter. When it is time to break for lunch Alicia pleads for Alice to have lunch with her, her treat.

The Rage: We read how it’s exactly during their lunchtime meal that the episode transpired, a more laser-sharp foreshadowing, for sure. Their conversation over lunch has Almira repeatedly asking: Why late to the office? What’s with the bloodshot eyes? Sad, doleful, glum, Alice scarcely mumbles a few words. Almira won’t let up, as she stuffs her mouth, she keeps pressing Alice for answers. Alice explodes, in a rage: You fatso! Can’t you leave me the hell alone? Almira chokes on her food, attempts to voice some words but can’t. Alice continues: You are a nuisance and blabbermouth! So, you want to know. Well, I’ll tell you: Zequinha left for Porto Alegre and he ain’t coming back. Are you satisfied now, fatso?

The Snap: Almira snaps. She takes her fork and stabs Alice in the neck. The next day people read in the newspaper how everyone in the restaurant rose to their feet but the fat woman just sat there, starring at the ground, not even casting her eyes on all the blood.

Aftermath, One: Alice goes to the emergency room and when she leaves, her neck in bandages, her eyes are still huge, round, bulging as if in the grip of some unspeakable horrific vision. The police arrest Almira on the spot. People in the know speak of how there was always something off between Almira and Alice. Some other people speak of how Almira’s grandmother was always a strange woman. Making these types of connections would be the usual reaction to an outbreak of seemingly random violence. Of course, connections and implicit accusations of one stripe or another could be make about the relationship between any two people. After all, we are human with four million years of human and prehuman evolution in our genes, an evolution where aggression and outbursts of violence were ongoing – think of the fear and need to defend oneself at night when attacked by a predator such as a leopard or tiger. All this to say, snapping out is a very real possibility for all of us – it’s a matter of having our buttons pushed in just the right (or wrong) ways.

Aftermath, Two: As it turns out, once in prison, although occasionally tinged with sadness, on the whole Almira is quite cheerful along with being agreeable. At long last Almira has companions in her fellow female prison inmates. Ah, friendship! Almira even gets along well with the prison guards who occasionally slip her a chocolate bar as if Almira was an elephant in the circus. Ouch, Clarice! Not exactly a flattering metaphor.

Coda: I wanted to focus on this one story as a way of sharing a taste of the power of Clarice Lispector’s storytelling. Of course, I paraphrased. To appreciate the full impact of the author’s writing, you will have to read for yourself. And how about the title of this story for a stroke of irony?

Clarice Lispector - a typewriter and a smoke. Move over Jorge Luis Borges and Gabriel García Márquez, this lady is ready to write some serious fiction. ( )
  GlennRussell | Feb 16, 2017 |
A crônica representa uma forma fixa peculiarmente brasileira. Inclui monólogos íntimos, conversas, reclamações, aforismos, meditações. O bom cronista escava a verdade com feroz determinação - os relacionamentos, o sofrimento, o amor e outras verdades basilares ainda mais profundas. Meu chefe e amigo Justino Martins (das revistas Manchete e Fatos & Fotos) disse uma vez a Lispector: "Você vai ser o nosso gênio. Vou lhe dar espaço, bastante para escrever o que quiser." E ela assim procedeu, enchendo o papel impresso com suas crônicas. Compôs um coffee-table book perfeito para um momento de folga. A sua voz é ao mesmo tempo intimista, perspicaz e esfuziante. Ela cria pequenas histórias que vão de um par de frases a um par de páginas, mas dão o que pensar. Não são exatamente ensaios, nem poemas em prosa. Em inglês, estas Crônicas seriam chamadas de "Sketches" - esboços, riscos, croquis. Lispector é infinitamente superior a cronistas como Danuza Leão ou Márcia Peltier, mas não se compara a um Rubem Braga, por exemplo. A superficialidade, o vezo mais como ao gênero, nem sempre supera aí a profundidade. Eis um exemplo (que cito imprecisamente, de memória): "Eu disse a uma amiga que a vida sempre pediu muito de mim e ela respondeu: não se esqueça de que você também pede muito da vida, não é verdade?" ( )
  jgcorrea | May 20, 2016 |
Just to have been born has ruined my health.
In this book, Clarice Lispector confesses to restraining herself in her writing, although she's not sure why she does it. This made sense to me, as I have felt her words holding me at arm's length. That said, the Chronicles section of this book has led me the closest I've come to her truth so far, perhaps due to its casual, intimate feel. It is a selection of fragmented writing from her 'bottom drawer', including aphorisms, parables, character sketches, critiques of the arts, travel tales, and bits of insight into her writing philosophy. Her drama, humor, and absurdity, typically delivered in her matter-of-fact style, all point toward deep insights into the human condition. I enjoyed these Chronicles much more than the formal short stories that comprise the first section, with the exception of the title story which I did rather like. I guess I am still on the fence about her fiction, but having read this one I'm now more willing to pick up another of her novels in the future.

— but believe me — the room was filled with a penetrating smile — a fatal rite was being fulfilled — and what is known as fear is not fear — it is whiteness emerging from the shadows — no proof remained — I can assure you of nothing — I am my only proof. ( )
  S.D. | Apr 4, 2014 |
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The Foreign Legion is a collection in two parts, gathering both stories and chronicles, and it offers wonderful evidence of Clarice Lispector's unique sensibility and range as an exponent of experimental prose. It opens with thirteen stories and the second part of the book presents her newspaper cronicas, which Lispector said she retrieved from a bottom drawer.

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