Web of Science. This essay analyzes the problems in Clarice Lispector's narrative, specifically in her novel The Hour of the Star , concerning the ways of writing fiction and the organization of the narrative instances in a story. The author aims to show how The Hour of the Star articulates mechanisms that disrupt the traditional norm of constructing a story, showing, in this case, the limits that the narrative voice suffers in its duty to ideate and expound what constitutes the plot of the novel, as well as the emergence of what can be termed as an alternative voice of enunciation, this within a metafictional dynamic. The essay, therefore, also investigates the presence and disposal of certain obstacles that, like threats, throw into crisis the narrative authority and destroy the stablishment among those who subordinate and those who are subordinated within the text.
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But the two yeses are quite distinct. The first, at least in appearance, is quite profound: it is the story of cosmic genesis, a quasi-Biblical assertion of universality. Indeed, given what has taken place in the course of the novel and the ninety pages that separate these two lines, the second yes is if anything flippant or disingenuous.
And yet it is the same voice, the same narrator, who provides us with both affirmations. And indeed, beyond being merely a tale of life and death in urban Brazil, this novel is also very much concerned with the affects and debts that authors project onto their writing and their readers, and that readers in turn bear towards both the book and the world.
So alongside and undercutting the affirmations are a series of questions and anxieties. This is an author who often does not seem all that sure of himself. How would I know? So why, then, talk of blame at all?
The worst of it is that you have to forgive them. Meanwhile, all this talk of the author is in an important way seriously misleading. For however self-aware he may be about his role as a writer, what the author never seems fully to realize is that he, too, is but another character. Lispector, too, can do no more than juggle with the limits imposed upon her by grammar and writing.
And the signature she gives us, as though it were the proof of some legal claim to the text, the trace that confirms the contract made with the reader, is but a mass-produced image, identical on every copy sold. Language and the market together work to erase individuality; and yet they are also the tools with which we endlessly try to distinguish ourselves.
One sign of this is that she is blessed only with a first name, and even that is withheld until almost halfway through the book.
The man that becomes briefly her boyfriend, who asks her for her name and so allows it be revealed to the reader, is endlessly fretting about how to make a name for himself. Are you listening to me? Everywhere, even in the simplest of interjections, language threatens to trip up authors and characters alike. Likewise, her dream comes directly from mass culture: to be a film star, like Marilyn Monroe.
But Lispector or Rodrigro S. This is a future that seems closed off to her, as much as it had ever been, except that she has been immortalized, however reluctantly, by the author s whose frame of reference she forever escapes. Or, perhaps confusing the two authors: Rodrigo S. Not, of course, that they can be entirely disentangled.
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La hora de la estrella
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Hora Estrella by Clarice Lispector
The Hour of the Star A hora da estrela is a novel by Clarice Lispector published in , shortly after the author's death. The Hour of the Star deals with the problems of the rural Northeast versus the urban Southeast , poverty and the dream of a better life, and, of an uneducated woman's struggle to survive in a sexist society. In it, she mentioned a book she had just completed with "thirteen names, thirteen titles", though she refused to name them. According to her, the book is "the story of a girl who was so poor that all she ate was hot dogs. That's not the story, though.