“Luísa remains motionless, sprawled atop the tangled sheets, her hair spread out on the pillow. An arm here, another there, crucified by lassitude. The heat of the sun and its brightness fill the room. Luísa blinks. She frowns. Purses her lips. Opens her eyes finally, and leaves them fixed on the ceiling. Little by little the day enters her body.”
The word ‘lassitude’ is almost certain following the three opening words, or at least expected by anyone who is somewhat familiar with Clarice Lispector’s grammar and syntax, translated here by Katrina Dodson. A ‘bright stain of sunlight’ ‘takes possession of the room’ in which Luísa stirs.
I adore Lispector’s enigmatic, imperturbable characters and her serpentine prose. This short story, The Triumph, opens the Complete Stories, and begins, like her first novel, with a clock, an object that often features in Lispector’s fiction. Clocks also appear often in Kafka, in both his fiction and the diaries, unforgettably so in the highly-strung opening to The Metamorphosis.
Lispector’s writing is sometimes compared to Virginia Woolf’s, but it is always Kafka that comes closer to my reading experience. “As I compared the tower clock with my watch I realised that it was much later than I had thought and that I had to hurry; the shock of this discovery made me feel uncertain of the way, I wasn’t very well acquainted with the town as yet; fortunately, there was a policeman at hand, I ran to him and breathlessly asked the way.” The sentence is Kafka’s, but with a few minor changes in syntax could have been borne by Lispector. Both writers bring to the fore both the demonic and the dreamlike in ways that would be difficult to perceive without them.