Xavier was a belligerent and red-blooded man. He loved tangos. He went to see Last Tango in Parisand got awfully turned on. He didn’t get the movie: he thought it was a sex film. He didn’t realize it was the story of a desperate man.
To say this story is a sex story is to misunderstand the story. It is erotic, yes, and it is bloody, but most of all it is, of course, the story of a desperate man.
I could’ve chosen any of the 86 stories within this collection that the translator herself describes as “disorientating” and “jarring”. But this particular work, for me, is a such brightly burning example Lispector’s writing style. It jabs and it wounds, and it continues to sting long after you finish reading. The clarity of her images and the pacing of her phrasing is peerless, like this moment, when Xavier goes out with a woman on each arm:
At six in the evening the three went to church. They resembled a bolero. Ravel’s bolero.
The Via Crucis of the Body was written in the last decade of Lispector’s life, when she was gravitating towards what she called “antiliterature”. I think ‘The Body’ is a perfect example of her unravelling of language, its depletion, its rawness. It is built on a skeleton of bare, disjointed sentences. Its flesh yields slender, precious threads of pathos and passion. It is oracular and spontaneous:
Sometimes the two women slept together. The day was long. And, though they weren’t homosexuals, they’d turn each other on and make love. Sad love. One day they told Xavier about it. Xavier quivered.
But before you rush off to read it, let me tell you one of my favourite quotations from a writer on the process of writing. It is quintessential Lispector:
I am not an intellectual. I write with my body. And what I write is a moist joy.
First published as ‘O corpo’ in A via crucis do corpo (The Via Crucis of the Body), 1974; included in The Complete Stories, Penguin Modern Classics, 2015