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43 pages 1 hour read

Clarice Lispector

The Hour of the Star

Fiction | Novella | Adult | Published in 1977

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Pages 28-53Chapter Summaries & Analyses

Pages 28-53 Summary

Rodrigo wonders what language he should use to write Macabéa’s story. He considers the language that he uses in his own life and wonders if it applies to Macabéa. He decides that he’s a real person only because he writes, a practice that lets him ask the questions he wants about God, the universe, and himself. However, Macabéa doesn’t even “believe in death” (28). She knows her parents are gone but rarely thinks about them or their fates.

Every morning, Macabéa listens to her roommates’ clock radio. She doesn’t understand everything that comes out of it but likes the program that broadcasts the time to a backdrop of dripping water sounds. Macabéa has an inner life but hasn’t discovered it yet. She has dreams and lives with a kind of ecstasy inside her. In a way, she’s a saint. She does have small pleasures, like looking through newspapers and collecting ads that she likes. One day, she sees a skin cream that looks so good she decides she would eat it if she could afford to buy it.

Rodrigo is still procrastinating about getting to the heart of Macabéa’s story. Something about her disturbs him and remains difficult to write. He wonders if trying to capture her life will reveal some secret he’s afraid to know.

Macabéa understands little about life because her experience is limited. She often can’t even eat because things nauseate her. However, she’s interested in language and often becomes obsessed with words she encounters at work. One day, she sees Raimundo’s book Humiliated and Offended and wonders if it has something to do with her.

Rodrigo wonders if Macabéa will ever experience love. Her life is predictable, which he can never stand in his own life. One day, Macabéa sees a handsome man at a local bar. Noticing the ring on his finger, she wonders how one gets married. Overwhelmed by emotion, she asks for the rest of the day off, pretending she’s sick. She goes home and delights in the empty apartment. She has never experienced solitude before. She even enjoys looking at herself in the mirror when she’s by herself.

Rodrigo tries to rewrite three pages of Macabéa’s story that his cook threw out. The pages described May 7, the day that Macabéa meets her first boyfriend.

On a rainy day, Macabéa meets Olímpico de Jesus Moreira Chaves. They try to go for a walk, but the rain is too heavy and they end up standing on the street, talking uncomfortably. They see each other several more times, and Macabéa experiences desire for the first time in her life. Olímpico is a worker at a metal factory. Macabéa likes the sound of his job because it goes nicely with the sound of her typist job. However, Olímpico really wants to be a bullfighter and make money. Like Macabéa, he’s from the northeast. He once saved up to buy his gold tooth, which he thought improved his appearance. One day, he tells Macabéa that he wants to be a congressman too. Olímpico has a lot of ideas about himself. However, Macabéa is only who she is. He sometimes gets annoyed with the things she says and with their conversations. However, they can sometimes talk more amicably about their memories growing up in the northeast. Otherwise, Olímpico lashes out at Macabéa in conversation for failing to understand him or for asking questions he can’t answer. One day, she asks him about buying a hole, because she has always believed that having a well is a sign of wealth. Olímpico doesn’t understand and makes fun of her. Macabéa shares some facts she heard on the clock radio to change the topic of conversation. He gets annoyed hearing about the news and the radio program. He doesn’t need a clock because he stole a watch from the factory where he works. Macabéa then tells him about a song she heard on the radio. She tries singing it to see if he recognizes it, but he tells her that her voice is too bad for him to listen to. Macabéa wishes she could say something else since Olímpico seems to know more about the world than her.

One day Olímpico criticizes Macabéa’s face. He believes the face is more important than the body because it reveals what a person is thinking. He doesn’t like her face because it’s expressionless. Another time, Olímpico lifts her up in the street to show her what it’s like to be alive. She feels momentarily ecstatic, but then Olímpico drops her on the ground. He feels upset afterward and disappears for several days. He doesn’t resurface until the day they go to a butcher’s shop together. The meat smell makes Macabéa hungry, while the butcher knives excite Olímpico. Afterward, Olímpico buys her a coffee, which she loads with sugar because she’s hungry. Then they go to the zoo. Olímpico criticizes Macabéa’s remarks about the animals. She tries sharing more facts she learned on the radio, but Olímpico disapproves of everything she says.

Rodrigo is surprised by how much he’s writing and how much he knows of Macabéa’s story. However, he decides that he needs to explain Olímpico better. Olímpico originates from Paraíba and has always been wild. He even killed someone once. This crime is a secret he keeps because he thinks it gives him power. He can’t offer Macabéa anything, but she’s unconcerned “about her own future” (49). Rodrigo realizes that Olímpico doesn’t like dating Macabéa.

When Olímpico meets Glória, he realizes that she’s more his type and breaks up with Macabéa. In doing so, he criticizes her, but she bursts out laughing instead of crying. She doesn’t understand why she’s laughing but does know that Olímpico likes Glória better because Glória isn’t as skinny. Macabéa has always wanted to be fatter but can’t afford the luxuries to put on weight. After the breakup, Macabéa doesn’t know what to do. However, she doesn’t let herself feel sad because she can’t afford sadness either.

Pages 28-53 Analysis

Rodrigo delves into Macabéa’s story, developing the novel’s thematic exploration of The Search for Meaning and Identity and The Effects of Poverty and Social Invisibility. Whereas the novel’s opening pages described Rodrigo’s creative struggle and his attempts to access Macabéa’s character and story, in these pages Rodrigo is better able to convey Macabéa’s experience on the page. His narrative descriptions ground his esoteric, philosophical, and existential concerns in the context of time and space. As Macabéa comes to life on the page, her character, circumstances, and experiences convey the profound isolation of her social condition. Although she has “loud and dazzling dreams” (29), her social station limits her experiences. This is particularly true because Macabéa is invisible to others and plays only a minor role in societal and cultural functioning. Her interactions with her boss, her coworker, and her boyfriend underscore her alienation and her apparent irrelevance to others’ lives. Macabéa is most animated and engaged when she’s by herself in her apartment and listening to or recalling the stories she hears on the clock radio. Such experiences and pastimes make Macabéa feel alive and therefore real for the first time. Outside of these experiences, her existence is largely negated or voided by others. For example, when she’s in her room alone the day she feigns illness to leave work early, she decides that she’s never “been so happy in [her] entire life” (33) because she isn’t beholden to anyone or anything. Her solitude therefore feels more engaging and enlivening than her interactions with others. This is largely because her relationships can’t feed her. She has no social value, and others therefore fail to invest in her. These facets of Macabéa’s storyline parallel similar facets of Rodrigo’s storyline and circumstances. Both characters’ lives are defined by economic limitations and social invisibility, circumstances that challenge their sense of meaning, purpose, and self.

Macabéa’s relationship with Olímpico threatens her tenuous and developing sense of self. She’s thrilled when she first meets Olímpico because she never experienced desire or romance before. Rodrigo conveys her excitement by likening her beating heart to “a little fluttering and captured bird” (34). This metaphor conveys notions of entrapment, weakness, and helplessness. It therefore foreshadows the overarching dynamic that develops between Macabéa and Olímpico: He’s cruel to her despite her ongoing attempts to maintain his attention and win his affection. The two characters are fundamentally different, and Rodrigo goes to great lengths to underscore their differences. For example, he describes Macabéa as a saint while insisting that Olímpico harbors “the hard seed of evil” (39). Olímpico isn’t just conversationally dismissive of Macabéa; rather, he delights in violence and revenge. His character therefore becomes symbolic of social evil and indifference. The way he treats Macabéa is as heartless as the way her indifferent society treats her. Indeed, Olímpico challenges and belittles every part of her character, condescending to her ideas and ridiculing her appearance. In turn, this relationship complicates Macabéa’s ability to see herself as a valuable individual outside the context of their dynamic. Macabéa is just starting to regard herself as an individual and as a woman. However, she can’t claim her personhood in light of Olímpico’s treatment. The ideas and feelings she attempts to share with him consistently meet derision. Furthermore, Olímpico’s abrupt decision to break up with Macabéa when he meets Glória leaves Macabéa with a sadness she can’t even afford to feel because of her lack of a social and philosophical life. The sudden breakup thus represents society’s hostile dismissal of Macabéa and foreshadows her fate at the end of the novel.

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