Abstract Reading and writing-related objects, whether in the form of books, letters, or typewriters, are central elements in the films The English Patient, by Anthony Minghella (1996), and Atonement, by Joe Wright (2007), both adapted from novels. By drawing similarities between these two adaptations (Hutcheon 2013; Elleström 2017), the present text illustrates how written words and writing-related objects can be cinematically fetishized (Apter 1991; Mulvey 1996). It also suggests why, despite being capable of existing as autonomous creations, both films proudly maintain a tight connection with their source novels, thus standing as purposeful doubles.

Resumo O texto ficcional clariceano vem recebendo a atenção de leitores, estudiosos e editores estrangeiros há cerca de 60 anos, desde a sua chegada à língua francesa, no início dos anos 1950. No presente artigo, pretende-se cobrir, especificamente, a trajetória das traduções de obras de Clarice Lispector para o inglês, idioma para o qual a autora brasileira tem sido com frequência traduzida e na qual experimenta, no momento, o prestígio desencadeado pelo lançamento da antologia The Complete Stories (2015), editada por seu biógrafo Benjamin Moser.

Abstract Clarice Lispector’s fictional work has been given attention by foreign readers, scholars and editors since its first translations into French, which appeared in the beginning of the 1950s. The present article aims to present specifically the history of Lispector’s work in the Anglophone literary system – most of her fiction has been translated into the English language, and the recent release of The Complete Stories (2015), edited by her biographer Benjamin Moser, brought even more prestige to the Brazilian author.

Resumo O romance Picnic at Hanging Rock, de Joan Lindsay (1967), e sua adaptação cinematográfica homônima dirigida por Peter Weir (1975), comercializada no Brasil como Piquenique na Montanha Misteriosa, têm intrigado leitores e espectadores há mais de quatro décadas. Ambientadas na Austrália rural de 1900, as narrativas ilustram o gênero gótico australiano ao tratar do misterioso desaparecimento de três alunas e uma professora de um internato repressor, durante um piquenique na montanha. Partindo das reflexões de Linda Hutcheon (2011) sobre adaptações, analisamos em que medida as narrativas literária e cinematográfica dialogam; já as reflexões de Susan Bassnett (2006) e Kristi Siegel (2004) sobre relatos de viagem femininos nos permitem pensar as temáticas da sexualidade feminina e do deslocamento no espaço como metáfora da transformação do indivíduo.

Abstract The mysteries of the novel Picnic at Hanging Rock, by Joan Lindsay (1967), and its film adaptation of same name, directed by Peter Weir (1975), have been intriguing readers and audiences for more than four decades. Set in the Australian countryside in 1900, both narratives illustrate the Australian Gothic genre by revolving around the mystery of the disappearance of three schoolgirls and a teacher from a repressive boarding school during a picnic at the mountain. Basing our approach on the reflections by Linda Hutcheon (2011) on adaptations we analyze to which extent literary and cinematographic works relate to each other, while the works presented by Susan Bassnett (2006) and Kristi Siegl (2004) on women’s travel writing will allow us to approach themes such as female sexuality and travel as a metaphor of transformation.