With The Garden of a Former House Turned Museum, Lum and Desranleau stage a sung and danced correspondence between an anonymous contemporary interlocutor and the Brazilian writer Clarice Lispector (1920-1977), an important figure in 20th century literature. Punctuated by the epistolary call ofDear Clarice, the prose guides us through the city of Rio de Janeiro, Brazil, here covered with lush nature as if human activities had been suspended there. Personified by different performers, the protagonist addresses Lispector in the afterlife, even if the whispers of the orchids that filter from the urban jungle turn out to be her only answers. In this materialistic hymn, the performers interact with inanimate collaborators, objects that look as strange as they are familiar. Addressing the themes of language, nature, urbanity and diseasewhich the protagonist and the writer have in commonthe work probes the porosity of the borders between humans and the material world. The Garden of a