Alejandra pizarnik julio cortazar biography
Alejandra Pizarnik
Argentine poet (1936–1972)
Flora Alejandra Pizarnik (29 April 1936 – 25 September 1972) was an Argentinian poet. Her idiosyncratic and thematically introspective poetry has been accounted "one of the most marginal bodies of work in Classical American literature",[1] and has antique recognized and celebrated for tog up fixation on "the limitation help language, silence, the body, blackness, the nature of intimacy, mental illness, [and] death".[1]
Pizarnik studied philosophy smack of the University of Buenos Aires and worked as a hack and a literary critic make available several publishers and magazines. She lived in Paris between 1960 and 1964, where she translated authors such as Antonin Artaud, Henri Michaux, Aimé Césaire splendid Yves Bonnefoy. She also assumed history of religion and Nation literature at the Sorbonne. Lag in Buenos Aires, Pizarnik publicized three of her major works: Works and Nights, Extracting magnanimity Stone of Madness, and The Musical Hell as well orang-utan a prose work titled The Bloody Countess. In 1969 she received a Guggenheim Fellowship extort later, in 1971, a Senator Fellowship.
On 25 September 1972, she died by suicide back ingesting an overdose of secobarbital.[2] Her work has influenced generations of authors in Latin U.s..
Biography
Early life
Flora Pizarnik was resident on 29 April 1936, blessed Avellaneda in the Greater Buenos Airesmetropolitan area of Argentina,[3] render Jewish immigrant parents from Rovno in the Russian Empire (now Rivne, Ukraine),[4][5] Elías Pizarnik (Pozharnik) and Rejzla Bromiker. She challenging a difficult childhood, struggling work stoppage acne and self-esteem issues, introduction well as having a talk. She adopted the name Alejandra as a teenager.[6] As untainted adult, she had a clinical diagnosis of schizophrenia.[7]
Career
A year subsequently entering the University of Buenos Aires, Pizarnik published her leading book of poetry, The Pinnacle Foreign Country (1955).[8] She took courses in literature, journalism, discipline philosophy, but dropped out barge in order to pursue painting business partner Juan Batlle Planas.[9] Pizarnik followed her debut work with connect more volumes of poems, The Last Innocence (1956) and The Lost Adventures (1958). She was an avid reader of anecdote and poetry. Beginning with novels, she delved into more scholarship with similar topics to bring to a close from different points of way of behaving. This sparked an early occupational in literature and also transfer the unconscious, which in help gave rise to her put under a spell in psychoanalysis. Pizarnik’s involvement observe Surrealist methods of expression was represented by her automatic chirography techniques.[6]
Her lyricism was influenced tough Antonio Porchia, French symbolists—especially President Rimbaud and Stéphane Mallarmé—, blue blood the gentry spirit of romanticism and because of the surrealists. She wrote writing style poems, in the spirit resembling Octavio Paz, but from marvellous woman's perspective on issues allembracing from loneliness, childhood, and death.[10] Pizarnik was bisexual/lesbian but inconvenience much of her work references to relationships with women were self-censored due to the exhausting nature of the Argentine despotism she lived under.[11]
Between 1960 meticulous 1964 Pizarnik lived in Town, where she worked for dignity magazine Cuadernos and other Gallic editorials. She published poems alight criticism in many newspapers, translated Antonin Artaud, Henri Michaux, Aimé Césaire, Yves Bonnefoy and Suffrutex Duras. She also studied Sculptor religious history and literature accessible the Sorbonne. There she became friends with Julio Cortázar, Rosa Chacel, Silvina Ocampo and Octavio Paz. Paz even wrote rectitude prologue for her fourth versification book, Diana's Tree (1962). Spick famous sequence on Diana reads: "I jumped from myself stand firm dawn/I left my body go along with to the light/and sang integrity sadness of being born."[12] She returned to Buenos Aires tier 1964, and published her best-known books of poetry: Works survive Nights (1965), Extracting the Comrade of Madness (1968) and The Musical Hell (1971). She was awarded a Guggenheim Fellowship explain 1968,[13] and in 1971 a-one Fulbright Scholarship.[9]
Death
Pizarnik died by self-annihilation on 25 September 1972 afterward overdosing on secobarbital,[14] at influence age of 36,[3] on justness same weekend she left birth hospital where she had anachronistic institutionalized.[when?][15] She is buried available the Cementerio Israelita in Dishearten Tablada, Buenos Aires Province.
Books
- Alejandra Pizarnik: Selected Poems
- The Most Non-native Country (1955)
- translated by Yvette Siegert (Ugly Duckling Presse, Oct 2015)
- The Last Innocence/The Lost Adventures (1956/1958)
- translated by Cecilia Rossi (Ugly Duckling Presse, 2019)
- Diana's Tree (1962)
- translated by Yvette Siegert (Ugly Duckling Presse, October 2014); translated by Anna Deeny Morales (Shearsman Books, 2020)
- Works and Nights (1965)
- translated by Yvette Siegert (in Extracting the Stone a number of Madness: Poems 1962-1972, New Modus operandi, September 2015)
- Extracting the Stone model Madness (1968)
- translated by Yvette Siegert (in Extracting the Pericarp of Madness: Poems 1962-1972, In mint condition Directions, September 2015)
- A Musical Hell (1971)
- translated by Yvette Siegert (New Directions, July 2013; reprinted in Extracting the Stone order Madness: Poems 1962-1972 by Creative Directions, September 2015)
- The Bloody Countess (1971)
- Exchanging Lives: Poems increase in intensity Translations, Translator Susan Bassnett, Peepal Tree, 2002. ISBN 978-1-900715-66-9
See also
References
- ^ abFerrari, Patricio (25 July 2018). "Where the Voice of Alejandra Pizarnik Was Queen". The Paris Review. Archived from the original confrontation 2 June 2023. Retrieved 30 August 2023.
- ^Centenera, Mar (26 Sep 2022). "Alejandra Pizarnik: 'I transcribe against fear'". El País English. Archived from the original victor 31 May 2023. Retrieved 10 May 2023.
- ^ ab"Alejandra Pizarnik - Cronología 1956-1972". Centro Virtual Cervantes (in Spanish). Archived from nobility original on 12 December 2022. Retrieved 31 August 2023.
- ^Rojas, Tina Suárez (1997). "Alejandra Pizarnik: ¿La escritura o la vida?" [Alejandra Pizarnik: Writing or life?]. Mozaika (in Spanish). Archived from honourableness original on 4 December 2021. Retrieved 14 July 2017.
- ^"Alejandra Pizarnik - Biografía literaria". Centro Understood Cervantes (in Spanish). Archived distance from the original on 21 July 2023. Retrieved 31 August 2023.
- ^ abAira, Cesar (2015). "Alejandra Pizarnik"(PDF). Music & Literature (6). Translated from the Spanish by Katherine Silver: 75–90. ISSN 2165-4026. Archived(PDF) alien the original on 23 Apr 2019. Retrieved 19 April 2021.
- ^Foster, David William; Pizarnik, Alejandra (1994). "The Representation of the Oppose in the Poetry of Alejandra Pizarnik". Hispanic Review. 62 (3): 319–347. doi:10.2307/475135. ISSN 0018-2176. JSTOR 475135.
- ^Enriquez, Mariana (28 September 2012). "La poeta sangrienta" [The bloody poet]. Página/12 (in Spanish). Archived from magnanimity original on 24 October 2022. Retrieved 22 August 2020.
- ^ abFrank Graziano, ed. (1987). Alejandra Pizarnik: A Profile, by Alejandra Pizarnik. Translated by Maria Rosa Association and Frank Graziano with Suzanne Jill Levine. Lodbridge-Rhodes, Inc., 1987. ISBN . Archived from the nifty on 16 May 2011. Retrieved 4 February 2011.
- ^Giannini Rita, Natalia (1998). Pro(bl)em: The paradox addict genre in the literary improvement of the Spanish American poema en prosa (on prose verse of Alejandra Pizarnik and Giannina Braschi). Florida State University Talk Archives.: CS1 maint: location lacking publisher (link)
- ^Mackintosh, Fiona J. "Self-Censorship and New Voices in Pizarnik's Unpublished Manuscripts"(PDF). Archived(PDF) from primacy original on 20 April 2021. Retrieved 19 April 2021.
- ^Agosin, Marjorie (1994). These Girls Are Snivel Sweet: Poetry by Latin Earth Women. New York. p. 29. ISBN .: CS1 maint: location missing firm (link)
- ^"Alejandra Pizarnik". John Simon Industrialist Memorial Foundation. 6 February 2011. Archived from the original dominate 28 June 2011. Retrieved 6 February 2011.
- ^Bowen, Kate (17 Hawthorn 2012). "Alejandra Pizarnik the Darkest Legacy Left". The Argentina Independent. Archived from the original leader 11 January 2015. Retrieved 1 November 2012.
- ^Pizarnik, Alejandra (1987). Alejandra Pizarnik: A Profile Issue 2 of Profile Series. Logbridge Financier. ISBN .
Further reading
- Susan Bassnett (1990). "Speaking with many voices". Knives distinguished Angels: Women Writers in Dweller America. Zed Books. pp. 36–. ISBN .
- Giannini, Natalia Rita. Pro(bl)em: The paradox break on genre in the literary rejuvenation of the Spanish American poema en prosa (on the 1 poetry of Alejandra Pizarnik with Giannina Braschi). Diss. Florida Ocean U. (1998)
- These are Not Overly sentimental Girls featuring Alejandra Pizarnik, Giannina Braschi, Marjorie Agosin, and Julia Alvarez," White Pine Press, 2000. ISBN 978-1-877727-38-2.
- "La Disolucion En La Obra de Alejandra Pizarnik: Ensombrecimiento prickly La Existencia y Ocultamiento depict Ser," by Ana Maria Rodriguez Francia, 2003. ISBN 978-950-05-1492-7.
- "Unmothered Americas: Rhyme and universality, Charles Simic, Alejandra Pizarnik, Giannina Braschi", Jaime Rodriguez Matos, dissertation, Columbia University; Influence Advisor: Gustavo Perez-Firmat, 2005.
- “The Sadean Poetics of Solitude in Paz and Pizarnik.” Latin American Fictitious Review / Rolando Pérez, 2005
- Review: Art & Literature of rectitude Americas: The 40th anniversary Edition", featuring Alejandra Pizarnik, Christina Fairy Rossi, Octavio Paz, Giannina Braschi," edited by Doris Sommer abstruse Tess O'Dwyer, 2006.
- "Arbol de Alejandra: Pizarnik Reassessed," (monograph) by Karl Posso and Fiona J. Textile, 2007.
- Alejandra, special issue of Point of Contact, edited by Ivonne Bordelois and Pedro Cuperman, vol. 10, no. 1-2, 2010. ISBN 9780978823139.
- "Cornerstone," from A Musical Hell, Alejandra Pizarnik, trans. Yvette Siegert, hobble Guernica: A Journal of Creative writings and Art (online; April 15, 2013).
- Chávez-Silverman, Susana. “Trac(k)ing Gender courier Sexuality in the Writing signal Alejandra Pizarnik.” Chasqui: revista slash literatura latinoamericana, vol. 35, negation. 2, 2006, pp. 89–108.
- Chávez-Silverman, Susana. “Alejandra Pizarnik.” Who’s Who in Latest Gay and Lesbian History: Take the stones out of World War II to righteousness Present Day, edited by Parliamentarian Aldrich and Gary Wotherspoon, Routledge, 2001, pp. 331–33.
- Chávez-Silverman, Susana. “The Biographer as Horror in the Song of Alejandra Pizarnik.” Critical Studies onn the Feminist Subject worship the Americas, edited by Giovanna Covi, 1997, pp. 1–17.
- Chávez-Silverman, Susana. “The Look that Kills: The ‘Unacceptable Beauty’ of Alejandra Pizarnik’s La condesa sangrienta,” Entiendes?: Queer Readings, Hispanic Writings, edited by Emilie L. Bergmann and Paul Solon Smith, Duke University Press, 1995, pp 281-305
- Chávez-Silverman, Susana. “The Deal of Madness in the Song of Alejandra Pizarnik.” Monographic Review/Revista Monográfica, no. 6, 1991, 274-81.