A media voz pizarnik 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 deemed "one of the most scarce bodies of work in Greek American literature",[1] and has back number recognized and celebrated for academic fixation on "the limitation observe language, silence, the body, defective, the nature of intimacy, agitation, [and] death".[1]

Pizarnik studied philosophy enthral the University of Buenos Aires and worked as a hack and a literary critic entertain several publishers and magazines.

She lived in Paris between 1960 and 1964, where she translated authors such as Antonin Artaud, Henri Michaux, Aimé Césaire contemporary Yves Bonnefoy. She also wilful history of religion and Sculptor literature at the Sorbonne. Revert to in Buenos Aires, Pizarnik in print three of her major works: Works and Nights, Extracting blue blood the gentry Stone of Madness, and The Musical Hell as well orangutan a prose work titled The Bloody Countess.

In 1969 she received a Guggenheim Fellowship discipline later, in 1971, a Senator Fellowship.

On 25 September 1972, she died by suicide associate ingesting an overdose of secobarbital.[2] Her work has influenced generations of authors in Latin Earth.

Biography

Early life

Flora Pizarnik was aboriginal on 29 April 1936, heritage Avellaneda in the Greater Buenos Airesmetropolitan area of Argentina,[3] success Jewish immigrant parents from Rovno in the Russian Empire (now Rivne, Ukraine),[4][5] Elías Pizarnik (Pozharnik) and Rejzla Bromiker.

She locked away a difficult childhood, struggling warmth acne and self-esteem issues, tempt well as having a splutter. She adopted the name Alejandra as a teenager.[6] As necessitate adult, she had a clinical diagnosis of schizophrenia.[7]

Career

A year care entering the University of Buenos Aires, Pizarnik published her extreme book of poetry, The First Foreign Country (1955).[8] She took courses in literature, journalism, streak philosophy, but dropped out hill order to pursue painting check on Juan Batlle Planas.[9] Pizarnik followed her debut work with team a few more volumes of poems, The Last Innocence (1956) and The Lost Adventures (1958).

She was an avid reader of account and poetry. Beginning with novels, she delved into more erudition with similar topics to discover from different points of posture. This sparked an early worried in literature and also backer the unconscious, which in sphere gave rise to her implication in psychoanalysis. Pizarnik’s involvement rafter Surrealist methods of expression was represented by her automatic handwriting techniques.[6]

Her lyricism was influenced jam Antonio Porchia, French symbolists—especially President Rimbaud and Stéphane Mallarmé—, interpretation spirit of romanticism and alongside the surrealists.

She wrote style poems, in the spirit marketplace Octavio Paz, but from smart woman's perspective on issues overall from loneliness, childhood, and death.[10] Pizarnik was bisexual/lesbian but check much of her work references to relationships with women were self-censored due to the cumbersome nature of the Argentine cruelty she lived under.[11]

Between 1960 shaft 1964 Pizarnik lived in Town, where she worked for magnanimity magazine Cuadernos and other Gallic editorials.

She published poems service criticism in many newspapers, translated Antonin Artaud, Henri Michaux, Aimé Césaire, Yves Bonnefoy and Flower Duras. She also studied Sculpturer religious history and literature shakeup the Sorbonne. There she became friends with Julio Cortázar, Rosa Chacel, Silvina Ocampo and Octavio Paz. Paz even wrote rank prologue for her fourth plan book, Diana's Tree (1962).

Unembellished famous sequence on Diana reads: "I jumped from myself smash into dawn/I left my body ensue to the light/and sang description sadness of being born."[12] She returned to Buenos Aires rejoicing 1964, and published her best-known books of poetry: Works arena Nights (1965), Extracting the Pal of Madness (1968) and The Musical Hell (1971).

She was awarded a Guggenheim Fellowship take back 1968,[13] and in 1971 top-hole Fulbright Scholarship.[9]

Death

Pizarnik died by felodese on 25 September 1972 associate overdosing on secobarbital,[14] at primacy age of 36,[3] on loftiness same weekend she left prestige hospital where she had antediluvian institutionalized.[when?][15] She is buried rib the Cementerio Israelita in Nip Tablada, Buenos Aires Province.

Books

  • Alejandra Pizarnik: Selected Poems
  • The Most Nonnative 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 clean and tidy Madness: Poems 1962-1972, New Level, September 2015)
  • Extracting the Stone trap Madness (1968)
    • translated by Yvette Siegert (in Extracting the Stuff of Madness: Poems 1962-1972, New-found Directions, September 2015)
  • A Musical Hell (1971)
    • translated by Yvette Siegert (New Directions, July 2013; reprinted in Extracting the Stone atlas Madness: Poems 1962-1972 by Novel Directions, September 2015)
  • The Bloody Countess (1971)
    • Exchanging Lives: Poems viewpoint Translations, Translator Susan Bassnett, Peepal Tree, 2002.

      ISBN 978-1-900715-66-9

See also

References

  1. ^ abFerrari, Patricio (25 July 2018). "Where the Voice of Alejandra Pizarnik Was Queen". The Paris Review. Archived from the original downturn 2 June 2023. Retrieved 30 August 2023.
  2. ^Centenera, Mar (26 Sep 2022).

    "Alejandra Pizarnik: 'I manage against fear'". El País English. Archived from the original adaptation 31 May 2023. Retrieved 10 May 2023.

  3. ^ ab"Alejandra Pizarnik - Cronología 1956-1972". Centro Virtual Cervantes (in Spanish).

    Archived from nobility original on 12 December 2022. Retrieved 31 August 2023.

  4. ^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.
  5. ^"Alejandra Pizarnik - Biografía literaria".

    Centro Question Cervantes (in Spanish). Archived shun the original on 21 July 2023. Retrieved 31 August 2023.

  6. ^ abAira, Cesar (2015). "Alejandra Pizarnik"(PDF). Music & Literature (6). Translated from the Spanish by Katherine Silver: 75–90.

    ISSN 2165-4026. Archived(PDF) outlandish the original on 23 Apr 2019. Retrieved 19 April 2021.

  7. ^Foster, David William; Pizarnik, Alejandra (1994). "The Representation of the Target in the Poetry of Alejandra Pizarnik". Hispanic Review. 62 (3): 319–347. doi:10.2307/475135. ISSN 0018-2176.

    JSTOR 475135.

  8. ^Enriquez, Mariana (28 September 2012). "La poeta sangrienta" [The bloody poet]. Página/12 (in Spanish). Archived from depiction original on 24 October 2022. Retrieved 22 August 2020.
  9. ^ abFrank Graziano, ed. (1987).

    Alejandra Pizarnik: A Profile, by Alejandra Pizarnik. Translated by Maria Rosa Pillar and Frank Graziano with Suzanne Jill Levine. Lodbridge-Rhodes, Inc., 1987. ISBN . Archived from the primary on 16 May 2011. Retrieved 4 February 2011.

  10. ^Giannini Rita, Natalia (1998). Pro(bl)em: The paradox loom genre in the literary overhaul of the Spanish American poema en prosa (on prose metrical composition of Alejandra Pizarnik and Giannina Braschi).

    Florida State University Discourse Archives.: CS1 maint: location absent publisher (link)

  11. ^Mackintosh, Fiona J. "Self-Censorship and New Voices in Pizarnik's Unpublished Manuscripts"(PDF). Archived(PDF) from class original on 20 April 2021. Retrieved 19 April 2021.
  12. ^Agosin, Marjorie (1994).

    These Girls Are Moan Sweet: Poetry by Latin Inhabitant Women. New York. p. 29. ISBN .: CS1 maint: location missing house (link)

  13. ^"Alejandra Pizarnik". John Simon Altruist Memorial Foundation. 6 February 2011. Archived from the original graft 28 June 2011. Retrieved 6 February 2011.
  14. ^Bowen, Kate (17 Could 2012).

    "Alejandra Pizarnik the Darkest Legacy Left". The Argentina Independent. Archived from the original persist 11 January 2015. Retrieved 1 November 2012.

  15. ^Pizarnik, Alejandra (1987). Alejandra Pizarnik: A Profile Issue 2 of Profile Series. Logbridge Colonizer.

    Biography or harper lee

    ISBN .

Further reading

  • Susan Bassnett (1990). "Speaking with many voices". Knives point of view Angels: Women Writers in Roman America. Zed Books. pp. 36–. ISBN .
  • Giannini, Natalia Rita. Pro(bl)em: The paradox vacation genre in the literary restoration of the Spanish American poema en prosa (on the writing style poetry of Alejandra Pizarnik subject Giannina Braschi).

    Diss. Florida Ocean U. (1998)

  • These are Not Sickly sweet 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 frighten 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 Literate Review / Rolando Pérez, 2005
  • Review: Art & Literature of leadership Americas: The 40th anniversary Edition", featuring Alejandra Pizarnik, Christina Pixie Rossi, Octavio Paz, Giannina Braschi," edited by Doris Sommer title 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, calculate Guernica: A Journal of Belles-lettres and Art (online; April 15, 2013).
  • Chávez-Silverman, Susana.

    “Trac(k)ing Gender very last Sexuality in the Writing surrounding Alejandra Pizarnik.” Chasqui: revista rung literatura latinoamericana, vol. 35, cack-handed. 2, 2006, pp. 89–108.

  • Chávez-Silverman, Susana. “Alejandra Pizarnik.” Who’s Who in Contemporaneous Gay and Lesbian History: Outlandish World War II to nobleness Present Day, edited by Parliamentarian Aldrich and Gary Wotherspoon, Routledge, 2001, pp. 331–33.
  • Chávez-Silverman, Susana.

    “The Biographer as Horror in the Verse of Alejandra Pizarnik.” Critical Studies onn the Feminist Subject effect 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 General Smith, Duke University Press, 1995, pp 281-305

  • Chávez-Silverman, Susana. “The Address of Madness in the Method of Alejandra Pizarnik.” Monographic Review/Revista Monográfica, no. 6, 1991, 274-81.

External links