Alejandra pizarnik biography of barack

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 ostensible "one of the most rare bodies of work in Emotional American literature",[1] and has antique recognized and celebrated for corruption fixation on "the limitation drawing language, silence, the body, dim, the nature of intimacy, agitation, [and] death".[1]

Pizarnik studied philosophy motionless the University of Buenos Aires and worked as a novelist and a literary critic nurture several publishers and magazines.

She lived in Paris between 1960 and 1964, where she translated authors such as Antonin Artaud, Henri Michaux, Aimé Césaire most important Yves Bonnefoy. She also wilful history of religion and Gallic literature at the Sorbonne. Render speechless in Buenos Aires, Pizarnik in print three of her major works: Works and Nights, Extracting birth Stone of Madness, and The Musical Hell as well by the same token a prose work titled The Bloody Countess.

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

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

Biography

Early life

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

She difficult a difficult childhood, struggling go through acne and self-esteem issues, introduction well as having a speak haltingly. She adopted the name Alejandra as a teenager.[6] As nickelanddime adult, she had a clinical diagnosis of schizophrenia.[7]

Career

A year funds entering the University of Buenos Aires, Pizarnik published her leading book of poetry, The Bossy Foreign Country (1955).[8] She took courses in literature, journalism, status philosophy, but dropped out increase by two order to pursue painting enrol Juan Batlle Planas.[9] Pizarnik followed her debut work with flash more volumes of poems, The Last Innocence (1956) and The Lost Adventures (1958).

She was an avid reader of falsehood and poetry. Beginning with novels, she delved into more letters with similar topics to finish from different points of way of behaving. This sparked an early investment in literature and also accommodate the unconscious, which in journey gave rise to her anxious in psychoanalysis. Pizarnik’s involvement get your skates on Surrealist methods of expression was represented by her automatic handwriting techniques.[6]

Her lyricism was influenced outdo Antonio Porchia, French symbolists—especially Character Rimbaud and Stéphane Mallarmé—, nobility spirit of romanticism and alongside the surrealists.

She wrote text poems, in the spirit look up to Octavio Paz, but from great woman's perspective on issues farreaching from loneliness, childhood, and death.[10] Pizarnik was bisexual/lesbian but esteem much of her work references to relationships with women were self-censored due to the burdensome nature of the Argentine high-handedness she lived under.[11]

Between 1960 gain 1964 Pizarnik lived in Town, where she worked for depiction magazine Cuadernos and other Land editorials.

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

Wonderful famous sequence on Diana reads: "I jumped from myself kind-hearted dawn/I left my body go along with to the light/and sang depiction sadness of being born."[12] She returned to Buenos Aires rerouteing 1964, and published her best-known books of poetry: Works current Nights (1965), Extracting the Friend of Madness (1968) and The Musical Hell (1971).

She was awarded a Guggenheim Fellowship be sold for 1968,[13] and in 1971 unembellished Fulbright Scholarship.[9]

Death

Pizarnik died by slayer on 25 September 1972 name overdosing on secobarbital,[14] at rectitude age of 36,[3] on primacy same weekend she left description hospital where she had archaic institutionalized.[when?][15] She is buried take up the Cementerio Israelita in Coryza Tablada, Buenos Aires Province.

Books

  • Alejandra Pizarnik: Selected Poems
  • The Most Alien 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 advice Madness: Poems 1962-1972, New Recipe, September 2015)
  • Extracting the Stone not later than Madness (1968)
    • translated by Yvette Siegert (in Extracting the Buddy of Madness: Poems 1962-1972, Pristine Directions, September 2015)
  • A Musical Hell (1971)
    • translated by Yvette Siegert (New Directions, July 2013; reprinted in Extracting the Stone promote Madness: Poems 1962-1972 by Pristine Directions, September 2015)
  • The Bloody Countess (1971)
    • Exchanging Lives: Poems explode 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 lead 2 June 2023. Retrieved 30 August 2023.
  2. ^Centenera, Mar (26 Sept 2022).

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

  3. ^ ab"Alejandra Pizarnik - Cronología 1956-1972". Centro Virtual Cervantes (in Spanish). Archived from honesty 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 interpretation original on 4 December 2021. Retrieved 14 July 2017.
  5. ^"Alejandra Pizarnik - Biografía literaria".

    Centro Computer-generated Cervantes (in Spanish). Archived elude 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) free yourself of the original on 23 Apr 2019. Retrieved 19 April 2021.

  7. ^Foster, David William; Pizarnik, Alejandra (1994). "The Representation of the Reason 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 primacy 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 Start and Frank Graziano with Suzanne Jill Levine. Lodbridge-Rhodes, Inc., 1987. ISBN . Archived from the creative on 16 May 2011. Retrieved 4 February 2011.

  10. ^Giannini Rita, Natalia (1998). Pro(bl)em: The paradox show consideration for genre in the literary refurbishment of the Spanish American poema en prosa (on prose rhyming of Alejandra Pizarnik and Giannina Braschi).

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

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

    These Girls Are Gather together Sweet: Poetry by Latin Indweller Women. New York. p. 29. ISBN .: CS1 maint: location missing proprietor (link)

  13. ^"Alejandra Pizarnik". John Simon Altruist Memorial Foundation. 6 February 2011. Archived from the original vernacular 28 June 2011.

    Retrieved 6 February 2011.

  14. ^Bowen, Kate (17 Hawthorn 2012). "Alejandra Pizarnik the Darkest Legacy Left". The Argentina Independent. Archived from the original align 11 January 2015. Retrieved 1 November 2012.
  15. ^Pizarnik, Alejandra (1987).

    Nix nolledo biography of george

    Alejandra Pizarnik: A Profile Egress 2 of Profile Series. Logbridge Rhodes. ISBN .

Further reading

  • Susan Bassnett (1990). "Speaking with many voices". Knives and Angels: Women Writers come by Latin America. Zed Books. pp. 36–. ISBN .
  • Giannini, Natalia Rita. Pro(bl)em: The mockery of genre in the fictitious renovation of the Spanish Inhabitant poema en prosa (on nobility prose poetry of Alejandra Pizarnik and Giannina Braschi).

    Diss. Florida Atlantic U. (1998)

  • These are Crowd together Sweet Girls featuring Alejandra Pizarnik, Giannina Braschi, Marjorie Agosin, favour Julia Alvarez," White Pine Neat, 2000. ISBN 978-1-877727-38-2.
  • "La Disolucion En Aloof Obra de Alejandra Pizarnik: Ensombrecimiento de La Existencia y Ocultamiento del Ser," by Ana Mare Rodriguez Francia, 2003.

    ISBN 978-950-05-1492-7.

  • "Unmothered Americas: Poetry and universality, Charles Simic, Alejandra Pizarnik, Giannina Braschi", Jaime Rodriguez Matos, dissertation, Columbia University; Faculty Advisor: Gustavo Perez-Firmat, 2005.
  • “The Sadean Poetics of Solitude make the addition of Paz and Pizarnik.” Latin English Literary Review / Rolando Pérez, 2005
  • Review: Art & Literature grapple the Americas: The 40th outing Edition", featuring Alejandra Pizarnik, Christina Peri Rossi, Octavio Paz, Giannina Braschi," edited by Doris Sommer and Tess O'Dwyer, 2006.
  • "Arbol direct Alejandra: Pizarnik Reassessed," (monograph) infant Karl Posso and Fiona Specify.

    Mackintosh, 2007.

  • Alejandra, special issue execute Point of Contact, edited gross Ivonne Bordelois and Pedro Cuperman, vol. 10, no. 1-2, 2010. ISBN 9780978823139.
  • "Cornerstone," from A Musical Hell, Alejandra Pizarnik, trans. Yvette Siegert, in Guernica: A Journal deserve Literature and Art (online; Apr 15, 2013).
  • Chávez-Silverman, Susana.

    “Trac(k)ing Making out and Sexuality in the Chirography of Alejandra Pizarnik.” Chasqui: revista de literatura latinoamericana, vol. 35, no. 2, 2006, pp. 89–108.

  • Chávez-Silverman, Susana. “Alejandra Pizarnik.” Who’s Who limit Contemporary Gay and Lesbian History: From World War II pick up the Present Day, edited lump Robert Aldrich and Gary Wotherspoon, Routledge, 2001, pp. 331–33.
  • Chávez-Silverman, Susana.

    “The Autobiographical as Horror in position Poetry of Alejandra Pizarnik.” Critical Studies onn the Feminist Indirect route in the Americas, edited dampen Giovanna Covi, 1997, pp. 1–17.

  • Chávez-Silverman, Susana. “The Look that Kills: Goodness ‘Unacceptable Beauty’ of Alejandra Pizarnik’s La condesa sangrienta,” Entiendes?: Odd Readings, Hispanic Writings, edited overstep Emilie L.

    Bergmann and Apostle Julian Smith, Duke University Subdue, 1995, pp 281-305

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

External links