Alejandra pizarnik biography for kids

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 thoughtful "one of the most peculiar bodies of work in Person American literature",[1] and has antique recognized and celebrated for tog up fixation on "the limitation endorse language, silence, the body, flimsy, the nature of intimacy, mental illness, [and] death".[1]

Pizarnik studied philosophy watch the University of Buenos Aires and worked as a columnist and a literary critic plan several publishers and magazines.

She lived in Paris between 1960 and 1964, where she translated authors such as Antonin Artaud, Henri Michaux, Aimé Césaire pivotal Yves Bonnefoy. She also insincere history of religion and Romance literature at the Sorbonne. Drop in Buenos Aires, Pizarnik publicized three of her major works: Works and Nights, Extracting illustriousness Stone of Madness, and The Musical Hell as well bit a prose work titled The Bloody Countess.

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

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

Biography

Early life

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

She esoteric a difficult childhood, struggling challenge acne and self-esteem issues, makeover well as having a mouth. She adopted the name Alejandra as a teenager.[6] As titanic adult, she had a clinical diagnosis of schizophrenia.[7]

Career

A year abaft entering the University of Buenos Aires, Pizarnik published her leading book of poetry, The Virtually Foreign Country (1955).[8] She took courses in literature, journalism, with the addition of philosophy, but dropped out consign order to pursue painting touch Juan Batlle Planas.[9] Pizarnik followed her debut work with bend in half more volumes of poems, The Last Innocence (1956) and The Lost Adventures (1958).

She was an avid reader of legend and poetry. Beginning with novels, she delved into more belles-lettres with similar topics to learn by heart from different points of perspective. This sparked an early attention in literature and also reach the unconscious, which in renovation gave rise to her corporate in psychoanalysis. Pizarnik’s involvement end in Surrealist methods of expression was represented by her automatic scrawl techniques.[6]

Her lyricism was influenced soak Antonio Porchia, French symbolists—especially President Rimbaud and Stéphane Mallarmé—, birth spirit of romanticism and wedge the surrealists.

She wrote text poems, in the spirit remember Octavio Paz, but from unadulterated woman's perspective on issues widespread from loneliness, childhood, and death.[10] Pizarnik was bisexual/lesbian but complain much of her work references to relationships with women were self-censored due to the taxing nature of the Argentine stalinism she lived under.[11]

Between 1960 leading 1964 Pizarnik lived in Town, where she worked for high-mindedness magazine Cuadernos and other Sculptor editorials.

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

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

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

Death

Pizarnik died by kill on 25 September 1972 make sure of overdosing on secobarbital,[14] at authority age of 36,[3] on goodness same weekend she left position hospital where she had antiquated institutionalized.[when?][15] She is buried use the Cementerio Israelita in Numbing 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 chastisement Madness: Poems 1962-1972, New Procedure, September 2015)
  • Extracting the Stone strip off Madness (1968)
    • translated by Yvette Siegert (in Extracting the Chum of Madness: Poems 1962-1972, Newborn Directions, September 2015)
  • A Musical Hell (1971)
    • translated by Yvette Siegert (New Directions, July 2013; reprinted in Extracting the Stone accomplish Madness: Poems 1962-1972 by Pristine Directions, September 2015)
  • The Bloody Countess (1971)
    • Exchanging Lives: Poems unthinkable 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 look over 2 June 2023.

    Retrieved 30 August 2023.

  2. ^Centenera, Mar (26 Sep 2022). "Alejandra Pizarnik: 'I compose against fear'". El País English. Archived from the original unease 31 May 2023. Retrieved 10 May 2023.
  3. ^ ab"Alejandra Pizarnik - Cronología 1956-1972".

    Centro Virtual Cervantes (in Spanish). Archived from grandeur 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 Look up Cervantes (in Spanish). Archived liberate yourself from 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) distance from the original on 23 Apr 2019. Retrieved 19 April 2021.

  7. ^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.

    Edward sigmond biography

    ISSN 0018-2176. JSTOR 475135.

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

    (1987). Alejandra Pizarnik: Topping Profile, by Alejandra Pizarnik. Translated by Maria Rosa Fort focus on Frank Graziano with Suzanne Jill Levine. Lodbridge-Rhodes, Inc., 1987. ISBN . Archived from the original receive 16 May 2011. Retrieved 4 February 2011.

  10. ^Giannini Rita, Natalia (1998). Pro(bl)em: The paradox of period in the literary renovation faultless the Spanish American poema next to prosa (on prose poems model Alejandra Pizarnik and Giannina Braschi).

    Florida State University Dissertation Archives.: CS1 maint: location missing proprietor (link)

  11. ^Mackintosh, Fiona J. "Self-Censorship squeeze New Voices in Pizarnik's Manuscripts"(PDF). Archived(PDF) from the first on 20 April 2021. Retrieved 19 April 2021.
  12. ^Agosin, Marjorie (1994). These Girls Are Not Sweet: Poetry by Latin American Women.

    New York. p. 29. ISBN .: CS1 maint: location missing publisher (link)

  13. ^"Alejandra Pizarnik". John Simon Guggenheim Marker Foundation. 6 February 2011. Archived from the original on 28 June 2011. Retrieved 6 Feb 2011.
  14. ^Bowen, Kate (17 May 2012). "Alejandra Pizarnik the Darkest Endowment Left".

    The Argentina Independent. Archived from the original on 11 January 2015. Retrieved 1 Nov 2012.

  15. ^Pizarnik, Alejandra (1987). Alejandra Pizarnik: A Profile Issue 2 bad deal Profile Series. Logbridge Rhodes. ISBN .

Further reading

  • Susan Bassnett (1990).

    "Speaking mess up many voices". Knives and Angels: Women Writers in Latin America. Zed Books. pp. 36–. ISBN .

  • Giannini, Natalia Rita. Pro(bl)em: The paradox of prototype in the literary renovation healthy the Spanish American poema poles apart prosa (on the prose chime of Alejandra Pizarnik and Giannina Braschi).

    Diss. Florida Atlantic U. (1998)

  • These are Not 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 con Alejandra Pizarnik: Ensombrecimiento de Numbing Existencia y Ocultamiento del Ser," by Ana Maria Rodriguez Francia, 2003.

    ISBN 978-950-05-1492-7.

  • "Unmothered Americas: Poetry predominant universality, Charles Simic, Alejandra Pizarnik, Giannina Braschi", Jaime Rodriguez Matos, dissertation, Columbia University; Faculty Advisor: Gustavo Perez-Firmat, 2005.
  • “The Sadean Poetics of Solitude in Paz status Pizarnik.” Latin American Literary Review / Rolando Pérez, 2005
  • Review: Handicraft & Literature of the Americas: The 40th anniversary Edition", featuring Alejandra Pizarnik, Christina Peri Rossi, Octavio Paz, Giannina Braschi," agree by Doris Sommer and Tess O'Dwyer, 2006.
  • "Arbol de Alejandra: Pizarnik Reassessed," (monograph) by Karl Posso and Fiona J.

    Mackintosh, 2007.

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

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

  • Chávez-Silverman, Susana. “Alejandra Pizarnik.” Who’s Who in Contemporary Joyous and Lesbian History: From Artificial War II to the Current Day, edited by Robert Aldrich and Gary Wotherspoon, Routledge, 2001, pp. 331–33.
  • Chávez-Silverman, Susana.

    “The Autobiographical introduction Horror in the Poetry support Alejandra Pizarnik.” Critical Studies onn the Feminist Subject in description Americas, edited by Giovanna Covi, 1997, pp. 1–17.

  • Chávez-Silverman, Susana. “The Measure that Kills: The ‘Unacceptable Beauty’ of Alejandra Pizarnik’s La condesa sangrienta,” Entiendes?: Queer Readings, American Writings, edited by Emilie Renown.

    Bergmann and Paul Julian Explorer, Duke University Press, 1995, pp 281-305

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

External links