By Karl Posso, Fiona J. Mackintosh
Thirty-five years after her dying, this e-book reassesses Argentinian poet Alejandra Pizarnik (1936-72) within the gentle of contemporary guides of her 'complete' poetry and prose, diaries, and formerly unavailable archive fabric. The essays during this quantity discover Pizarnik's paintings from new angles: they research her creation as a literary critic, revealing her excessive identificatory innovations as a reader, and the influence of such actions upon her personal artistic strategy. in addition they weigh up the impression of her ambiguous attitudes in the direction of sexuality on her poetic personae, in addition to the ways that her trouble with intercourse conjures up her experimentation with funny prose. New ways are taken to key texts and subject matters: in relation to the much-studied paintings, 'La condesa sangrienta', via a close philosophical interpreting related to comparisons with Kafka, and, relating to the subject matter of the break up topic, in the course of the lens of translation. by way of broadening the scope of Pizarnik reviews, this ebook will act as a catalyst for extra examine into the paintings of this compelling poet. . different participants: Susana Chávez Silverman, Evelyn Fishburn, Florinda F. Goldberg, Cristina Piña, Cecilia Rossi, Jason Wilson
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Extra info for Arbol de Alejandra: Pizarnik Reassessed (Monografías A)
248) – and then in what seems, at first, a paradoxical move, asks for silence. However, whereas the first silence, metaphorically represented in the ‘viento negro que impide respirar’, corresponds to silence as rupture, the second is located at the positive valency (Valesio’s silence as plenitude); it is equated with ‘la pequeña choza que encuentran en el bosque los niños perdidos’ (Poesía, p. 248). Here, we observe how the positive and negative signs begin to work together. The cottage, forest and children reference the miniaturizing, infantilizing fairytale quality we have seen at the negative end of the spectrum.
Sylvette mon amour . . yo sé lo que es esta carta . . Sylvette, no es una calentura . . haceme un lugarcito en vos, no te molestaré. Pero te quiero, no te imaginás cómo me estremezco al recordar tus manos (que jamás volveré a tocar si no te complace puesto que ya ves que lo sexual es un ‘tercero’ por añadidura. Te beso como yo sé . . o no te beso sino que te saludo, según tus gustos, como quieras. Me someto. (Correspondencia, p. 211; original emphasis) The irreconcilable tension between love and sexual desire – represented as a yearning and yet ‘sometimiento’ in this letter – is a leitmotiv throughout Pizarnik’s diaries and correspondence (see note 12).
306). See also my earlier footnote 5. 24 SUSANA CHÁVEZ SILVERMAN throughout Pizarnik’s poetry and private writing). The poem sets up two distinct (and opposing) semantic and structural fields, which mainly function horizontally; the meanings alternate between positive and negative poles, each one discretely contained in a single line. This pattern is only broken in the poem’s first line, which constitutes a kind of double transgression of the text’s grammar: first, in the inclusion of the first-person verb, and second, because this line contains two images, which figure both the negative and positive poles.