You can help expand this article with text translated from the corresponding article in Spanish. (July 2024) Click [show] for important translation instructions.
Machine translation, like DeepLorGoogle Translate, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia.
Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation. A model attribution edit summary is Content in this edit is translated from the existing Spanish Wikipedia article at [[:es:Alejandra Pizarnik]]; see its history for attribution.
You may also add the template {{Translated|es|Alejandra Pizarnik}} to the talk page.
Flora Alejandra Pizarnik (29 April 1936 – 25 September 1972) was an Argentine poet. Her idiosyncratic and thematically introspective poetry has been considered "one of the most unusual bodies of work in Latin American literature",[1] and has been recognized and celebrated for its fixation on "the limitation of language, silence, the body, night, the nature of intimacy, madness, [and] death".[1]
Pizarnik studied philosophy at the University of Buenos Aires and worked as a writer and a literary critic for several publishers and magazines. She lived in Paris between 1960 and 1964, where she translated authors such as Antonin Artaud, Henri Michaux, Aimé Césaire and Yves Bonnefoy. She also studied history of religion and French literature at the Sorbonne. Back in Buenos Aires, Pizarnik published three of her major works: Works and Nights, Extracting the Stone of Madness, and The Musical Hell as well as a prose work titled The Bloody Countess. In 1969 she received a Guggenheim Fellowship and later, in 1971, a Fulbright Fellowship.
On September 25, 1972, she died by suicide after ingesting an overdose of secobarbital.[2] Her work has influenced generations of authors in Latin America.
Flora Alejandra Pizarnik was born on April 29, 1936, in Avellaneda, a city within the Greater Buenos Airesmetropolitan area, Argentina,[3] to Jewish immigrant parents from Rivne (now Ukraine).[4][5] Her parents were Elías Pizarnik (Pozharnik) and Rejzla Bromiker. She had a difficult childhood, struggling with acne and self-esteem issues, as well as having a stutter. She adopted the name Alejandra as a teenager.[6] As an adult, she had a clinical diagnosis of schizophrenia.[7]
A year after entering the University of Buenos Aires, Pizarnik published her first book of poetry, The Most Foreign Country (1955).[8] She took courses in literature, journalism, and philosophy, but dropped out in order to pursue painting with Juan Batlle Planas.[9] Pizarnik followed her debut work with two more volumes of poems, The Last Innocence (1956) and The Lost Adventures (1958). She was an avid reader of fiction and poetry. Beginning with novels, she delved into more literature with similar topics to learn from different points of view. This sparked an early interest in literature and also for the unconscious, which in turn gave rise to her interest in psychoanalysis. Pizarnik’s involvement in Surrealist methods of expression was represented by her automatic writing techniques.[6]
Her lyricism was influenced by Antonio Porchia, French symbolists—especially Arthur Rimbaud and Stéphane Mallarmé—, the spirit of romanticism and by the surrealists. She wrote prose poems, in the spirit of Octavio Paz, but from a woman's perspective on issues ranging from loneliness, childhood, and death.[10] Pizarnik was bisexual/lesbian but in much of her work references to relationships with women were self-censored due to the oppressive nature of the Argentine dictatorship she lived under.[11]
Between 1960 and 1964 Pizarnik lived in Paris, where she worked for the magazine Cuadernos and other French editorials. She published poems and criticism in many newspapers, translated Antonin Artaud, Henri Michaux, Aimé Césaire, Yves Bonnefoy and Marguerite Duras. She also studied French religious history and literature at the Sorbonne. There she became friends with Julio Cortázar, Rosa Chacel, Silvina Ocampo and Octavio Paz. Paz even wrote the prologue for her fourth poetry book, Diana's Tree (1962). A famous sequence on Diana reads: "I jumped from myself to dawn/I left my body next to the light/and sang the sadness of being born."[12] She returned to Buenos Aires in 1964, and published her best-known books of poetry: Works and Nights (1965), Extracting the Stone of Madness (1968) and The Musical Hell (1971). She was awarded a Guggenheim Fellowship in 1968,[13] and in 1971 a Fulbright Scholarship.[9]
translated by Yvette Siegert (Ugly Duckling Presse, October 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 (inExtracting the Stone of Madness: Poems 1962-1972, New Directions, September 2015)
Extracting the Stone of Madness (1968)
translated by Yvette Siegert (inExtracting the Stone of Madness: Poems 1962-1972, New Directions, September 2015)
A Musical Hell (1971)
translated by Yvette Siegert (New Directions, July 2013; reprinted in Extracting the Stone of Madness: Poems 1962-1972 by New Directions, September 2015)
The Bloody Countess (1971)
Exchanging Lives: Poems and Translations, Translator Susan Bassnett, Peepal Tree, 2002. ISBN978-1-900715-66-9
^ abAira, Cesar (2015). "Alejandra Pizarnik"(PDF). Music & Literature (6). Translated from the Spanish by Katherine Silver: 75–90. ISSN2165-4026. Archived(PDF) from the original on 23 April 2019. Retrieved 19 April 2021.
^Enriquez, Mariana (28 September 2012). "La poeta sangrienta" [The bloody poet]. Página/12 (in Spanish). Archived from the original on 24 October 2022. Retrieved 22 August 2020.
^Giannini Rita, Natalia (1998). Pro(bl)em: The paradox of genre in the literary renovation of the Spanish American poema en prosa (on prose poems of Alejandra Pizarnik and Giannina Braschi). Florida State University Dissertation Archives.{{cite book}}: CS1 maint: location missing publisher (link)
^Agosin, Marjorie (1994). These Girls Are Not Sweet: Poetry by Latin American Women. New York. p. 29. ISBN1877727385.{{cite book}}: CS1 maint: location missing publisher (link)
^"Alejandra Pizarnik". John Simon Guggenheim Memorial Foundation. 6 February 2011. Archived from the original on 28 June 2011. Retrieved 6 February 2011.
Giannini, Natalia Rita. Pro(bl)em: The paradox of genre in the literary renovation of the Spanish American poema en prosa (on the prose poetry of Alejandra Pizarnik and Giannina Braschi). Diss. Florida Atlantic U. (1998)
"La Disolucion En La Obra de Alejandra Pizarnik: Ensombrecimiento de La Existencia y Ocultamiento del Ser," by Ana Maria Rodriguez Francia, 2003. ISBN978-950-05-1492-7.
"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 in Paz and Pizarnik.” Latin American Literary Review / Rolando Pérez, 2005
Review: Art & Literature of the Americas: The 40th anniversary Edition", featuring Alejandra Pizarnik, Christina Peri Rossi, Octavio Paz, Giannina Braschi," edited by Doris Sommer and Tess O'Dwyer, 2006.
"Arbol de Alejandra: Pizarnik Reassessed," (monograph) by Karl Posso and Fiona J. Mackintosh, 2007.
"Cornerstone," from A Musical Hell, Alejandra Pizarnik, trans. Yvette Siegert, in Guernica: A Journal of Literature and Art (online; April 15, 2013).
Chávez-Silverman, Susana. “Trac(k)ing Gender and Sexuality 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 Gay and Lesbian History: From World War II to the Present Day, edited by Robert Aldrich and Gary Wotherspoon, Routledge, 2001, pp. 331–33.
Chávez-Silverman, Susana. “The Autobiographical as Horror in the Poetry of Alejandra Pizarnik.” Critical Studies onn the Feminist Subject in 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 Julian Smith, Duke University Press, 1995, pp 281-305
Chávez-Silverman, Susana. “The Discourse of Madness in the Poetry of Alejandra Pizarnik.” Monographic Review/Revista Monográfica, no. 6, 1991, 274-81.
