By Fiona J. Mackintosh
This quantity explores the topic of adolescence within the cuentista and poet Silvina Ocampo (1903-1993) and the poet Alejandra Pizarnik (1936-1972). It attracts revealing comparisons among those key Argentine writers via their shared obsession with youth, arguing that an figuring out in their attitudes to early life is prime to an appreciation in their paintings. shut examining of assorted Ocampo texts, together with a few for kids, permits an exploration of her imaginative and prescient of youth via nostalgia, adult-child energy relationships, growing older and rejuvenation, and moments of initiation or imitation. Pizarnik is taken into account on the subject of the parable of the child-poet, and her baby personae are analysed via Breton's Surrealism, Cocteau and Paz; via her borrowings from Carroll's Alice in Wonderland and Breton's Nadja; and during her obsession with insanity, dying, orphanhood, violation and transgression. within the base line, Ocampo's works in achieving equilibrium among formative years and age, while Pizarnik's poetic quandary of exile from language parallels her deep feel of hysteria at being exiled from the realm of formative years.
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Extra resources for Childhood in the Works of Silvina Ocampo and Alejandra Pizarnik (Monografías A)
S. comprende. La que no comprende soy yo’ (Semblanza, p. 263). qxd 15/09/03 10:09 AM Page 41 SYLVETTE AND SACHA 41 Dolls The doll and the immature have something right about them, the doll, because it resembles, but does not contain life, and the third sex, because it contains life but resembles the doll. (Djuna Barnes, Nightwood, p. 210) The doll is a private vessel into which are distilled fears, hopes, sorrows, and magic make-believe. The diabolical is not less than the angelic. One begins with innocence, and the experience of time breeds knowledge and the power for good and evil.
As a contemporary in Paris with Pizarnik, Molloy shared Pizarnik’s amusement in creating such punning and scatological texts as are reproduced in Haydu, for example ‘Escena de la locura de mademoiselle Pomesita Laconasse’; these texts perhaps reveal enjoyment at finding a release for speaking about sexuality which Pizarnik kept more veiled in her published poems. The section of ‘Hilda la polígrafa’ entitled ‘La polka’, for instance, contains the following teasing dialogue: Peresidientes del poker pejecutivo de la Res Púbica, nuestro país es homo.
En mi prójima carta te contaré mis aventuras de este mundo’ (p. 170). The tone of light humour and reassuring normality with which Silvina tackles these big questions points out the differences between their styles. In the poetry from ‘El infierno musical’ of 1971, fear is very much a present force; the poet claims ‘Conozco la gama de los miedos’ (p. 154) and she writes to combat this fear: ‘Escribo contra el miedo’. Silvina’s story could therefore be seen as responding to Pizarnik’s desperate cry, attempting to reassure her.