1936 - 1972
“Es probable que la condición de poeta lleve,
entre otras cosas, a adoptar el rol de fantasma”
entre otras cosas, a adoptar el rol de fantasma”
I
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II
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http://www.oktober.no/Boeker/Skjoennlitteratur/Lyrikk-dramatikk/Verden-finnes-ikke-paa-kartet
(Carmona-Alvarez & Wærness - Verden Finnes Ikke På Kartet. s. 122 - 134)
http://www.ellerstroms.se/book/403
(Alejandra Pizarnik - Spegelns Vägar)
Her poetic corpus has often been read by critics as a poetics of suicide, since right from the earliest poems there is a fascination with death, which is echoed in Pizarnik’s diaries and which gains a tragic aura of authenticity after the poet’s death from an overdose.
the identity of Pizarnik’s poetic voice is far more fragile, never able to prove that it is “real” and therefore lapsing into madness. The distinction between madness and nonsense is an important one
We see how towards the end of her life there was an increasing sense of desperation.
A strong motivating force behind Pizarnik’s desire to enter this mythical garden is anguish about growing old. In both poetry and diaries, Pizarnik expresses abhorrence for losing her “cara de niña”: “Y aún tienes cara de niña; varios años más y no les caerás en gracia ni a los perros” (Obras, 138); “Antes me disculpaba mi cara de niña. Ahora, súbitamente, me tratan como a una grande. Ya no me exceptúan por mi edad breve. Ya no es tan breve. Ya no me ampara mi cara de niña.” (diary entry for 18/3/61, quoted in Poemas, Endymion, p.115).
Pizarnik’s idea of a “familia literaria” in terms of those authors she read and admired.
Pizarnik resigns herself to a poetic language which openly acknowledges – indeed parades – its status as an endless web of quotations, a textual continuum at one stage removed from ‘actos en cuerpo vivo’.
http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=4&cad=rja&ved=0CEAQFjAD&url=http%3A%2F%2Fwww.periodicos.ufsc.br%2Findex.php%2Ffragmentos%2Farticle%2Fdownload%2F6348%2F5878&ei=kNSzUN_kCcWK4gTLvICICg&usg=AFQjCNHL9-UKgXxKTLrZxDNqW6DIQlBS0A
In 1954 she began studying philosophy and letters at the University of Buenos Aires (UBA) but later dropped out because she said it couldn’t give her what she sought.
A regular user of amphetamines and hallucinogenics (she reportedly once spent seven days holed up on hallucinogenics listening to Janis Joplin records) Pizarnik suffered throughout her life from periods of psychological instability and depression. These emotional states probably only served to make her writing more original and more interesting but undoubtedly caused her difficulties throughout her life.
Guggenheim Fellowship awarded in 1968. Shortly afterwards Pizarnik was institutionalised following a suicide attempt in 1970, and eventually ended her life aged 36 by taking a sedative overdose.
‘Extracción de la piedra de locura’ and the long prose poem of the same name, are regarded as a pinnacle of the author’s expressive abilities. Both the poem and its containing collection demonstrate a darkness not seen before in Argentine writing and rarely found afterwards.
Her books, in fact, come wrought with intertextual borrowing and overlapping symbolism; often mentioning forbidden gardens, cracks and voices in walls and night time (symbolic of both madness and death).
Obsessed with the idea of madness, fear of madness and the containment of madness, Pizarnik’s specialty was to drag the reader down into a chaotic, nightmarish world where they would be subjected to the same doubts, despairs, schizophrenic voices, claustrophobia, and fears as her.
Linguistically, her use of repetition, contradiction and words with ambiguous or changeable meanings lent her poems obvious overtones of paranoia. Her poems often transitioned radically between the first person, and a second third-person voice, which may have been forcibly created, or may, more likely, have emerged as second nature given her emotional and mental state.
Torn between her dissatisfaction with language and her dependence on it as a poet, she would occasionally write poems omitting all punctuation marks bar parenthesis, and included lines of only one word causing intentional ambiguity.
Her last work, ‘El infierno musical’ was also written in 1971, one year before her death. It included the poem ‘El deseo de la palabra’, often considered to be her poetic suicide note.
An inability to write prose fiction was one of Pizarnik’s biggest grievances with herself as a writer, and she considered her only prose book, ‘La condesa sangrieta’, to be one of her greatest achievements.
The poet and her poetry are at times so intertwined and bound up in each other that it almost seems her destiny was written out for her, by her.
http://www.argentinaindependent.com/top-story/alejandra-pizarnik-the-darkest-legacy-left/
night, childhood, death, silence.
everything we associate today to Pizarnik (amphetamines, suicide, death and madness) start giving up territory to Alejandra (formal obsession, language innovation, observations on the limits of language).
a line found written in a board of her apartment before her suicide on September 25 1972 of an overdose of the barbiturate Seconal, “I only want to go to the end,” became a used cliché, which made much of her critical appreciation superficial.
the influence of Surrealism on Pizarnik: “From there she takes the imagination, she carries the romantic symbology to deluge – night, death –, but she was not a surrealist at all on her technique, she did not surrender to automatic writing, she was frightfully obsessive, she was always correcting. What cannot be unknown is that her poetry had an immediate connection with the unconscious, an electricity that no other poet transmits, what Borges said about poetry having a physical impact, in that sense Pizarnik’s poetry is an upper-cut”.
“I’d like to demonstrate how much freedom an oppressed and distressed person could have” wrote Pizarnik in one of the letters she sent to poet Rubén Vela
that multiplicity that her first babbles of her early stutter began to express.
A symptom from which grew a sensitive personality, complex and a little reluctant to social contracts.
She was always afraid of being mad, but when she comes back from Paris all her ghosts get together and the admission into the Pirovano Hospital must have been terrible, she had lot of paranoid traces, sometimes she complained about noises no one else could hear. Besides from that she was a person with lots of difficulties to cope in this world, she was not even able to cook herself a bowl of noodles, she found impossible to perform everyday tasks, which could be fun when you are 17, but not when you are 30. Her mother had to travel to wash her dishes o fry an egg.”
but nobody tells you that at that time you could buy amphetamines in any drugstore, they sold you those just as they were aspirins, she started taking pills to lose weight and she became addicted to them. It is shocking that she fought till the end, every time she left the hospital she started writing, she never surrendered, she was very brave, as she says in one of her most famous phrases: “Help me not to ask for help”, explains Bordelois quoting an idea that Pizarnik repeats and deepens in the poem “La mesa verde” (the green table): “Nothing is more dangerous, / whenever you need help, / than to get help”.
Pizarnik is a great master of solitude; she invented her poetry, her voice, her poetic situation and a very powerful reflection about language. Very few poets deserve that name today. Today production is very fashionable and minimalist, little reflective, much attached to fashion, I cannot see in it the density or the seriousness Alejandra had.
lang.syr.edu/about/Pedro2.pdf
In 1954 she began studying philosophy and letters at the University of Buenos Aires (UBA) but later dropped out because she said it couldn’t give her what she sought.
A regular user of amphetamines and hallucinogenics (she reportedly once spent seven days holed up on hallucinogenics listening to Janis Joplin records) Pizarnik suffered throughout her life from periods of psychological instability and depression. These emotional states probably only served to make her writing more original and more interesting but undoubtedly caused her difficulties throughout her life.
Guggenheim Fellowship awarded in 1968. Shortly afterwards Pizarnik was institutionalised following a suicide attempt in 1970, and eventually ended her life aged 36 by taking a sedative overdose.
‘Extracción de la piedra de locura’ and the long prose poem of the same name, are regarded as a pinnacle of the author’s expressive abilities. Both the poem and its containing collection demonstrate a darkness not seen before in Argentine writing and rarely found afterwards.
Her books, in fact, come wrought with intertextual borrowing and overlapping symbolism; often mentioning forbidden gardens, cracks and voices in walls and night time (symbolic of both madness and death).
Obsessed with the idea of madness, fear of madness and the containment of madness, Pizarnik’s specialty was to drag the reader down into a chaotic, nightmarish world where they would be subjected to the same doubts, despairs, schizophrenic voices, claustrophobia, and fears as her.
Linguistically, her use of repetition, contradiction and words with ambiguous or changeable meanings lent her poems obvious overtones of paranoia. Her poems often transitioned radically between the first person, and a second third-person voice, which may have been forcibly created, or may, more likely, have emerged as second nature given her emotional and mental state.
Torn between her dissatisfaction with language and her dependence on it as a poet, she would occasionally write poems omitting all punctuation marks bar parenthesis, and included lines of only one word causing intentional ambiguity.
Her last work, ‘El infierno musical’ was also written in 1971, one year before her death. It included the poem ‘El deseo de la palabra’, often considered to be her poetic suicide note.
An inability to write prose fiction was one of Pizarnik’s biggest grievances with herself as a writer, and she considered her only prose book, ‘La condesa sangrieta’, to be one of her greatest achievements.
The poet and her poetry are at times so intertwined and bound up in each other that it almost seems her destiny was written out for her, by her.
http://www.argentinaindependent.com/top-story/alejandra-pizarnik-the-darkest-legacy-left/
night, childhood, death, silence.
everything we associate today to Pizarnik (amphetamines, suicide, death and madness) start giving up territory to Alejandra (formal obsession, language innovation, observations on the limits of language).
a line found written in a board of her apartment before her suicide on September 25 1972 of an overdose of the barbiturate Seconal, “I only want to go to the end,” became a used cliché, which made much of her critical appreciation superficial.
the influence of Surrealism on Pizarnik: “From there she takes the imagination, she carries the romantic symbology to deluge – night, death –, but she was not a surrealist at all on her technique, she did not surrender to automatic writing, she was frightfully obsessive, she was always correcting. What cannot be unknown is that her poetry had an immediate connection with the unconscious, an electricity that no other poet transmits, what Borges said about poetry having a physical impact, in that sense Pizarnik’s poetry is an upper-cut”.
“I’d like to demonstrate how much freedom an oppressed and distressed person could have” wrote Pizarnik in one of the letters she sent to poet Rubén Vela
that multiplicity that her first babbles of her early stutter began to express.
A symptom from which grew a sensitive personality, complex and a little reluctant to social contracts.
She was always afraid of being mad, but when she comes back from Paris all her ghosts get together and the admission into the Pirovano Hospital must have been terrible, she had lot of paranoid traces, sometimes she complained about noises no one else could hear. Besides from that she was a person with lots of difficulties to cope in this world, she was not even able to cook herself a bowl of noodles, she found impossible to perform everyday tasks, which could be fun when you are 17, but not when you are 30. Her mother had to travel to wash her dishes o fry an egg.”
but nobody tells you that at that time you could buy amphetamines in any drugstore, they sold you those just as they were aspirins, she started taking pills to lose weight and she became addicted to them. It is shocking that she fought till the end, every time she left the hospital she started writing, she never surrendered, she was very brave, as she says in one of her most famous phrases: “Help me not to ask for help”, explains Bordelois quoting an idea that Pizarnik repeats and deepens in the poem “La mesa verde” (the green table): “Nothing is more dangerous, / whenever you need help, / than to get help”.
Pizarnik is a great master of solitude; she invented her poetry, her voice, her poetic situation and a very powerful reflection about language. Very few poets deserve that name today. Today production is very fashionable and minimalist, little reflective, much attached to fashion, I cannot see in it the density or the seriousness Alejandra had.
lang.syr.edu/about/Pedro2.pdf
Pizarnik - Destrucciones
