By Fiona J. Mackintosh
This quantity explores the subject matter 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 early life, arguing that an figuring out in their attitudes to youth is key 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 formative years via nostalgia, adult-child strength relationships, getting older and rejuvenation, and moments of initiation or imitation. Pizarnik is taken into account relating to 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, loss of life, orphanhood, violation and transgression. within the bottom line, Ocampo's works in attaining equilibrium among early life and age, while Pizarnik's poetic problem of exile from language parallels her deep feel of tension at being exiled from the realm of adolescence.
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Extra resources for Childhood in the Works of Silvina Ocampo and Alejandra Pizarnik (Monografías A)
MACKINTOSH and the subject at the beginning is identity; the narrator’s mother apparently died just after the narrator was born, but accounts of both her mother and her birth differ widely. With the change of title from ‘Yo’ to ‘La muñeca’, the emphasis of the story is shifted from the condensed Bildungsroman-style development of the character to the culmination of the story, where the eponymous ‘muñeca’ appears. This doll, which says ‘papá’ and ‘mamá’ when shaken, at once symbolizes the narrator’s being accepted into the Rosas family and also her distinctness from them; it provides confirmatory proof of her visionary abilities, for which she is labelled ‘bruja’, but is given as a token of affection.
These overlapping yet gradually diverging literary worlds of the two writers form a backdrop for the passionate intensity of Pizarnik’s letters to Ocampo, which move from addressing her as ‘Usted’ through ‘Silvina, Sylvie, Sylvette’ to ‘Ma très chère’ (Correspondencia, pp. 192, 198, 210). Her signing off likewise increases in fervour, from ‘Suya, Alejandra’ to ‘Tu muy Alejandra, Alejandra, Alejandra’ (pp. 192, 195, original emphasis). htm. qxd 15/09/03 10:09 AM Page 23 SYLVETTE AND SACHA 23 CHILDHOOD AS CIPHER?
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.