Book contents
- Frontmatter
- Contents
- Contributors
- Acknowledgements
- Abbreviations
- Introduction
- Gender, Sexuality and Silence(s) in the Writing of Alejandra Pizarnik
- Different Aspects of Humour and Wordplay in the Work of Alejandra Pizarnik
- The Tormenting Beauty of Ideals: A Deleuzian Interpretation of Alejandra Pizarnik's La condesa sangrienta and Franz Kafka's ‘In the Penal Colony’
- Alejandra Pizarnik, Surrealism and Reading
- Alejandra Pizarnik, the Perceptive Reader
- Alejandra Pizarnik's ‘palais du vocabulaire’: Constructing the ‘cuerpo poético’
- Alejandra Pizarnik's Poetry: Translating the Translation of Subjectivity
- The ‘Complete’ Works of Alejandra Pizarnik? Editors and Editions
- Afterword
- Subject Index
Gender, Sexuality and Silence(s) in the Writing of Alejandra Pizarnik
Published online by Cambridge University Press: 03 May 2023
- Frontmatter
- Contents
- Contributors
- Acknowledgements
- Abbreviations
- Introduction
- Gender, Sexuality and Silence(s) in the Writing of Alejandra Pizarnik
- Different Aspects of Humour and Wordplay in the Work of Alejandra Pizarnik
- The Tormenting Beauty of Ideals: A Deleuzian Interpretation of Alejandra Pizarnik's La condesa sangrienta and Franz Kafka's ‘In the Penal Colony’
- Alejandra Pizarnik, Surrealism and Reading
- Alejandra Pizarnik, the Perceptive Reader
- Alejandra Pizarnik's ‘palais du vocabulaire’: Constructing the ‘cuerpo poético’
- Alejandra Pizarnik's Poetry: Translating the Translation of Subjectivity
- The ‘Complete’ Works of Alejandra Pizarnik? Editors and Editions
- Afterword
- Subject Index
Summary
What kind of beast would turn its life into words?
What atonement is this all about?
Adrienne Rich¿Qué significa traducirse en palabras?
Alejandra Pizarnik (Poesía, p. 253)Alejandra Pizarnik fashioned a complex textual self through a variety of genres and voices. The sense of the radical separateness between these voices has been a function of canonical and historical (and gendered) habits of reading – reified not least by the poet herself – which ultimately served as both duenna and closet, buttressing the notion of a schism between the public and private realms and maintaining the misconception of two radically discrete voices: the sombre, hieratic, disciplined, asexual lyric voice (for years the overdeterminedly ‘Pizarnikian’ voice par excellence) versus the transgressive, humoristic, mainly hypersexualized prose voice. Only quite recently, years after Pizarnik's death, are scholars and other readers able to receive – and restore – a more accurate sense of the nuance and complexity which had been there in Pizarnik's poetry all along, thanks to the publication of previously suppressed texts – what I call unauthorized works, both poems (2000) and prose (2002) – as well as some of her private writing, such as letters (1998) and diaries (2003).
In her book El testigo lúcido, María Negroni describes a process of fixation, disavowal and return, with regard to Alejandra Pizarnik, very similar to my own. Ultimately, Negroni arrived at a characterization which constitutes a holistic approach, respecting the sense of disquiet, deferral and desire in Pizarnik's writing:
Pensé que los textos ‘malditos’ se erguían, frente al resto de la obra, como un testigo lúcido (la expresión es de Aldo Pellegrini) pero no se le oponían … el efecto era de extrañamiento radical y me pareció entender que el objetivo de la transgresión no era simplemente profanar, parodiar, agobiar la intertextualidad, sino … escenificar el proyecto siempre irrealizable de la significación.
Like Negroni, initially I was drawn to Pizarnik's poetry. Later, I read La condesa sangrienta for and ‘as’ a lesbian. Most recently, I undertook a re-evaluation of her poetry, looking for autobiographical signs of lesbian sexuality in poems Pizarnik had published during her life, as well as in several texts published posthumously.
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- Chapter
- Information
- Arbol de AlejandraPizarnik Reassessed, pp. 13 - 35Publisher: Boydell & BrewerPrint publication year: 2007
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