Alejandra Pizarnik. Originally published in Spanish as Árbol de Diana y Otros Diana’s Tree by Alejandra Pizarnik (Chem.): a verbal crystallization. Visi6n enlutada, desgarrada, de un jardin con estatuas . The present essay analyzes Pizarnik’s poetry with respect to an issue Arbol de Diana. Buenos. Descarga: Alejandra Pizarnik – Árbol de Diana: Ignoria (Prólogo de Octavio Paz) #.U25pgfl5OSo. El viejo y el mar by Ernest Hemingway.
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And winter reaches for me like a woman who has fallen in love with a wall. A hand untangles the darkness, a hand drags the hair of a drowned woman that never stops going through the mirror.
Three poems from Árbol de Diana (Tree of Diana) by Alejandra Pizarnik | Moving Poems
Es de nuestra propiedad cuando la muerte y la madrugada se funden conmigo y somos una. No trivia or quizzes yet. But the silence is certain.
The compulsion to head for the “bottom” or “abyss” points to her desire to surrender to nothingness in an ultimate experience of ecstasy and poetic fulfillment in which life and art would be fused, albeit at her own risk.
Even if the poem here, now has no meaning, it has no fate. Pero el silencio es cierto. XII But the silence is true. Refresh and try again. Jun 10, metaphor rated it really liked it Shelves: There is someone here who is trembling. Her work at once affirms the surrealist emphasis on process but rejects their reification of this process pizarnii the instantly piarnik poem; next to her poems, much surrealist production appears as mere procedure or technique.
Poems – by Alejandra Pizarnik.
She was known for working long and obsessively on a little chalkboard, typically on a single poem at a time, exhausting its possibilities before moving on, erasing a word one day, replacing it the next, rearranging the lines about a dozen at most, presumably all that would fit on the slate of her small, lapidary poems with an obsessive care that has been obscured by their obvious debts to surrealism and puzarnik writing.
However, without her constant suffering and darkness then one would argue that her poetry wouldn’t be as amazing and breathtaking as it is. I rose from my corpse, I went looking for who I am.
Quote by Alejandra Pizarnik: “Explicar con palabras de este mundo que partió ”
Give it what everyone gives: So much desire made so implacable by the human problem of being an embodied idea. What can be said of her poems?
Quiero ladrar, no alabar el silencio del espacio al que se nace. Asking is so far away.
Let the wall turn into a river The cruelty of this irony was not lost on her. The water trembles full of wind. III Like a girl made of pink chalk on a very old wall that is suddenly washed away by the rain.
This is not to say, however, that poetry was a practice of psychological self-care for ell, or that losing oneself necessarily means a retreat from others.
Miedo de ser dos camino del espejo: Note how her final word is that which she had meant to escape, herself, mistranslated by her own tongue, and then let that last line strike you like a gong. Translation might be, as it is sometimes said, a betrayal, though here it seems like in its betrayal it achieves a greater fidelity of spirit.
Extracting the Stone of Madness: Poems 1962 – 1972
What is it that shadows give each other? Soy la amante de Pizarnik. XV Delight of losing one-self in the presaged image. How to reconcile, how to escape, if not by suicide? Aug 03, Dhiyanah rated it it was amazing Shelves: A pilgrim of my self [or from my self; the Spanish is ambiguous], I have gone to the one who sleeps in the winds of her country.