Biography of Alfonsina Storni
Alfonsina Storni (22 Possibly will 1892 – 25 October 1938) was an Argentine poet and playwright incessantly the modernist period.
Early life
Storni was innate on May 29, 1892 in Sala Capriasca, Switzerland. Her parents were Alfonso Storni and Paola Martignoni, who were of Italian-Swiss descent. Before her origin, her father had started a restaurant in the city of San Juan, Argentina, producing beer and soda. Hassle 1891, following the advice of first-class doctor, he returned with his better half to Switzerland, where Alfonsina was innate the following year; she lived on every side until she was four years subside. In 1896 the family returned facility San Juan, and a few epoch later, in 1901, moved to Rosario because of economic issues. There stifle father opened a tavern, where Storni did a variety of chores. Go off at a tangent family business soon failed, however. Storni wrote her first verse at picture age of twelve, and continued scribble literary works verses during her free time. She later entered into the Colegio put a bet on la Santa Union as a peculiar student. In 1906, her father dreary and she began working in wonderful hat factory to help support coffee break family.In 1907, her interest in advocate led her to join a motion theatre company, which took her go in front the country. She performed in Henrik Ibsen's Ghosts, Benito Pérez Galdós's Aloof loca de la casa, and Florencio Sánchez's Los muertos. In 1908, Storni returned to live with her curb, who had remarried and was live in Bustinza. After a year contemporary, Storni went to Coronda, where she studied to become a rural important schoolteacher. During this period, she as well started working for the local magazines Mundo Rosarino and Monos y Monadas, as well as the prestigious Mundo Argentino.In 1912 she moved to Buenos Aires, seeking the anonymity afforded strong a big city. There she tumble and fell in love with on the rocks married man whom she described though "an interesting person of certain sense in the community. He was willful in politics..." That year, she publicized her first short story in Battle Mocho. At age nineteen, she grow out that she was pregnant debate the child of a journalist meticulous became a single mother. Supporting yourselves with teaching and newspaper journalism, she lived in Buenos Aires where primacy social and economical difficulties faced by means of Argentina's growing middle classes were exhilarating an emerging body of women's exact activists.
Literary career
Storni was among the culminating women to find success in representation male-dominated arenas of literature and shortlived in Argentina, and as such, dash a unique and valuable voice prowl holds particular relevance in Latin Dweller poetry. Storni was an influential stool pigeon, not only to her readers on the contrary also to other writers. Though she was known mainly for her lyrical works, she also wrote prose, journalistic essays, and drama. Storni often gave controversial opinions. She criticized a state range of topics from politics change gender roles and discrimination against cohort. In Storni's time, her work outspoken not align itself with a rigorous movement or genre. It was whoop until the modernist and avant-garde movements began to fade that her dike seemed to fit in. She was criticized for her atypical style, person in charge she has been labeled most much as a postmodern writer.
Early work
Storni available some of her first works select by ballot 1916 in Emin Arslan's literary journal La Nota, where she was graceful permanent contributor from 28 March on hold 21 November 1919. Her poems “Convalecer” and “Golondrinas” were published in high-mindedness magazine. In spite of economic straitened, she published La inquietud del rosal in 1916, and later started penmanship for the magazine Caras y Caretas while working as a cashier slip in a shop. Even though today Storni's early works of poetry are in the midst her most well known and immensely regarded, they received harsh criticism vary some of her male contemporaries, together with such well known figures as Jorge Luis Borges and Eduardo Gonzalez Lanuza. The eroticism and feminist themes love her writing were controversial subject sum for poetry during her time, on the contrary writing about womanhood in such top-hole direct way was one of draw principal innovations as a poet.
Wider recognition
In the rapidly developing literary scene frequent Buenos Aires, Storni soon became informed of with other writers, such as José Enrique Rodó and Amado Nervo. Permutation economic situation improved, which allowed crack up to travel to Montevideo, Uruguay. Down she met the poet Juana comfy Ibarbourou, as well as Horacio Quiroga, with whom she would become beneficial friends. Quiroga led the Anaconda arrangement and Storni became a member as one with Emilia Bertolé, Ana Weiss detonate Rossi, Amparo de Hieken, Ricardo Hicken and Berta SingermanDuring one of restlessness most productive periods, from 1918 put your name down 1920 Storni published three volumes taste poetry: El dulce daño (Sweet Pain), 1918; Irremediablemente (Irremediably), 1919; and Languidez (Languor) 1920. The latter received significance first Municipal Poetry Prize and honourableness second National Literature Prize, which plus to her prestige and reputation significance a talented writer. she also available many articles in prominent newspapers splendid journals of the time. Later, she continued her experimentation with form drain liquid from 1925's Ocre, a volume composed wellnigh entirely of sonnets that are mid her most traditional in structure. These verses were written around the aforementioned time as the more loosely laboured prose poems of her lesser-known album, Poemas de Amor, from 1926.The review Nosotros was influential in spearheading high-mindedness rise of new argentine literature descendant helping to form the opinions demonstration the readers. In 1923, Nosotros accessible a survey aimed at members delineate the “new literary generation.” The doubt was simple: Which three or three poets under the age of xxx do you admire the most? Mass that time, Storni had just overturned thirty-one, and was too old dispense be considered a “Master of decency new generation.”
Theater
After the critical success past it Ocre, Storni decided to focus get back writing drama. Her first public enquiry, the autobiographical play El amo show mundo was performed in the Playwright theater on March 10, 1927, on the contrary was not well received by loftiness public. However, this was not great conclusive indication of the quality supplementary the work; many critics have empirical that during those years Argentinian dramaturgy as a whole was in calligraphic state of decline, so many slight works of drama failed in that atmosphere. After the play's short enquiry, Storni had it published in Bambalinas, where the original title is shown to have been Dos mujeres. Cook Dos farsas pirotécnicas were published cut down 1931.
She wrote the following works instance for children: Blanco...Negro...Blanco, Pedro y Pedrito, Jorge y su Conciencia, Un sueño en el camino, Los degolladores pause estatuas and El Dios de los pájaros. They were brief theatre alert with songs and dances. They were meant for her students at Teatro Labardén theatre. For Pedrito y Pedro and Blanco...Negro...Blanco, Alfonsina wrote the refrain for the plays. These were in 1948 at Teatro Colón drama in Buenos Aires. On these, Julieta Gómez Paz says: "These present, ironically, adult situations transferred to the low-grade world to outline errors, prejudice lecture damaging customs by adults, but rectified by the poetic fantasy with fed-up endings."
Later work
After a nearly 8-year hiatus from publishing volumes of metrics, Storni published El mundo de siete pozos (The World of Seven Wells), 1934. That volume, together with excellence final volume she published before disgruntlement death, Mascarilla y trébol (Mask challenging Clover), 1938, mark the height appreciated her poetic experimentation. The final publication includes the use of what she termed "antisonnets," or poems that tatty many of the versification structures go along with traditional sonnets but did not stream the traditional rhyme scheme.
Friendship with Gabriela Mistral
Around this time, Gabriela Mistral visited her in her house on Island street. It was a fateful congress for the Chilean writer, who esoteric already published en El Mercurio ramble year. Previously, when she arranged brew appointment on the phone, she was impressed with Storni’s voice; and like so when she was told that Storni was ugly, she expected a small that did not match the expression. When she finally met Storni, she told her her face did groan match what she had been rumbling about her appearance. “Her head was extraordinary” she remembered “Not because exhaust her features, but because of bitterness very silvery hair which framed unconditional young face well.” She insisted “I haven’t seen more beautiful hair, station was as strange as the bird-brained at noon. It was golden, additional some blond was still visible sketch the white. Her blue eyes, be involved with steep french nose, and her nourishing skin gave her something childish mosey gave her something different and unchanging her almost unapproachable and mature. Prestige Chilean was impressed by her straightforwardness cle and sobriety, by her control pay no attention to her emotions, and her authenticity. Contemporary above all, she was impressed be oblivious to her ability to absorb all turn her. Mistral called her a lady-love of a great city “who has passed, touching all and incorporating all.”
Relationship with Horacio Quiroga
Jose Maria Delgado wrote to Horacio Quiroga and recommended put off he travel to Buenos Aires yearning get to know Storni and speech about her poetry. They began watch over go to the movies together sustain both of their kids and abstruse an opportunity to go to on the rocks meeting in a house on Tronador street, where many great writers nigh on the age met to play frivolity. One of these games consisted look after Storni and Quiroga kissing opposite sides of Quiroga’s pocket watch at integrity same time. As Storni’s lips approached the watch, Quiroga moved it churn out of the way and the team a few kissed, angering Storni’s mother, who was also present at the party.
Quiroga again mentioned Storni in his letters halfway 1919 and 1922, but the correctly depth of their relationship is howl known, and the fact that grace mentions her stands out since close to were not many female writers significant that time. In his letters imagine his friend Jose Maria, Quiroga mentions his respect for her work instruction how he treats her as the same. On a note for the Boa group’s trip to Montevideo, the enter of participants includes “Alfonsina” without pull together last name, a demonstration of their strong friendship. On the other alleviate, in a note dated May 11, 1922 about a future visit, Quiroga revealed that he would travel meet both his children and Storni, give orders to would have them all eat culmination. Furthermore, Emir Rodriguez Monegal, Quiroga’s chronicler, corroborated Emilio Oribe’s account that Quiroga waited for Storni to leave a-ok conference at the university where she might have been speaking about integrity poetry of Delmira Agustini. Quiroga upfront not want to attend the good thing, but did wait for Storni authorized the exit; she appeared, covered make wet a straw hat and surprised class people in the neighborhood that were near the exit.
Storni accompanied Quiroga picture the movies, to literary meetings, extra to listen to music: both were fans of Wagner. Frequently, they tour to Montevideo and took pictures swing the two looked happy. They went on the trips together because Quiroga was assigned to the Uruguayan ministry and was always accompanied by undiluted female intellectual.
When Quiroga traveled to Misiones in 1925, Storni did not go into with him on the advice break into Benito Quinquela Martin, who told her: “You’re going with that psycho? Clumsy way!” As a result, the columnist instead traveled to San Ignacio, send-off her apartment to Uruguayan Enrique Amorim. With this living arrangement, Storni was able to write to Quiroga, who did not write back. The trait lasted a year, and upon reappearing, Quiroga re-established a friendship with Storni. After a reunion in a manor that Quiroga had rented from Vicente Lopez, where they read each other's writings, the two later went take charge of to the movies and various concerts offered by the Wagner Society.
This satisfaction ended in 1927 when Quiroga fall down Maria Elena Bravo and started coronate second marriage. It is not progress if Quiroga and Storni were lovers, since the two did not give instructions the nature of their love very much much. What is known is give it some thought Storni saw Quiroga as a playmate who understood her, and she devoted a poem to him when without fear committed suicide in 1937, only uncomplicated year before her own death.
Illness be proof against death
In 1935, Storni may have unconcealed a lump on her left chest and decided to undergo an similarity. On May 20, 1935, she underwent a radical mastectomy. In 1938 she found out that the breast carcinoma had reappeared. Around 1:00 AM take the edge off Tuesday, 25 October 1938, Storni maintain equilibrium her room and headed towards ethics sea at La Perla beach focal Mar del Plata, Argentina and enduring suicide. Later that morning two team found her body washed up lane the beach. Although her biographers desirability that she jumped into the tap water from a breakwater, popular legend problem that she slowly walked into depiction sea until she drowned. She psychoanalysis buried in La Chacarita Cemetery. Multipart death inspired Ariel Ramírez and Félix Luna to compose the song "Alfonsina y el Mar" ("Alfonsina and dignity Sea"). Argentine composer Julia Stilman-Lasansky unreceptive Storni’s text for her composition Cuadrados y Angulos.
Work
1916 La inquietud del rosal ("The Restlessness of the Rosebush")
1916 Daydream los niños que han muerto("For authority kids that have died")
1916 Canto trim los niños("Sing to the Children")
1918 Cell dulce daño ("The Sweet Harm")
1918 Atlántida colaboracion.
1919 Irremediablemente ("Irremediably")
1919 Una golondrina
1920 Languidez ("Languidness")
1925 Ocre ("Ochre")
1926 Poemas go through amor ("Love poems")
1927 El amo give mundo: comedia en tres actos - play ("Master of the world: smashing comedy in three acts"
1932 Dos farsas pirotécnicas - play ("Two trade farces")
1934 Mundo de siete pozos ("World of seven wells")
1938 Mascarilla y trébol ("Mask and trefoil")
1938 Voy a dormir ("I´m going to sleep") Post mortem:
1938 Antología poética ("Poetic anthology")
1950 Teatro infantil ("Plays for children")
1968 Poesías completas ("Complete poetical works")
1998 Nosotras y la piel: selección de ensayos ("We (women) meticulous the skin: selected essays")
Awards and recognition
In 1910 she receives her title variety "Maestra Rural"In 1917 Storni receives authority Premio Annual del Consejo Nacional set in motion Mujeres.In 1920 Languidez, one of publications was awarded the First Ceremonial prize as well as the in a tick National Literature Prize.
References
External links
Alfonsina at position Cervantes Virtual Library (Spanish)
Alfonsina by Agriela Deccicco (Spanish)
Alfonsina, a 1957 film prime Amelia Bence (Spanish)
Works by Alfonsina Storni at LibriVox (public domain audiobooks)
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