Sánchez, Matilde (19 de julio de 2003). Regarding the female vote in Argentina, Ocampo said, "Confieso que no me acuerdo. I remember that day clearly. [35] Ocampo also experiments with the consequences of living in a world separated from adult society in "La raza inextinguible,” but she also explores elements involved in the aging process and alludes that there are positive effects implicit in the characters who mix childhood traits with those of adults. [25][26], The publication of her last two books, Y así sucesivamente (1987) and Cornelia frente al espejo (1988), coincided with her onset of Alzheimer's disease. "Modos de refundarse. Thus Were Their Faces - Selected Stories - Silvina Ocampo - 楽天Koboなら漫画、小説、ビジネス書、ラノベなど電子書籍がスマホ、タブレット、パソコン用無料アプリで今すぐ読める。 Her grandfather, Manuel Anselmo Ocampo, was a rancher. Over the course of her lifetime and the greater part of the 20 th century, Ocampo published seven books of short stories—the first, Forgotten Journey, in 1937, and the last, Cornelia Before the Mirror, in 1988. It seemed so natural, so evident, so fair, that I did not consider it required a special attitude]. [5] They married in 1940. Some authors such as María Dolores Rajoy Feijoo interpret these reflective objects, such as mirrors and watches, as vehicles of self-reflexivity, and the modified and reproduced identity, in the fantastic tales of Ocampo: "Instead of seeing the reflected room, I saw something outside in the mirror, a dome, a kind of temple with yellow columns and, deep down, inside some niches in the wall, divinities. In 1948, she published Autobiografía de Irene, stories where she shows a greater fluency in writing and a greater influence of Borges and Bioy appears. She was born in Buenos Aires to a family deeply rooted in Argentine cultural circles. I was wearing my blue silk dress, and I had the little Pekinese they’d given me for my birthday when I arrived at my boyfriend’s house. of short stories, La furia y otros cuentos (1959), Las invitadas (1961), and Los di'as de la noche (1970), maintain Ocampo's interests in the child's perspective and the recurring themes of magic objects and prediction of the She loved me more than anyone else. [33] Likewise, space and time are subverted and the boundaries between the mental categories of space, time, person, and animal are blurred.[33]. "Prólogo" Antología: Cuentos De La "nena Terrible" Ed. Her family was of Creole origins and religious. Critic Cynthia Duncan, from the University of Tennessee, contends that the fantastical elements concealed latent feminist themes: [Ocampo's] female characters, like Cristina, are not radical, outspoken feminists. [30], Carolina Suárez-Hernán considers that Ocampo is a feminist or at least works from feminist angles. Ocampo raised Marta as her own. [31] Instead, they saw them as a failure in their attempt to copy the style of these other writers. Depending on their interpretation of her works, critics have taken varying positions. In an interview with María Moreno—one of the few interviews Ocampo gave—Ocampo explained why she did not like to give interviews: "Tal vez porque protagonizo en ellas el triunfo del periodismo sobre la literatura”[32] [Perhaps because I represent the triumph of journalism over literature in them].The only requirement that Ocampo put in order to be interviewed was that none of the questions be about literature. Vélez García interprets the transformative features of the characters as a cycle or return, highlighting the biblical phrase “pulvis es et in pulverem reverteris” (Vélez García K.R. Fantasies of the Feminine: The Short Stories of Silvina Ocampo. After several years of publishing only poetry (Los sonetos del jardín, Poemas de amor desesperado, Los nombres, which won the National Poetry Prize) she returned to writing stories in 1959 with La furia, with which she finally obtained some recognition. It is, perhaps, this aspect of Silvina Ocampo's work which makes it most disquieting to readers, male and female alike. Listed below are other works of magic realism: One Hundred Years of Solitude (1967), a novel by … [33] However, Suárez-Hernán believes that the powers attributed to the girl and her perversity generate disturbance in the reader who cannot avoid identifying with the adult woman. . Mackintosh, Fiona J. Childhood in the Works ofSilvina Ocampo and Alejandra Pizarnik. She was the sister of writer and founder of Sur magazine, Victoria Ocampo, wife of the writer Adolfo Bioy Casares and a friend of Jorge Luis Borges. [9][10] Another of her ancestors was Domingo Martinez de Irala, conqueror of Asunción and future governor of Río de la Plata and Paraguay. The Voice, a short story by Silvina Ocampo FROM: SPANISH Translated by : Frances Riddle The autumn felt more like summer than the summer had. . With Borges and Bioy Casares, Ocampo co-authored the celebrated Antología de la literatura fantástica in 1940, and also the Antología poética Argentina in 1941. [6] Critics note that Ocampo's writing particularly focused on transformations, such as metamorphosis, doubling, splitting, and fragmenting of the self.[6]. La década infame y los escritores suicidas. Ocampo's own merit as a writer has been overshadowed by her associations with her sister Victoria Ocampo, her husband Adolfo Bioy Casares, and her friend Jorge Luis Borges. Will it be an illusion? She stated that Victoria's marriage had taken away her youth: "Hubo un episodio de mi niñez que marcó mucho nuestra relación. [8], Her ancestors belonged to the Argentine aristocracy and owned extensive lands. From then on, she alternated writing narratives with poetry. The House Made of Sugar: a short story by Silvina Ocampo, from the collection Thus Were Their Faces | NYRB Classics - 2015 1903 to 1993, born and died in Buenas Aires Today's story is included in Thus Were Their Faces and can be read online at the link above. Cruel children, murderous children, murdered children, suicidal children, abused children, pyromaniacal children, perverse children, children who don’t want to grow up, children who are born old, little witch girls. [32] Critics wanted a firm statement about her position with respect to the "literary norm" so that they would know how to read her works and ensure that they were properly interpreting them,[31] but they were unable to receive such a statement. Doral, FL: Stockcero, 2013. xiv, CS1 maint: multiple names: authors list (. Fanni knew I adored her, but when Victoria married and took her with her, no one dared to oppose her]. Despite the initial negative reviews of Viaje olvidado, the book came to be considered a fundamental text within the writer's collection of works, introducing readers to the features and themes that would characterize her future works. [30] Amícola proposes the example of confronting children versus adults to create a polarization. From three stories—"Cielo de claraboyas" (1937), "El vestido de terciopelo" (1959), y "La muñeca" (1970)—Amícola suggests that Ocampo's tales question the absence of sex-gender and of the feminine vision in psychoanalysis developed by Freud, with a special focus on the horrifying. Ocampo began her career as a short story writer in 1936. Although the use of the infantile perspective is something in common with other Latin American authors, Ocampo is distinguished by her perversion of the infantile perspective. Her stories have no equal in our literature.” —Jorge Luis Borges “Silvina Ocampo is, together with Borges and García Márquez, the leading writer in Spanish.” —Jorge Amado Longreads Pichon Riviere, Marcelo (August 22, 1999). [36], In many of her stories, Ocampo uses physical and psychological changes (characterized as metamorphosis) to transform many of her characters. Buenos Aires, Paradiso, 2007: 1. She held various exhibitions, both individual and collective. In 2006, four of her works were published: Invenciones del recuerdo (an autobiography written in free verse), Las repeticiones (a collection of unpublished short stories that includes two short novels), El vidente, and Lo mejor de la familia. Ocampo told Moreno her frustration: "Con mi prosa puedo hacer reír. the reader encounters the world of Silvina Ocampo's stories, he enters a strange and somehow dangerous place. Some critics have interpreted this story as an intercession of the perversion of childhood, the awakening of sexual identity, and the incorporation of various social classes and the subversion of power that these sexual acts entail. Silvina Ocampo, in a photo taken by her husband. Ocampo has been described as a shy woman who refused interviews and preferred a low profile. Ocampo began as a writer with the book of short stories Viaje olvidado in 1937, and followed up with three books of poetry, Enumeración de la patria, Espacios métricos and Los sonetos del jardín. A few years later, Ocampo collaborated with Borges and Bioy Casares in the preparation of two anthologies: Antología de la literatura fantástica (1940), with a prologue by Bioy, and Antología poética Argentina (1941). Patricia Nisbet Klingenberg. [33] Suárez-Hernán bases her opinion on the context of Ocampo's literature, stating that Ocampo's literature contains a deep reflection on femininity and numerous demands for women's rights, as well as a critique of her situation in society. Her stories express a corrosive criticism of the social conventions of her time and describe a unique, disturbing fantastical atmosphere: a world where strange events overwhelm mundane bourgeois reality, where motives are obscure, and where a great cruelty presides over life. "¿Un aplauso que le molesta dispensar?" [33] Ocampo finds different mechanisms of creation and deconstruction of the feminine. Ocampo published as many collections of poetry as she did collections of short stories, and her literary acclaim was acknowledged throughout her lifetime by national poetry awards. Me pareció tan natural, tan evidente, tan justo, que no juzgué que requería una actitud especial" [I confess that I do not remember. Her family belonged to the upper bourgeoisie, a fact that allowed her to have a very complete training. [30] Eminent representatives of Sur attempted to rescue Ocampo's short story collection, including Joseph Bianco, Sylvia Molloy, and Enrique Pezzoni.[30]. "¡Por qué no se va al diablo!" [12], The critic Patricia Nisbet Klingenberg maintains, however, that as a child Ocampo "lived a lonely existence, relieved primarily by the companionship of various household workers [. . ] Ocampo was the sister of Victoria Ocampo, the founder and editor of the prestigious Argentine journal Sur. [5] She was educated at home by tutors and in Paris. "[2] Her first book was Viaje olvidado (1937), translated as Forgotten Journey (2019), and her final piece was Las repeticiones, published posthumously in 2006. [6], Another critic, Patricia N. 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