By Jill S. Kuhnheim
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"What an clever author! . . . [Kuhnheim] situates Orozco opposed to a chain of literary predecessors and inheritors, with rather an unique procedure. . . . The chapters on Eliot, Girondo, Pizarnik, and up to date girl poets supply a brand new studying of Argentine poetry, and Latin American poetry by way of extension."-- Gwen Kirkpatrick, college of California, Berkeley
Olga Orozco, largely certainly one of an important modern girl poets in Latin the US, serves because the touchstone for Jill Kuhnheim's exam of the strain among literature and existence. Or, as Kuhnheim charges a scholar, of the common query "Why learn poetry?"
Born in 1920 in Argentina, Orozco has produced 9 volumes of poetry, a play, and a story paintings. As a member of the "lost generation" of the 40s, she is favorite between a gaggle of poets whose paintings unearths a number responses to ancient circumstances.
Taking a feminist procedure, and targeting the explicit historical past of Argentina, Kuhnheim relates Orozco's writing to that of T. S. Eliot, Oliverio Girondo, Alejandra Pizarnik, and more moderen Argentine girls poets similar to Christina Pina, Diana Bellessi, Ines Araoz, and Liliana Lukin. although a lot in their paintings seems to be a ways faraway from social fact, Kuhnheim's analyzing unearths how even the main it sounds as if far-off poetry is unavoidably concerned with the political approaches of the time. Her comparative procedure bargains a style for interpreting lyric poetry that connects the cultured strand, which perspectives a poem as whatever far-off from the area, to a social thread that marks a specific historic second.
Kuhnheim's paintings provides to the turning out to be corpus on ladies writers in Latin the USA and brings one a part of their culture to an English-speaking viewers.
Jill S. Kuhnheim is assistant professor of Spanish and Latin American literature on the college of Wisconsin, Madison. She has released articles in journals together with Revista Monografica, Romance Quarterly, and modern Literature.
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Additional info for Gender, Politics, and Poetry in Twentieth-Century Argentina
Every poem is an attempt at some kind of union or conjunction, each time unachieved. " is a poem whose process is its own deconstruction. By stressing the discontinuous elements Page 34 of language, time, subjectivity, and poetry itself, Orozco creates a gap that permits her readers an intense perception of the problem she describes. Orozco, writing 35 years later, uses Eliot as one of her starting points; by 1979, he is a part of the tradition she expands and supersedes, incorporating elements of his style into her own.
Prayer can transport the speaker beyond words, tear the velos of poetry Orozco describes. 2 Eliot's speaker is a male subject observing Nature, the object, while Orozco's speaker, in a more conflictive relation, slips between observing and identifying herself with Nature. Both poets acknowledge language's power; its redemptive capabilities suggest the possibility of poetic transcendence. Eliot's poet appropriates another poet's words in order to define himself as a member of a tradition of fellow creators; he is like Mallarmé, Dante, or Yeats, like an older poetic authority.
Here their value is compositional, and Orozco plays with the varied stress patterns (alternating them) and joins the words through their sounds, the repeating s or z: sín embárgo ahóra mísmo ó algúna véz quién sábe puéde sér á través. "A través" returns to functionality working doubleduty to bridge the string of conjunctions to the complete sentences that follow and regain meaning as it is, Page 32 a través de las dobles espesuras que cierran la salida o acaso suspendida por un error de siglos en la red del instante creí verte surgir como una isla quizás como una barca entre las nubes o un castillo en el que alguien canta o una gruta que avanza tormentosa con todos los sobrenaturales fuegos encendidos.
Gender, Politics, and Poetry in Twentieth-Century Argentina by Jill S. Kuhnheim