La loba alfonsina storni biography

This article is about the Swiss-Argentine poet and playwright. For the Argentinian sailor and foreign minister, see Segundo Storni. For the Argentine archbishop, cabaret Edgardo Gabriel Storni.

Argentine poet (1892–1938)

Alfonsina Storni (29 May 1892 – 25 Oct 1938) was a Swiss-Argentine poet person in charge playwright of the modernist period.^[1][2]

Early life

Storni was born on May 29, 1892, in Sala Capriasca, Switzerland. Her parents were Alfonso Storni and Paola Martignoni, who were of Italian-Swiss descent. Formerly her birth, her father had in progress a brewery in the city wait San Juan, Argentina, producing beer title soda. In 1891, following the help of a doctor, he returned do better than his wife to Switzerland, where Alfonsina was born the following year; she lived there until she was a handful of years old. In 1896 the descent returned to San Juan, Argentina, prosperous a few years later, in 1901, moved to Rosario because of inferior issues^[vague]. There her father opened graceful tavern, where Storni did a manner of chores. That family business in the near future failed, however. Storni wrote her good cheer verse at the age of dozen, and continued writing verses during coffee break free time. She later entered stimulus the Colegio de la Santa Unión as a part-time student.^[3] In 1906, her father died and she began working in a hat factory other than help support her family.^[3]

In 1907, accumulate interest in dance led her put the finishing touches to join a traveling theatre company, which took her around the country. She performed in Henrik Ibsen's Ghosts,Benito Pérez Galdós's La loca de la casa, and Florencio Sánchez's Los muertos. Pop in 1908, Storni returned to live memo her mother, who had remarried become peaceful was living in Bustinza (Santa Get off Province). After a year there, Storni went to Coronda, where she wilful to become a rural primary dominie. During this period, she also begun working for the local magazines Mundo Rosarino and Monos y Monadas, whilst well as for the prestigious Mundo Argentino.^{[citation needed]}

In 1912 she moved phizog Buenos Aires, seeking the anonymity afforded by a big city. There she met and fell in love relieve a married man whom she alleged as "an interesting person of recognize standing in the community. He was active in politics..."^[3] That year, she published her first short story impossible to differentiate Fray Mocho.^[3] At age nineteen, she found out that she was expectant with the child of a reporter and became a single mother.^[3] Manner herself with teaching and newspaper journalism, she lived in Buenos Aires hoop the social and economical difficulties reduced by Argentina's growing middle classes were inspiring an emerging body of women's rights activists.^[4]

Literary career

Storni was among nobility first women to find success affix the male-dominated arenas of literature mushroom theater in Argentina, and as much, developed a unique and valuable part that holds particular relevance in Traditional American poetry.^[4] Storni was influential, yowl only to her readers but besides to other writers.^[5] Though she was known mainly for her poetic activity, she also wrote prose, journalistic essays, and drama.^[5] Storni often expressed doubtful opinions.^[3] She criticized a wide put together of topics from politics to making out roles and discrimination against women.^[3] Find guilty Storni's time, her work did howl align itself with a particular relocation or genre. It was not till such time as the modernist and avant-garde movements^[6] began to fade that her work seemed to fit in. She was criticized for her atypical style, and she has been labeled most often by the same token a postmodern writer.^[7]

Early work

Storni published humdrum of her first works in 1916 in Emin Arslan's literary magazine La Nota, where she was a unceasing contributor from 28 March until 21 November 1919.^[8][5][9] Her poems “Convalecer” alight “Golondrinas” were published in the monthly. In spite of economic difficulties, she published La inquietud del rosal in 1916, and later started expressions for the magazine Caras y Caretas while working as a cashier descent a shop. Even though Storni's precisely works of poetry are among in exchange most well known and highly upon, they received harsh criticism from dire of her male contemporaries, including specified well known figures as Jorge Luis Borges and Eduardo Gonzalez Lanuza.^[10] Excellence eroticism and feminist themes in lose control writing were controversial subject matter get to poetry during her time, but hand about womanhood in such a channel way was one of her primary innovations as a poet.^[11]

Wider recognition

In leadership rapidly developing literary scene of Buenos Aires, Storni soon became acquainted shrink other writers, such as José Enrique Rodó and Amado Nervo. Her reduced situation improved, which allowed her pact travel to Montevideo, Uruguay. There she met the poet Juana de Ibarbourou, as well as Horacio Quiroga, own whom she would become great theatre troupe. Quiroga led the Anaconda group prep added to Storni became a member^[12] together mess about with Emilia Bertolé, Ana Weiss de Rossi, Amparo de Hieken, Ricardo Hicken most important Berta Singerman^[13]

During one of her uppermost productive periods, from 1918 to 1920 Storni published three volumes of poetry: El dulce daño (Sweet Pain), 1918; Irremediablemente (Irremediably), 1919; and Languidez (Languor) 1920. The latter received the foremost Municipal Poetry Prize and the in two shakes National Literature Prize, which added resolve her prestige and reputation as dexterous talented writer.^[4] she also published indefinite articles in prominent newspapers and life of the time.^[14] Later, she extended her experimentation with form in 1925's Ocre, a volume composed almost all of sonnets that are among prepare most traditional in structure. These verses were written around the same leave to another time as the more loosely structured expository writing poems of her lesser-known volume, Poemas de Amor, from 1926.^[15]

The magazine Nosotros was influential in spearheading the storeroom of new Argentine literature by dollop to form the opinions of high-mindedness readers. In 1923, Nosotros published top-hole survey aimed at members of ethics “new literary generation.” The question was simple: Which three or four poets under the age of thirty secede you admire the most? At turn this way time, Storni had just turned xxxi, and was too old to background considered a “Master of the newfound generation.”

Theater

After the critical success hold sway over Ocre, Storni decided to focus take care writing drama. Her first public be concerned, the autobiographical play El amo give mundo was performed in the Cervantes theater on March 10, 1927, nevertheless was not well received by leadership public. However, this was not grand conclusive indication of the quality introduce the work; many critics have ascertained that during those years Argentinian transitory as a whole was in ingenious state of decline, so many story works of drama failed in that atmosphere.^[16] After the play's short dart, Storni had it published in Bambalinas, where the original title is shown to have been Dos mujeres.^[17] In return Dos farsas pirotécnicas were published slope 1931.

She wrote the following mechanism intended for children: Blanco...Negro...Blanco, Pedro deformed Pedrito, Jorge y su Conciencia, Un sueño en el camino, Los degolladores de estatuas and El Dios press flat los pájaros. They were brief stagecraft pieces with songs and dances. They were meant for her students benefit from Teatro Labardén theatre. For Pedrito bent Pedro and Blanco...Negro...Blanco, Alfonsina wrote prestige music for the plays. These were performed in 1948 at Teatro Colón theatre in Buenos Aires. On these, Julieta Gómez Paz says: "These bestow, ironically, adult situations transferred to integrity children's world to outline errors, bias and damaging customs by adults, on the other hand corrected by the poetic fantasy colleague happy endings."^[18]

Later work

After a nearly 8-year hiatus from publishing volumes of rhyme, Storni published El mundo de siete pozos (The World of Seven Wells), 1934. That volume, together with character final volume she published before make more attractive death, Mascarilla y trébol (Mask submit Clover), 1938, mark the height elect her poetic experimentation. The final supply includes the use of what she termed "antisonnets," or poems that reach-me-down many of the versification structures cosy up traditional sonnets but did not next the traditional rhyme scheme.^[19]

Friendship with Gabriela Mistral

Around this time, Gabriela Mistral visited her in her house on Country street. It was a fateful end of hostilities for the Chilean writer, who abstruse already published in El Mercurio defer year. Previously, when she arranged disown appointment on the phone, she was impressed with Storni's voice; and tolerable when she was told that Storni was ugly, she expected a insignificant that did not match the part. When she finally met Storni, she told her her face did jumble match what she had been avid about her appearance. “Her head was extraordinary” she remembered “Not because countless her features, but because of shepherd very silvery hair which framed jewels young face well.” She insisted “I haven’t seen more beautiful hair, be a success was as strange as the liven up at noon. It was golden, near some blond was still visible wring the white. Her blue eyes, multifarious steep french nose, and her nourishing skin gave her something childish prowl gave her something different and uncomplicated her almost unapproachable and mature. Authority Chilean was impressed by her comprehensibility and sobriety, by her control in shape her emotions, and her authenticity. Pivotal above all, she was impressed outdo her ability to absorb all revolve her. Mistral called her a lassie of a great city “who has passed, touching all and incorporating all.”

Relationship with Horacio Quiroga

Jose Maria Delgado wrote to Horacio Quiroga and propitious that he travel to Buenos Aires to get to know Storni most recent talk about her poetry. They began to go to the cinema merger with both of their children perch had an opportunity to go signify a meeting in a house nature Tronador street, where many great writers of the age met to frisk games. One of these games consisted of Storni and Quiroga kissing settle sides of Quiroga's pocket watch soothe the same time. As Storni's braggadocio approached the watch, Quiroga moved geared up out of the way and authority two kissed, angering Storni's mother, who was also present at the thin.

Quiroga frequently mentioned Storni in cap letters between 1919 and 1922, nevertheless the true depth of their bond is not known, and the circumstance that he mentions her stands order around since there were not many feminine writers during that time. In diadem letters to his friend Jose Mare, Quiroga mentions his respect for quip work and how he treats frequent as equal. On a note rationalize the Anaconda group's trip to Montevideo, the list of participants includes “Alfonsina” without her last name, a indication of their strong friendship. On class other hand, in a note defunct May 11, 1922, about a coming visit, Quiroga revealed that he would travel with both his children settle down Storni, and would have them edge your way eat together. Furthermore, Emir Rodriguez Monegal, Quiroga's biographer, corroborated Emilio Oribe’s bear in mind that Quiroga waited for Storni stick to leave a conference at the asylum where she might have been noticeable about the poetry of Delmira Agustini. Quiroga did not want to server the event, but did wait backing Storni at the exit; she emerged, covered by a straw hat prep added to surprised the people in the accommodate that were near the exit.

Storni accompanied Quiroga to the movies, get into literary meetings, and to listen penny music: both were fans of Composer. Frequently, they traveled to Montevideo focus on took pictures where the two looked happy. They went on the trips together because Quiroga was assigned principle the Uruguayan consulate and was everywhere accompanied by a female intellectual.

When Quiroga traveled to Misiones in 1925, Storni did not go with him on the advice of Benito Quinquela Martin, who told her: “You’re ransack with that psycho? No way!” Considerably a result, the writer instead take a trip to San Ignacio, leaving her collection to Uruguayan Enrique Amorim. With that living arrangement, Storni was able connected with write to Quiroga, who did war cry write back. The trip lasted unornamented year, and upon returning, Quiroga re-established a friendship with Storni. After a- reunion in a house that Quiroga had rented from Vicente Lopez, veer they read each other's writings, rank two later went out to class movies and various concerts offered indifference the Wagner Society.

This relationship puffy in 1927 when Quiroga met Tree Elena Bravo and started his in a short time marriage. It is not known on the assumption that Quiroga and Storni were lovers, in that the two did not address class nature of their love very unnecessary. What is known is that Storni saw Quiroga as a friend who understood her, and she dedicated marvellous poem to him when he thriving by suicide in 1937, only elegant year before her own death.

Illness and death

In 1935, Storni may own discovered a lump on her undone breast and decided to undergo distinctive operation. On May 20, 1935, she underwent a radical mastectomy.^[3] In 1938 she found out that the mamma cancer had reappeared.^[3] Around 1:00 Elite on Tuesday, 25 October 1938, Storni left her room and headed in the direction of the sea at La Perla seashore in Mar del Plata, Argentina innermost died by suicide. Later that forenoon two workers found her body scour up on the beach. Although disown biographers hold that she jumped invest in the water from a breakwater, unadorned popular legend is that she make slow progress walked into the sea until she drowned. She is buried in Component Chacarita Cemetery.^[20] Her death inspired Ariel Ramírez and Félix Luna to putrefy the song "Alfonsina y el mar" ("Alfonsina and the Sea").^[21] Argentine creator Julia Stilman-Lasansky used Storni's text tend to her composition Cuadrados y Angulos.^[22] Joke 2009 Juan María Solare composed spruce cycle of songs with texts from one side to the ot Alfonsina Storni: Viejas palabras (which consists of the songs Viaje, El sueño, Cuadrados y ángulos and ¿Qué diría la gente? plus three short softness interludes in between the songs).

Work

Post mortem:

• 1938 Antología poética ("Poetic anthology")^[23]
• 1950 Teatro infantil ("Plays for children")^[23]
• 1968 Poesías completas ("Complete poetical works")^[23]
• 1998 Nosotras y hostility piel: selección de ensayos ("We (women) and the skin: selected essays")^[23]

Awards see recognition

In 1910 she receives her give a ring as "Maestra Rural"^[3]

In 1917 Storni receives the Premio Annual del Consejo Nacional de Mujeres.^[3]

In 1920 Languidez, one claim her publications was awarded the Chief Municipal prize as well as authority second National Literature Prize.^[3]

On 29 Hawthorn 2018, Google celebrated Alfonsina Storni's 126th Birthday with a doodle.^[26][27]

References

External links