<< /Length 5 0 R /Filter /FlateDecode >> There is, of course, a stylistic maturation, as Jill notes, from the twists and turns of Forgotten Journey’s syntax to The Promise’s simpler, sparse sentences, but thematically and formally, Silvina comes full circle. �1*J��Z�ԵLJ�D��� ��ة� m7�Ե�P��]Aa��ͺ|sUA3%u[ov/K�*}�� =#���M�.�[P��"��]���b�U�)V�=w�����ܧL��C�&iv)�1��m�.��7��.O5�,�����F0�\�g�3�>������L���)����k"1�]��k�C��js �{Q�t!�~�1�8";�ф�vqy��I5brS��ڴf5� Her first book was Viaje olvidado (1937), translated as Forgotten Journey (2019), and her final … For so long that I suffered from the habit of hiding what I wrote: as if God could heal me and give me a piece of good news that never came . In 1960, she moved to Paris, where she befriended writers such as Octavio Paz, Julio Cortázar, and Silvina Ocampo. She writes about literature in Diario Perfil Cultural Supplement and in Words Without Borders. It draws revealing comparisons between these key Argentine writers through their shared obsession with childhood, arguing that an understanding of their attitudes to childhood is fundamental to an appreciation of their work. Suzanne Jill Levine and Katie Lateef-Jan) and The Promise (tr. The stories in this book are certainly bizarre and have a way of unexpectedly creeping up on you as you are reading. Her translation of Pablo Neruda’s book-length poem, venture of the infinite man, was published by City Lights Books in October 2017. In her reply, as a way of joking about her nonexistence in translation (except perhaps in French and Italian), she recounted, in her large squiggly handwriting, that William Carlos Williams had once written to her, asking permission to translate one of her poems. Born in Buenos Aires in 1903 as the youngest daughter of one of Argentina’s wealthiest families, she received the best education, learning French and English first and later Spanish. Ocampo's style, the very way she uses words and sentences, conveys something both innocent and cruel. Here’s a simple example in a story titled “Nocturne”: the term “ama de llaves” (literally “mistress of the keys”)—that is, “housekeeper”—in a sentence describing this character’s very busy and burdened everyday life. Études au Conservatoire national supérieur de musique et de danse de Paris; 1968-1969 : Assistant de Bruno Maderna au Mozarteum de Salzbourg; 1968-1973 : Chef invité des orchestres de la Résidence de La Haye et de Haarlem . Citations de Silvina Ocampo (45) Filtrer par titre : Tous les titres Non rattachées à un livre (1) Ceux qui aiment, haïssent (1) Faits divers de la Terre et du Ciel (7) La musique de la pluie et autres nouvelles (10) La promesse (3) Los días de la noche (1) Mémoires secrètes d'une poupée (6) Poèmes d'amour désespéré (9) Sentinelles de la nuit (7) Her translation of Gabriela Wiener’s Nine Moons is forthcoming from Restless Books in June 2020.​. If we’d left it as “Vino,” the joke would have been lost. Her books include Manuel Puig and the Spider Woman (Farrar Straus Giroux and Faber & Faber, 2000) and The Subversive Scribe: Translating Latin American Fiction (Graywolf Press, 1991), reissued by Dalkey Archive Press, along with her classic translations of three novels by Manuel Puig. A less obvious but significant second larger answer is given to us by Silvina herself, as she once wrote (published in Leopoldina’s Dream, x-xi): For a long time I had been writing and hiding what I wrote. ��UFD�#�����6b���y�R���-�C��Zp� �~Gm��hY��I���ׯ��k7|O��^�B�P(n��%�6�;6�BJ�vn)�-Y���7�~��k@��E�L ��D��e8 ��l�GS[W��?A�g,L��|��֋���q��ը��:]-�+l��f߰P��gOΒ:�^w�y6�߄R���z��g�p�ݦ�J���C�a9��~�������j!L��nSD�/�\��FIW6g���z�S� ������I/�'À��wd�g�� Jo"�HJ-�#Cb�Q�*�\���YڽK��M�����3v�>ZԎ(�6{���O6[�!�26RI7cæ���9�8.��0U�22|�>b�}�_͔D��- �ZH����S�Cu�. Hooray to City Lights for taking them on. Silvina Ocampo Aguirre (July 28, 1903 – December 14, 1993) was an Argentine short story writer, poet, and artist. `v߹��������.�sm��Pw50��?���2�M��y�\-��U8ƾ�g��;���t��UL��Z��V#=�A�+�7|��ji�jÖ�j�@�����y2����[4%����%�����~=Ә�d|� D�__�f��ĩZf�����>��c�l��/���Eo����ބ�7�@K�1�#(9�e]"��ϑ�v�� R*��@�3��� �Ϯ*�Y�:po����[�X�)�(@��M������n�_ףmƲ�>r[ It is my lifesaver when the water of the river or the sea tries to drag me under. We arrived at “Genaro Hascomb,” so that when one character says, “Genaro Hascomb” and another character replies, “Where is he?,” both the joke and Silvina’s distinctive sense of humor are preserved. Both the normal usage of the term and the fictional context tell us that “keys” signify more than keys, that “keys” are really a metonym for the whole house. This glimpse is, of course, limited by Ocampo’s own positionality and immense privilege, but her foregrounding of characters and bodies so often underrepresented in literature is an important precedent worthy of critical attention in the English-speaking world. Silvina Ocampo (Buenos Aires, le 28 juillet 1903 - id. Project "Scribbles under the Surface: Latin American Avant Garde in their Drafts and Manuscripts." And in the pre-millennial era, publishers were skeptical about translated volumes of short stories by unknown writers. libros de Silvina Ocampo2, signale aussi la différence de style entre les deux premiers livres d’Ocampo et remarque tout particulièrement la continuité entre Viaje olvidado et la production postérieure à Autobiografia de Irene. “She was not crazy: it was her spontaneous way of feeling, thinking, and seeing the world.” She adds that Bioy believed Ocampo seemed to have no literary predecessor—she influenced herself. Among her honors and grants she has been a fellow of the National Endowment for the Arts, the Guggenheim Foundation, the National Endowment of Humanities, and the Rockefeller Villa Serbelloni in Bellagio, and has won several PEN awards, including the first PEN USA West Prize for Literary Translation (1989), the PEN American Center Career Achievement award (1996), and the 2012 PEN USA Literary Award for her translation Jose Donoso’s The Lizard’s Tale (Northwestern University Press). Caractérisés par leur dimension métatextuelle, les récits brefs de Silvina Ocampo construisent progressivement, à travers divers procédés narratifs, le credo esthétique de l’auteur. Her stories take place in a liquid, viscous reality, where innocence quietly bleeds into cruelty, and the mundane seeps, unnoticed, into the bizarre. María Agustina Pardini: How much did you know about Silvina Ocampo before these books came into your hands? Nous rencontrions parfois une voiture. Suzanne Jill Levine: As a graduate student in the 1970s, I had wonderful mentors, such as the brilliant Uruguayan literary critic Emir Rodríguez Monegal, and thus I discovered Adolfo Bioy Casares and Silvina Ocampo. It was certainly difficult but ultimately rewarding to keep up with Silvina’s unusual (and very much ingenious!) This volume explores the theme of childhood in the cuentista and poet Silvina Ocampo (1903-1993) and the poet Alejandra Pizarnik (1936-1972). Silvina Ocampo est une écrivaine argentine, née en 1903 et décédée en 1993, qui s'est illustrée dans la poésie et la nouvelle. i_�W�����b��� ���y����0� M����Rx04��Rn!�AD� �ԇn�c� ,��LF? Click to donate. Words without Borders opens doors to international exchange through translation, publication, and promotion of the best international literature. Katie Lateef-Jan: Though Forgotten Journey is a collection of short stories and The Promise is Silvina’s only stand-alone novella, The Promise’s vignettes echo Forgotten Journey’s flash fictions in a way. 4 likes. It is evident that in the decades between the writing of the books, Ocampo developed her literary voice: it grew stronger and more defined. Her most recent translation is Edna Iturralde’s award-winning book, Green Was My Forest, published by Mandel Vilar Press in September, 2018. Alejandra Pizarnik was born in Buenos Aires to Russian Jewish immigrant parents. As L. P. Hartley remarked at the beginning of his pungent novel The Go-Between, “the past is another country.” So we were translating not only a language but from one era to another, and yet, paradoxically, dealing with a writer who was in no way old-fashioned but rather an intrepid innovator and more modern than many young writers today. “Using paratexts,” in the sense of working within an intertextual frame, is what happens continually in literary translation. In their collaborative work, the trio of Silvina Ocampo, Jorge Luis Borges, and Adolfo Bioy Casares became a quartet with … Mais l'œuvre de Silvina Ocampo, et en particulier Viaje Olvidado, n'apparaît pas comme une tentative de subversion des genres, de rénovation de certaines tendances … She also works as a translator of poetry. So when she was finally published decades later in English (following the example of French translations), her later stories were anthologized, but … Give readers a window on the world. 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