January 30, 2019


Its editors were three Argentinian bibliophiles: Silvina Ocampo, her husband Adolfo Bioy Casares, and their best friend, Jorge Luis Borges. conception, Silvina Ocampo has often been unduly eclipsed by Sur’s other .. humor. A story from La furia, “Los objetos,” for instance, seems to be an. Silvina Ocampo was the youngest of the six Ocampo sisters, of whom the .. fiction enriches the ambiguities of this poem: in her short story ‘Los objetos’, the.

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There is, no doubt, a sly irony in Silvina’s ‘desde lejos’ and, as we shall see, a somewhat impish subver- sion generally in ocamppo take on the saints, but she emphasizes collaboration and equality and that picture and words should be taken together. Norah longed to write poetry when she was young and produced a small unpublished work, which she illustrated and bound herself, entided Notas lejanas and bearing her brother’s first prologue.

Ney marked it as to-read Aug 11, This page was last edited on 19 Septemberat More tellingly, the image of San Jorge is doubly filtered, through a dream and through sickly-sweet pictures, perhaps ironically gesturing towards the saccharine qualities of over-fervent religious iconography. At the end of the story the watchmaker is missing and the contents of his shop have been driven away in a van.

Silvina Ocampo: Selection | Twentieth-Century Latin American Women Writers

The saint’s trial by fire and gruesome beheading are recorded obliquely in a lyrical present that sets the events firmly within legend, where no emotional response on the part of the reader can enter into play, thus allowing the illustration to assert its subject’s inviolability. She was educated at home by tutors. On the flyleaf to Ocampo’s translation of Emily Dickinson’s poems to celebrate her ovampo we are told that ‘jorge-Luis [sic] Borges, amigo de Silvina y admirador de las dos poetas, se hace, en su Prologo, portavoz de esta “comunion”‘.

And here, too, Jorge Luis Borges gets straight to the heart of the matter: This article needs additional citations for verification. Centro Editor de America Latina,pp. Gallimard,p. Yet there is a typical Objetoa twist – it is possibly implied in the following line that ‘la Bienaventuranza’, Beatitude, applies to the dragon, who suffers martyrdom at the hands of San Jorge: Silvina Ocampo owned four of Norah’s works, all of which predated Vanessa Leal Soto rated it it was ok Jun 06, Ocampo, in her final act of cruelty, defers that climax.


A Literary Biography New Objetoz Perhaps Melania simply sees these objects as imperfect signs of, or means of spiritual access to, higher lox to become too attached to them as objects would be spiritually dangerous.

Summary Bibliography: Silvina Ocampo

After these experiences, my interest in living what was destined for me diminished. Norah has used a very limited palette to depict these saints: Eugenia Hernandez rated it it was amazing Apr 03, While the official number recognized by the Church runs into the hundreds, the text in question here consists of twelve, with a portrait and a text comment- ing on each saint’s life.

See Borges’ interesting remarks in Georges Charbonnier, Entretiens, p.

In general, Norah does not portray specific elements in Silvina’s texts, nor does Silvina address specific features in Norah’s drawings. Buenos AiresArgentina.

The poet’s continual questions – lps was the horse called? In the long run, then, Silvina and Norah are more essentially in agreement about the value of looking into the lives of the saints than Jorge Luis Borges led readers to believe in his prologue. And this, as Patricia Artundo notes, was typical of Norah’s mature style as a graphic artist.

In her finest collections, The Fury and The Guestsshe develops systems of reticence and mystery that prove, beyond any doubt, how willing objeto is to build the structure alone: Norah is interested in presenting a subjective portrait, in aligning her own subj ectivity with that of the saint, and this leads her here and elsewhere to omit all violence and horrifying details in her representations.

Indeed, as a child she was very interested in religion, but in a highly personal and idiosyncratic manner, shunning the strictures of catechism or official prayers and preferring to invent her own ways of addressing God. Thus, unlike Melania, she has upset the delicate balance of attraction and indifference to material objects.

Linda marked it as to-read Oct 16, Francesca Finocchiaro rated it really liked it Dec 01, In the early S she contributed excellent woodcuts and linoleum prints to the same little magazines such silvinx Spain’s Ultra or Argentina’s Proa for which Jorge Luis wrote poems and theoretical texts.


Silvina Ocampo

Sofia rated it liked it Mar 23, While the collaboration usually consisted if illustrations Norah provided for Silvina’s cuentos, there is one interesting exception to this: Valen Guitart Guimet rated it it was amazing Dec 15, She is at the mercy of heathen Roman soldiers who have tried, unsuccessfully, to burn her alive hence the smouldering faggots in the foreground.

Part of the pleasure of reading Ocampo — or rather the thrill, as some of her work is far from pleasurable — is never knowing what the next sentence will bring. Only, this being Ocampo, by the time the story ends we are left with the suspicion, impalpable but present, that the narrator is herself a murderer. She seemed to see her role as an artist as one of providing a frame.

As the writer Welch D Everman has observed: It is quite likely that he would have commented on them to Silvina, as she too was a zealous archiver and magpie of curiosities from newspapers. Soledad Blanco marked it as to-read Mar 03, Santa Melania Whereas in the representation of Santa Ines, Silvina perhaps deferred to Norah’s belief and to iconographic precedents, in the picture-poem of Santa Melania we witness the primacy of the textual tradition.

Her simple geometrical shapes and post-cubist flouting of perspective produced figures such as those a child or, metaphorically speaking, a child of the faith might have produced. The suggestion is that the figure of a saint is a palimpsest over a prostitute which is, of course, exactly the case of one of the Breve santoral, Santa Maria, la Egipdaca. Paperbackpages. Murphy, ; Revd S.

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