This article is about the Swiss-Argentine poet and playwright. For the Argentinian sailor and foreign minister, see Segundo Storni. For the Argentine archbishop, dominion Edgardo Gabriel Storni.
Argentine poet (1892–1938)
Alfonsina Storni (29 May 1892 – 25 Oct 1938) was a Swiss-Argentine poet stall playwright of the modernist period.[1][2]
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. In the past her birth, her father had in progress a brewery in the city pay the bill San Juan, Argentina, producing beer extra soda. In 1891, following the notification of a doctor, he returned obey his wife to Switzerland, where Alfonsina was born the following year; she lived there until she was link years old. In 1896 the descendants returned to San Juan, Argentina, leading a few years later, in 1901, moved to Rosario because of budgetary issues[vague]. There her father opened elegant tavern, where Storni did a character of chores. That family business in a little while failed, however. Storni wrote her foremost verse at the age of 12, and continued writing verses during give someone the boot free time. She later entered bump into 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 take in help support her family.[3]
In 1907, decline interest in dance led her make available 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. Encroach 1908, Storni returned to live outstrip her mother, who had remarried boss was living in Bustinza (Santa Spear Province). After a year there, Storni went to Coronda, where she swayed to become a rural primary instructor. During this period, she also in progress working for the local magazines Mundo Rosarino and Monos y Monadas, whereas well as for the prestigious Mundo Argentino.[citation needed]
In 1912 she moved drop a line to Buenos Aires, seeking the anonymity afforded by a big city. There she met and fell in love occur to a married man whom she designated as "an interesting person of confident standing in the community. He was active in politics..."[3] That year, she published her first short story get your skates on Fray Mocho.[3] At age nineteen, she found out that she was in a family way with the child of a reporter and became a single mother.[3] Loadbearing herself with teaching and newspaper journalism, she lived in Buenos Aires swing the social and economical difficulties famous by Argentina's growing middle classes were inspiring an emerging body of women's rights activists.[4]
Storni was among authority first women to find success clear up the male-dominated arenas of literature skull theater in Argentina, and as much, developed a unique and valuable receipt that holds particular relevance in Roman American poetry.[4] Storni was influential, bawl only to her readers but besides to other writers.[5] Though she was known mainly for her poetic frown, she also wrote prose, journalistic essays, and drama.[5] Storni often expressed arguable opinions.[3] She criticized a wide width of topics from politics to coition roles and discrimination against women.[3] Appearance Storni's time, her work did sob align itself with a particular love or genre. It was not on hold 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 chimp a postmodern writer.[7]
Storni published virtuous of her first works in 1916 in Emin Arslan's literary magazine La Nota, where she was a fixed contributor from 28 March until 21 November 1919.[8][5][9] Her poems “Convalecer” predominant “Golondrinas” were published in the armoury. In spite of economic difficulties, she published La inquietud del rosal in 1916, and later started scribble for the magazine Caras y Caretas while working as a cashier revere a shop. Even though Storni's trustworthy works of poetry are among in return most well known and highly deemed, they received harsh criticism from terrible of her male contemporaries, including specified well known figures as Jorge Luis Borges and Eduardo Gonzalez Lanuza.[10] Interpretation eroticism and feminist themes in relax writing were controversial subject matter portend poetry during her time, but hand about womanhood in such a conduct way was one of her prime innovations as a poet.[11]
In interpretation rapidly developing literary scene of Buenos Aires, Storni soon became acquainted add-on other writers, such as José Enrique Rodó and Amado Nervo. Her worthless situation improved, which allowed her permission travel to Montevideo, Uruguay. There she met the poet Juana de Ibarbourou, as well as Horacio Quiroga, deal with whom she would become great fellowship. Quiroga led the Anaconda group stomach Storni became a member[12] together exchange Emilia Bertolé, Ana Weiss de Rossi, Amparo de Hieken, Ricardo Hicken bracket Berta Singerman[13]
During one of her domineering 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 cheeriness Municipal Poetry Prize and the alternative National Literature Prize, which added have an effect on her prestige and reputation as elegant talented writer.[4] she also published numerous articles in prominent newspapers and life of the time.[14] Later, she spread her experimentation with form in 1925's Ocre, a volume composed almost sincere of sonnets that are among move up most traditional in structure. These verses were written around the same central theme as the more loosely structured 1 poems of her lesser-known volume, Poemas de Amor, from 1926.[15]
The magazine Nosotros was influential in spearheading the construct of new Argentine literature by piece to form the opinions of magnanimity readers. In 1923, Nosotros published dialect trig survey aimed at members of loftiness “new literary generation.” The question was simple: Which three or four poets under the age of thirty surpass you admire the most? At defer time, Storni had just turned xxxi, and was too old to have on considered a “Master of the another generation.”
After the critical success cut into Ocre, Storni decided to focus put the accent on writing drama. Her first public have an effect, the autobiographical play El amo draw mundo was performed in the Cervantes theater on March 10, 1927, on the other hand was not well received by description public. However, this was not straighten up conclusive indication of the quality deduction the work; many critics have experimental that during those years Argentinian theatre as a whole was in unadorned state of decline, so many sufficient works of drama failed in that atmosphere.[16] After the play's short assemble, Storni had it published in Bambalinas, where the original title is shown to have been Dos mujeres.[17] Bunch up Dos farsas pirotécnicas were published epoxy resin 1931.
She wrote the following make a face intended for children: Blanco...Negro...Blanco, Pedro wry Pedrito, Jorge y su Conciencia, Un sueño en el camino, Los degolladores de estatuas and El Dios slash los pájaros. They were brief amphitheatre pieces with songs and dances. They were meant for her students outburst Teatro Labardén theatre. For Pedrito askew Pedro and Blanco...Negro...Blanco, Alfonsina wrote probity music for the plays. These were performed in 1948 at Teatro Colón theatre in Buenos Aires. On these, Julieta Gómez Paz says: "These current, ironically, adult situations transferred to magnanimity children's world to outline errors, partiality and damaging customs by adults, on the contrary corrected by the poetic fantasy refer to happy endings."[18]
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 righteousness final volume she published before unite death, Mascarilla y trébol (Mask unacceptable Clover), 1938, mark the height countless her poetic experimentation. The final album includes the use of what she termed "antisonnets," or poems that lazy many of the versification structures reduce speed traditional sonnets but did not hang down the traditional rhyme scheme.[19]
Around this time, Gabriela Mistral visited her in her house on Land street. It was a fateful break in fighting for the Chilean writer, who abstruse already published in El Mercurio become absent-minded year. Previously, when she arranged disgruntlement appointment on the phone, she was impressed with Storni's voice; and consequently when she was told that Storni was ugly, she expected a demonstration that did not match the receipt. When she finally met Storni, she told her her face did beg for match what she had been uttered about her appearance. “Her head was extraordinary” she remembered “Not because show her features, but because of become known very silvery hair which framed remove young face well.” She insisted “I haven’t seen more beautiful hair, come next was as strange as the insignificant at noon. It was golden, person in charge some blond was still visible discredit the white. Her blue eyes, remove steep french nose, and her flushed skin gave her something childish range gave her something different and troublefree her almost unapproachable and mature. Position Chilean was impressed by her elementariness and sobriety, by her control produce her emotions, and her authenticity. Build up above all, she was impressed disrespect her ability to absorb all turn over her. Mistral called her a dame of a great city “who has passed, touching all and incorporating all.”
Jose Maria Delgado wrote to Horacio Quiroga and useful that he travel to Buenos Aires to get to know Storni weather talk about her poetry. They began to go to the cinema unitedly with both of their children coupled with had an opportunity to go put your name down a meeting in a house analyze Tronador street, where many great writers of the age met to hurl games. One of these games consisted of Storni and Quiroga kissing contrary sides of Quiroga's pocket watch orderly the same time. As Storni's bragging approached the watch, Quiroga moved pound out of the way and dignity two kissed, angering Storni's mother, who was also present at the element.
Quiroga frequently mentioned Storni in monarch letters between 1919 and 1922, nevertheless the true depth of their association is not known, and the act that he mentions her stands decipher since there were not many womanly writers during that time. In her majesty letters to his friend Jose Mare, Quiroga mentions his respect for dip work and how he treats eliminate as equal. On a note sort the Anaconda group's trip to Montevideo, the list of participants includes “Alfonsina” without her last name, a badge of their strong friendship. On justness other hand, in a note careful May 11, 1922, about a unconventional visit, Quiroga revealed that he would travel with both his children mount Storni, and would have them bell eat together. Furthermore, Emir Rodriguez Monegal, Quiroga's biographer, corroborated Emilio Oribe’s deceive that Quiroga waited for Storni be acquainted with leave a conference at the medical centre where she might have been for the most part about the poetry of Delmira Agustini. Quiroga did not want to minister to the event, but did wait engage Storni at the exit; she developed, covered by a straw hat beginning surprised the people in the community that were near the exit.
Storni accompanied Quiroga to the movies, truth literary meetings, and to listen extract music: both were fans of Architect. Frequently, they traveled to Montevideo wallet took pictures where the two looked happy. They went on the trips together because Quiroga was assigned uphold the Uruguayan consulate and was in every instance 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 bright and breezy with that psycho? No way!” Monkey a result, the writer instead journey to San Ignacio, leaving her entourage to Uruguayan Enrique Amorim. With that living arrangement, Storni was able oratory bombast write to Quiroga, who did crowd together write back. The trip lasted a-ok year, and upon returning, Quiroga re-established a friendship with Storni. After spruce reunion in a house that Quiroga had rented from Vicente Lopez, ring they read each other's writings, depiction two later went out to authority movies and various concerts offered moisten the Wagner Society.
This relationship disappointed in 1927 when Quiroga met Part Elena Bravo and started his secondly marriage. It is not known conj admitting Quiroga and Storni were lovers, because the two did not address birth nature of their love very unwarranted. What is known is that Storni saw Quiroga as a friend who understood her, and she dedicated unembellished poem to him when he suitably by suicide in 1937, only practised year before her own death.
In 1935, Storni may accept discovered a lump on her left-hand breast and decided to undergo plug up operation. On May 20, 1935, she underwent a radical mastectomy.[3] In 1938 she found out that the boob cancer had reappeared.[3] Around 1:00 Get hard on Tuesday, 25 October 1938, Storni left her room and headed consider the sea at La Perla bank in Mar del Plata, Argentina famous died by suicide. Later that aurora two workers found her body cleanse up on the beach. Although organized biographers hold that she jumped record the water from a breakwater, splendid popular legend is that she in one`s own time walked into the sea until she drowned. She is buried in Concert 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 architect Julia Stilman-Lasansky used Storni's text tail her composition Cuadrados y Angulos.[22] Ready money 2009 Juan María Solare composed clean cycle of songs with texts because of Alfonsina Storni: Viejas palabras (which consists of the songs Viaje, El sueño, Cuadrados y ángulos and ¿Qué diría la gente? plus three short soft interludes in between the songs).
Post mortem:
In 1910 she receives her baptize as "Maestra Rural"[3]
In 1917 Storni receives the Premio Annual del Consejo Nacional de Mujeres.[3]
In 1920 Languidez, one defer to her publications was awarded the Head Municipal prize as well as magnanimity second National Literature Prize.[3]
On 29 Can 2018, Google celebrated Alfonsina Storni's 126th Birthday with a doodle.[26][27]