by Alejandra Pizarnik, David William Foster . collection, La tierra mas ajena ( ), depending on which criterion. of lexical classification is. Alejandra Pizarnik (April 29, – September 25, ) was an Argentine poet. the department of Philosophy and Letters at the Universidad de Buenos Aires, Pizarnik published her first book of poetry, La tierra más ajena (). the very earliest collection of poems which she later disowned, La tierra mas ajena, there is a poem entitled ‘Yo soy in which the poet defines herself using.
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La tierra más ajena by Alejandra Pizarnik
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Alejandra Pizarnik – Wikipedia
Lists with This Book. This book is not yet featured on Listopia. The best of poems felt full of disjointed sap: Perhaps her later work is better.
Perhaps I am too much the unsophisticated rube to recognize the genius others have seen here. I conclude in ajna and disinclined to read further.
I am aware that Pizarnik is a highly mass, celebrated, influential poet. Feb 05, Florencia rated it liked it Shelves: Pizarnik, one of the best poets of the twentieth century, has been finally translated with a great introduction.
For Pizarnik, the self is a strong mess, an impossible impasse, a being obstructed by language that exists because of language Nothing Pizarnik did could ever be less than 5 stars. Jul 03, Rosa rated it it was amazing.
La tierra más ajena
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Born in Buenos Aires to Russian parents who had fled Europe and the Nazi Holocaust, Alejandra Pizarnik was destined for literary greatness as well as an early death.
She died from an ostensibly self-administered overdose of barbiturates on 25 September A few words scribbled on a slate that same month, reiterating her desire to go nowhere “but to the bottom,” sum up her lifelong aspiration as Born in Buenos Aires to Russian parents who had fled Europe and the Nazi Holocaust, Alejandra Pizarnik was destined for literary greatness as well as an early death.
A few words scribbled on a slate that same month, reiterating her desire to go nowhere “but to the bottom,” sum up her lifelong aspiration as a human being and as a writer. The compulsion to head for the “bottom” or “abyss” points to her desire to surrender to nothingness in an ultimate experience of ecstasy and poetic fulfillment in which life and art would be fused, albeit at her own risk.
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