Both books were difficult, but from the strictly linguistic perspective, The Promise, the unfinished work written before her death in 1993, is written in simpler, more contemporary language. Selon les stéréotypes de l’époque, la nouvelle représente justement la pratique rationnelle par excellence. Ocampo’s writing anticipates the work of later women writers who have been translated more extensively into English, like Clarice Lispector, and contemporary Argentine writers like Mariana Enríquez and Samanta Schweblin. In 1960, she moved to Paris, where she befriended writers such as Octavio Paz, Julio Cortázar, and Silvina Ocampo. If we’d left it as “Vino,” the joke would have been lost. Nous marchions loin de la nuit, citant des vers au hasard, non loin de la mer. Getting Started | Contributor Zone » Contribute to … 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) Largely evincing a politics of acknowledgement and witness, her writing quietly reveals the double standards and ironies layered into mundane aspects of the lives of the women in her stories." One example from The Promise is a character by the name “Genaro Vino.” “Vino” is the third-person singular past tense form of “venir”—“to come”—so Genaro Vino could be heard not as a first and last name but rather as a statement about Geraro’s whereabouts: “Genaro came.” The narrator notes that, “His last name led to misunderstandings.” To preserve the humor here, we needed to come up with a name that was funny in the same way in English. Il y avait un eucalyptus, un pin sombre. Ocampo's friend and collaborator Jorge Luis Borges called Ocampo "one of the greatest poets in the Spanish language, whether on this side of the ocean or on the other." María Agustina Pardini: Forgotten Journey’s first review was written by Victoria Ocampo and published in Sur. This volume explores the theme of childhood in the cuentista and poet Silvina Ocampo (1903-1993) and the poet Alejandra Pizarnik (1936-1972). I spoke with the translators of Forgotten Journey and The Promise—Suzanne Jill Levine, Katie Lateef-Jan, and Jessica Powell—about Ocampo’s work and the process of bringing her words into English. 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. Suzanne Jill Levine: To speak of the greatest challenge of this doubleheader, or actually three-headed, project (myself with collaborators Katie Lateef-Jan and Jessica Powell) would require answering all of your excellent questions at once. Give readers a window on the world. María Agustina Pardini: Katie, what do you believe will be her contribution to the English-speaking world? 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. Youngest sister of Victoria Ocampo, Argentine writer, intellectual and publisher of the literary magazine Sur (Buenos Aires, 07 April 1890 -, 21 January 1979, Buenos Aires). Her translation of Wicked Weeds by Pedro Cabiya (Mandel Vilar Press, 2016) was named a finalist for the 2017 Best Translated Book Award and made the longlist for the 2017 National Translation Award. Her stories take place in a liquid, viscous reality, where innocence quietly bleeds into cruelty, and the mundane seeps, unnoticed, into the bizarre. She was mysterious, imaginative, irreverent, and modern, and so was her writing. So when she was finally published decades later in English (following the example of French translations), her later stories were anthologized, but … “Silvina Ocampo’s prose is made of elegant pleasures and delicate terrors. Silvina Ocampo Aguirre (July 28, 1903 – December 14, 1993) was an Argentine short story writer, poet, and artist. 4 0 obj Suzanne Jill Levine: Forgotten Journey, when it first came out in 1937, was severely criticized by Silvina’s more famous sister, Victoria, for the extreme obscurity and occasionally incorrect or at least forced grammar of the writing style. She won first prize in the 1962 National Poetry Competition for Lo amargo por dulce. First: the traditional obstacle in Argentina (and most of the world) of women as second-class citizens. … U of Pittsburgh, 2013. Découvrez tous les produits Silvina Ocampo à la fnac : Livres, BD, Ebooks, Livres en VO Every month we publish select prose and poetry on our site. %��������� She studied philosophy and literature at the University of Buenos Aires before dropping out to pursue painting and her own poetry. �fֱn�5�[��9��1�(.6,E %K)�M�K+\���^}��I���+�Q24AM�^ŵz��T�:��J��X6�'�`�j�kO�S Silvina Ocampo écrivain, puisqu’elle est la clé de la compréhension de son travail. et les traces d'une charrette. What matters is what we write: that is what we are, not some puppet made up by those who talk and enclose us in a prison so different from our dreams. I feel there is a larger answer to your question. For example, Jessica and I struggled to understand what was happening to who and when, or indeed, who was who? Hasard, non loin de la mer example, Jessica and i struggled to understand what was happening who. Do you believe will be her contribution to the English-speaking world first: traditional... 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