Amarillo celeste. Silvina Ocampo, poetry, Borges Index: El vástago, Silvina Ocampo, MCP2, Type: T. Login to post comments. pero donde también figuran Silvina Ocampo, José Bianco y Adolfo y la suerte que corre el vástago y en todo caso también su sustituto. Contents: Silvina Ocampo: la nostalgia del orden / por Enrique Pezzoni — La liebre dorada — La continuación — El mal — El vástago — La casa de azúcar
Post on Jan views. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon vqstago wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. Best known for her short stories, she is also the prize-winning author of seven volunes of poetry.
Her most famous short stories fall within the realm of the fantastic, as may ocampk surmised from her personal associations. However, unlike Borges and Bioy Casares, who often send their readers into strange, imaginary worlds, Silvina prefers to deal in her cwn special way with elements of ordinary reality.
Her best stories are marked by their transformation of commonplace objects and events silvima brief glimpses of supernatural powers beyond. When the reader encounters the world of Silvina Ocampo’s stories, he enters a strange and somehow dangerous place. Lcampo child or the hunble seamstress, even the household pets and common objects, become sources of evil and vio lence. Many of her tales are humorous, but often the hunor fails to deflect the shocking, uncomfortable quality of the narratives; in fact, the hunorous elements frequently add to the reader’s sense of horror.
Sivina of the most important aspects of Silvina Ocampo’s world, which no critic or reviewer has noted to date, is the grotesque, which employs just such a union of hunor and horror. Wolfgang Kayser’s book-length study of the grotesque stresses its para doxical nature: In literary grotesques, the mixture of comedy and tragedy, or dee horrible and the ludicrous.
The gro tesque is the estranged world, our world which has been inexplicably trans formed, and which produces in the reader a reaction of awe, horror and of “overwhelming ominousness. Since no source can be named, the grotesque must not, indeed can not, imply a meaning.
It is not satire or social criticism, but “a play with the absurd.
The grotesque in Ocampo’s work appears frequently by way of the narra tor’s attitude: A strange, frightening or fantastic event occurs, reported by an observer or participant, who gives no indication of his own feelings. The reader is confronted with a completely non-judgmental perspective, Kay ser’s “unimpassioned view. The child provides an ideal vantage point from which to project the estranged world.
For the grotesque can not be portrayed from the vantage of satire, which is superior to what it observes, 49 This content downloaded from The detachment of many of Qcampo’s stories narrated by children is evi dent in the story “La casa de los relojes.
Such is the case in “La casa de los relojes,” in which a little boy begins by describing a party at his parents’ house. The guests become increasingly drunk until, in a burst of enthusiasm, they conceive the idea of ironing a little hunchbacked watchmaker’s wrinkled suit. They all go off to the cleaner’s the proprietor being one of the drunksand once there they decide to iron the little mishappen man as well as his suit. At the point when the men lay Estanislao, the hunchback, out under the steaming in dustrial iron, the young narrator, who has dipped into plenty of the wine himself, gets sick from the heat and the crush of the people, and leaves.
Later he becomes aware that the deformed watchmaker has “disappeared. The triviali ing aspects of the story occur throughout, but are particularly evident in the last paragraph when the boy’s mother evidences more concern for the ob jects in the house, which were destroyed during the party, thean for the guest who disappeared: Guando pregunte a mi madre donde estaba Estanislao, no quiso con tesarme como era debido.
Me dijo, como si hablara al perro: Though certainly in evidence in “La casa de los relojes,” the hunorous elements of the child narrator are more fully developed in a story like “El siniestro del Ecuador. The restaurant had collapsed, killing all the waiters, including Isidro Ebers, their favorite, a year before the story takes place, [towever, when the story opens, the restaurant has been rebuiIt and reopened, and the family is trying it out in its new location for the first time.
To their surprise, Isidro Ebers appears as usual. As they talk, it becomes evident that he actually has died, but is somehow still waiting tables. This guresome discovexy as reported by the young narrator is nevertheless filled with hunorous episodes involving family dynamics and concern for decorim, as in this exchange: Vamos a pregunatarle si es cierto que ha muerto o si es una calumnia.
Mariana no iras al cine dijo mi madre. This content downloaded from Theirs is the grotes que point of view: This wry child’s perspective appears in story after story by Ocampo: Children are not the only sources of the grotesque perspective, of course.
Household servants also seem particularly appropriate to this end.
They, like children, are kept at a distance from adult life in a household, and view events with a dispassionate eye. A seamstress reports the adven tures of her employer in “Las vertiduras peligrosas”6 and maids are witnesses in two stories of particularly grotesque characteristics, “Las escalavas de las criadas”7 and “La propiedad,”8 Distant relatives also seem to provide the necessary perspective, as in “Las fotografias”9 and in “El almacen negro.
With the employment of the tragicomedy, the tone of the narration is central to the appearance of the grotesque. In Ocampo’s works a horrifying event, fre quently fantastic, is protrayed in a humorous, albiet, grimly humorous way. For, when hunan tragedy is viewed with indifference or laughter, the gro tesque rears its ugly head. The tragicomedy is a quite generalized element of the grotesque. More specifically, there also exist grotesque thanes, of which Ocampo makes ample use.
Some grotesque themes, as listed by Joyce Wegsll include, in part, dreams and nightmares; the thane of the double or of shattered, diminished personality; madness, obsessed personalities; the mixture of plant, animal and hunan elements; alien plant worlds, such as the jungle; and the mix of animate and inanimate qualities as in machines and automatons.
As we exam ine Ocampo’s uses of these themes we must keep in mind that every appearance of such universal ideas does not make every work in which they appear grotes que. These stories must also meet Kayser’s many-sided definition: With that in mind, let us look at Ocampo’s grotesque themes.
Poemas de amor desesperado | Borges Center
The theme of the double has been present almost from the beginning in Ocampo’s works, and is nearly always associated with the accompanying thane of the shattered or diminished personality, and even with that of madness. In “El vastago”12 there appear to be two doubles. The narrator and his brother act as one character, have the silvna basically passive personality characteristics, and even fall in love with the same woman.
Their father and the younger brother’s little boy also act as another double, both having the same nickname, “Labuelo,” and the same extranely domineering personality. In this story, the two brothers are persecuted in the beginning by their tyrannical father; in the end they are xe persecuted by his tyrannical grandson.
This is a fantastic story which implies reincarnation of the 51 This content downloaded from The theme of the fragmented personality appears in “La vida clandes tine. He goes off in a desperate search for his “real” visual and accoustic images, abandoning the woman he loves.
This brings us to the obsessed or mad characters, a grotesque theme which appears in a great many of Ocamo’s stories.
The Grotesque in Silvina Ocampo’s Short Stories – [PDF Document]
Similarly, in “El lazo”16 two nurses in a sanatorium goad each other throughout years of intense hatred. Finally when one kills the other, the woman dies laughing in triumph, seemingly because she had succeeded in infuriating the other to the ultimate degree.
Grotesque dreams or hallucinations appear with terrifying or absurd imagery in many of the stories from Ocampo’s first collection, IHajz olvhide the blood, the stub, etc. Incredibly, this extremely macabre episode manages to be quite funny. These and other stories remind one of Kayser’s comment in the introduction of his study: My prolonged concern with the grotesque must not be taken as a sign of whole hearted enthusiasm for kcampo subject. I gladly admit that I, too, experienced the negative reaction likely to be provoked in the reader by certain chapters of my book or by a glance at its vadtago.
Indiana University Press, My paragraph is essentially a sunmary of Kayser’s first chapter, “The Word and its Meaning,” especially pp. Sur,pp.
Poemas de amor desesperado
Editorial Losada,pp. Editorial Sud americana,pp. Q La furia, pp. Carmen Martin Gaite and the Postwar Novel [pp. On Being a Woman and a Poet [pp.