Alfonsina storni biography definition

This article is about the Swiss-Argentine poet and playwright. For the Argentine sailor and foreign minister, see Segundo Storni. For the Argentine archbishop, see Edgardo Gabriel Storni.

Argentine poet (–)

Alfonsina Storni (29 May – 25 October ) was a Swiss-Argentine poet and playwright of the modernist period.^[1][2]

Early life

Storni was born on May 29, , in Sala Capriasca, Switzerland.

Her parents were Alfonso Storni and Paola Martignoni, who were of Italian-Swiss descent. Before her birth, her father had started a brewery in the city of San Juan, Argentina, producing beer and soda. In , following the advice of a doctor, he returned with his wife to Switzerland, where Alfonsina was born the following year; she lived there until she was four years old.

In the family returned to San Juan, Argentina, and a few years later, in , moved to Rosario because of economic issues^[vague].

Alfonsina storni biography definition wikipedia Personal Profile. In , Storni returned to live with her mother, who had remarried and was living in Bustinza Santa Fe Province. Kirkpatrick's review of Storni's journalistic activity demonstrates tremendous breadth. Of the collection entitled Irrediablemente Irremediably , published in , she said that it was as bad as Inquietud del rosal.

There her father opened a tavern, where Storni did a variety of chores. That family business soon failed, however. Storni wrote her first verse at the age of twelve, and continued writing verses during her free time. She later entered into the Colegio de la Santa Unión as a part-time student.^[3] In , her father died and she began working in a hat factory to help support her family.^[3]

In , her interest in dance led her to 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. In , Storni returned to live with her mother, who had remarried and was living in Bustinza (Santa Fe Province). After a year there, Storni went to Coronda, where she studied to become a rural primary schoolteacher.

During this period, she also started working for the local magazines Mundo Rosarino and Monos y Monadas, as well as for the prestigious Mundo Argentino.^{[citation needed]}

In she moved to Buenos Aires, seeking the anonymity afforded by a big city. There she met and fell in love with a married man whom she described as "an interesting person of certain standing in the community.

He was active in politics"^[3] That year, she published her first short story in Fray Mocho.^[3] At age nineteen, she found out that she was pregnant with the child of a journalist and became a single mother.^[3] Supporting herself with teaching and newspaper journalism, she lived in Buenos Aires where the social and economical difficulties faced by Argentina's growing middle classes were inspiring an emerging body of women's rights activists.^[4]

Literary career

Storni was among the first women to find success in the male-dominated arenas of literature and theater in Argentina, and as such, developed a unique and valuable voice that holds particular relevance in Latin American poetry.^[4] Storni was influential, not only to her readers but also to other writers.^[5] Though she was known mainly for her poetic works, she also wrote prose, journalistic essays, and drama.^[5] Storni often expressed controversial opinions.^[3] She criticized a wide range of topics from politics to gender roles and discrimination against women.^[3] In Storni's time, her work did not align itself with a particular movement or genre.

It was not until 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 as a postmodern writer.^[7]

Early work

Storni published some of her first works in in Emin Arslan's literary magazine La Nota, where she was a permanent contributor from 28 March until 21 November ^[8][5][9] Her poems “Convalecer” and “Golondrinas” were published in the magazine.

In spite of economic difficulties, she published La inquietud del rosal in , and later started writing for the magazine Caras y Caretas while working as a cashier in a shop. Even though Storni's early works of poetry are among her most well known and highly regarded, they received harsh criticism from some of her male contemporaries, including such well known figures as Jorge Luis Borges and Eduardo Gonzalez Lanuza.^[10] The eroticism and feminist themes in her writing were controversial subject matter for poetry during her time, but writing about womanhood in such a direct way was one of her principal innovations as a poet.^[11]

Wider recognition

In the rapidly developing literary scene of Buenos Aires, Storni soon became acquainted with other writers, such as José Enrique Rodó and Amado Nervo.

Her economic situation improved, which allowed her to travel to Montevideo, Uruguay. There she met the poet Juana de Ibarbourou, as well as Horacio Quiroga, with whom she would become great friends. Quiroga led the Anaconda group and Storni became a member^[12] together with Emilia Bertolé, Ana Weiss de Rossi, Amparo de Hieken, Ricardo Hicken and Berta Singerman^[13]

During one of her most productive periods, from to Storni published three volumes of poetry: El dulce daño (Sweet Pain), ; Irremediablemente (Irremediably), ; and Languidez (Languor) The latter received the first Municipal Poetry Prize and the second National Literature Prize, which added to her prestige and reputation as a talented writer.^[4] she also published many articles in prominent newspapers and journals of the time.^[14] Later, she continued her experimentation with form in 's Ocre, a volume composed almost entirely of sonnets that are among her most traditional in structure.

These verses were written around the same time as the more loosely structured prose poems of her lesser-known volume, Poemas de Amor, from ^[15]

The magazine Nosotros was influential in spearheading the rise of new Argentine literature by helping to form the opinions of the readers. In , Nosotros published a survey aimed at members of the “new literary generation.” The question was simple: Which three or four poets under the age of thirty do you admire the most?

At that time, Storni had just turned thirty-one, and was too old to be considered a “Master of the new generation.”

Theater

After the critical success of Ocre, Storni decided to focus on writing drama. Her first public work, the autobiographical play El amo del mundo was performed in the Cervantes theater on March 10, , but was not well received by the public.

However, this was not a conclusive indication of the quality of the work; many critics have observed that during those years Argentinian theater as a whole was in a state of decline, so many quality works of drama failed in this atmosphere.^[16] After the play's short run, Storni had it published in Bambalinas, where the original title is shown to have been Dos mujeres.^[17] Her Dos farsas pirotécnicas were published in

She wrote the following works intended for children: BlancoNegroBlanco, Pedro y Pedrito, Jorge y su Conciencia, Un sueño en el camino, Los degolladores de estatuas and El Dios de los pájaros.

They were brief theatre pieces with songs and dances. They were meant for her students at Teatro Labardén theatre.

Biography examples for students: Cancel Save. Later that morning two workers found her body washed up on the beach. External links [ edit ]. In her words, written in

For Pedrito y Pedro and BlancoNegroBlanco, Alfonsina wrote the music for the plays. These were performed in at Teatro Colón theatre in Buenos Aires. On these, Julieta Gómez Paz says: "These present, ironically, adult situations transferred to the children's world to outline errors, prejudice and damaging customs by adults, but corrected by the poetic fantasy with happy endings."^[18]

Later work

After a nearly 8-year hiatus from publishing volumes of poetry, Storni published El mundo de siete pozos (The World of Seven Wells), That volume, together with the final volume she published before her death, Mascarilla y trébol (Mask and Clover), , mark the height of her poetic experimentation.

The final volume includes the use of what she termed "antisonnets," or poems that used many of the versification structures of traditional sonnets but did not follow the traditional rhyme scheme.^[19]

Friendship with Gabriela Mistral

Around this time, Gabriela Mistral visited her in her house on Cuba street.

It was a fateful meeting for the Chilean writer, who had already published in El Mercurio that year. Previously, when she arranged her appointment on the phone, she was impressed with Storni's voice; and so when she was told that Storni was ugly, she expected a face that did not match the voice. When she finally met Storni, she told her her face did not match what she had been told about her appearance.

“Her head was extraordinary” she remembered “Not because of her features, but because of her very silvery hair which framed her young face well.” She insisted “I haven’t seen more beautiful hair, it was as strange as the moonlight at noon. It was golden, and some blond was still visible in the white.

Biography examples for students

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Biography synonym

Her blue eyes, her steep french nose, and her pink skin gave her something childish that gave her something different and made her almost unapproachable and mature. The Chilean was impressed by her simplicity and sobriety, by her control of her emotions, and her authenticity. And above all, she was impressed by her ability to absorb all around her.

Mistral called her a woman of a great city “who has passed, touching all and incorporating all.”

Relationship with Horacio Quiroga

Jose Maria Delgado wrote to Horacio Quiroga and recommended that he travel to Buenos Aires to get to know Storni and talk about her poetry. They began to go to the cinema together with both of their children and had an opportunity to go to a meeting in a house on Tronador street, where many great writers of the age met to play games.

One of these games consisted of Storni and Quiroga kissing opposite sides of Quiroga's pocket watch at the same time. As Storni's lips approached the watch, Quiroga moved it out of the way and the two kissed, angering Storni's mother, who was also present at the party.

Quiroga frequently mentioned Storni in his letters between and , but the true depth of their relationship is not known, and the fact that he mentions her stands out since there were not many female writers during that time.

In his letters to his friend Jose Maria, Quiroga mentions his respect for her work and how he treats her as equal. On a note for the Anaconda group's trip to Montevideo, the list of participants includes “Alfonsina” without her last name, a demonstration of their strong friendship. On the other hand, in a note dated May 11, , about a future visit, Quiroga revealed that he would travel with both his children and Storni, and would have them all eat together.

Furthermore, Emir Rodriguez Monegal, Quiroga's biographer, corroborated Emilio Oribe’s account that Quiroga waited for Storni to leave a conference at the university where she might have been speaking about the poetry of Delmira Agustini. Quiroga did not want to attend the event, but did wait for Storni at the exit; she appeared, covered by a straw hat and surprised the people in the neighborhood that were near the exit.

Biography definition and examples Illness and death [ edit ]. Of the collection entitled Irrediablemente Irremediably , published in , she said that it was as bad as Inquietud del rosal. Observer Voice. This relationship ended in when Quiroga met Maria Elena Bravo and started his second marriage.

Storni accompanied Quiroga to the movies, to literary meetings, and to listen to music: both were fans of Wagner. Frequently, they traveled to Montevideo and took pictures where the two looked happy. They went on the trips together because Quiroga was assigned to the Uruguayan consulate and was always accompanied by a female intellectual.

When Quiroga traveled to Misiones in , Storni did not go with him on the advice of Benito Quinquela Martin, who told her: “You’re going with that psycho? No way!” As a result, the writer instead traveled to San Ignacio, leaving her apartment to Uruguayan Enrique Amorim. With this living arrangement, Storni was able to write to Quiroga, who did not write back.

The trip lasted a year, and upon returning, Quiroga re-established a friendship with Storni. After a reunion in a house that Quiroga had rented from Vicente Lopez, where they read each other's writings, the two later went out to the movies and various concerts offered by the Wagner Society.

This relationship ended in when Quiroga met Maria Elena Bravo and started his second marriage.

It is not known if Quiroga and Storni were lovers, since the two did not address the nature of their love very much. What is known is that Storni saw Quiroga as a friend who understood her, and she dedicated a poem to him when he died by suicide in , only a year before her own death.

Illness and death

In , Storni may have discovered a lump on her left breast and decided to undergo an operation.

On May 20, , she underwent a radical mastectomy.^[3] In she found out that the breast cancer had reappeared.^[3] Around AM on Tuesday, 25 October , Storni left her room and headed towards the sea at La Perla beach in Mar del Plata, Argentina and died by suicide. Later that morning two workers found her body washed up on the beach.

Although her biographers hold that she jumped into the water from a breakwater, a popular legend is that she slowly walked into the sea until she drowned. She is buried in La Chacarita Cemetery.^[20] Her death inspired Ariel Ramírez and Félix Luna to compose the song "Alfonsina y el mar" ("Alfonsina and the Sea").^[21] Argentine composer Julia Stilman-Lasansky used Storni's text for her composition Cuadrados y Angulos.^[22] In Juan María Solare composed a cycle of songs with texts by Alfonsina Storni: Viejas palabras (which consists of the songs Viaje, El sueño, Cuadrados y ángulos and ¿Qué diría la gente? plus three short piano interludes in between the songs).

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Work

Post mortem:

• Antología poética ("Poetic anthology")^[23]
• Teatro infantil ("Plays for children")^[23]
• Poesías completas ("Complete poetical works")^[23]
• Nosotras y la piel: selección de ensayos ("We (women) and the skin: selected essays")^[23]

Awards and recognition

In she receives her title as "Maestra Rural"^[3]

In Storni receives the Premio Annual del Consejo Nacional de Mujeres.^[3]

In Languidez, one of her publications was awarded the First Municipal prize as well as the second National Literature Prize.^[3]

On 29 May , Google celebrated Alfonsina Storni's th Birthday with a doodle.^[26][27]

References

External links