The sentences of Alejandra Pizarnik unveil a poet with an impressive sensitivity and lucidity out of the ordinary. This artist, daughter of Russian immigrants and born in Argentina, lived an unstable and unhappy life.
Alejandra Pizarnik was marked by her childhood and adolescence. She has suffered from aggressive acne, asthma and overweight. His sister, on the other hand, was "perfect" in the eyes of his parents. Alejandra became a rebellious and introverted young woman, representing everything a girl should not be. Early on, she started taking amphetamines and barbiturates.
"Catch the memory of your face with the mask of what you will be and frighten the child you have been."
After doing a psychoanalysis, she found some temporary stability. Then came a time of great intellectual productionfrom which come his most beautiful poems and those sentences of Alejandra Pizarnik that are unforgettable. She committed suicide when she was only 36 years old. In the rest of this article, discover some of his most powerful statements.
The work in the sentences of Alejandra Pizarnik
One of the sentences of Alejandra Pizarnik says the following: "The truth: working to live is more silly than living. I wonder who coined the term 'earn a living' as synonymous with working. Where is this idiot? "
In this text is reflected well its protesting and critical spirit. In this particular sentence, we see an angry and indignant Alejandra Pizarnik. More than against work, his objection here is to compare it to life. Assuming that life is done, won or played only through work.
The task of the poet
We have wondered what is the use of poetry, and why poets exist. One of Alejandra Pizarnik's sentences answers these questions in a beautiful and elegant way: she associates the poetic task with healing. She gives the poetic word the power to heal, to repair and detoxify.
She says it this way: "It has been said that the poet is a great therapist, and in this sense the poetic task involves exorcising, conjuring and, moreover, repairing. To write a poem is to repair the fundamental wound, because we are all hurt.”
Dualities and being
Many sentences of Alejandra Pizarnik speak of these dualities that inhabit us. Of this being that can be multiple. De floating identity, changing and never really defined. For her it was clear that she was both the injured child and the indomitable woman.
One of his sentences says: ” What a delight to be lost in the image. I detached myself from my corpse, and I went in search of who I am. I wandered in me, I was towards the one who sleeps in a country in the wind” . She's talking about what she was and is not, but who will stay forever. From this death and rebirth to another person, but another person who carries in it the corpse of the previous one.
Research and vertigo
This is one of the most beautiful sentences of Alejandra Pizarnik, which says the following: ” Look for. This is not a verb, but a vertigo. It does not indicate action. It does not mean to go looking for someone, but to laugh because someone does not come.” The research she is referring to here is the one that accompanies the expectation of what is yet to come, or of what is yet to come.
What is intimately desired produces this vertigo in the course of which we do not know which feeling is the most extreme: that of absence or that of presence. When we wait for something we love to arrive, we do not adopt an active posture, but we find ourselves in an indescribable and unspeakable turmoil. And if this thing is slow in coming, the turmoil becomes a torture, almost a death.
Watch with innocence
To watch with innocence is, for Alejandra, to look without expectations, without prejudice and without pre-concept. This is the type of look that does not wait to find something, but that is satisfied in the mere fact of seeing, contemplating. In the following sentence, she makes an association between this unconscious gaze and nothingness.
The sentence says: ” And above all, look innocently. As if nothing was going to happen, which is certain.” To this look that expects nothing, is added the fact that, effectively, what is seen is the nothing. A beautiful way to express this "orphanage" that reigns in these empty moments.
Alejandra Pizarnik has never been able to overcome the depression, which submerged her in long confinement and painful reflections. She has been interned several times in psychiatric hospitals. The last verses she wrote, shortly before dying, say: "I do not want to go / nothing more / than to the bottom."