Découvrez tous les produits Silvina Ocampo à la fnac : Livres, BD, Ebooks, Livres en VO Silvina Inocencia Ocampo was a short-story writer, novelist, poet, and one of the most influential writers of her generation. The stories in this book are certainly bizarre and have a way of unexpectedly creeping up on you as you are reading. “She was not crazy: it was her spontaneous way of feeling, thinking, and seeing the world.” She adds that Bioy believed Ocampo seemed to have no literary predecessor—she influenced herself. << /Length 5 0 R /Filter /FlateDecode >> María Agustina Pardini: Forgotten Journey’s first review was written by Victoria Ocampo and published in Sur. Il y avait un eucalyptus, un pin sombre. It is evident that in the decades between the writing of the books, Ocampo developed her literary voice: it grew stronger and more defined. In their collaborative work, the trio of Silvina Ocampo, Jorge Luis Borges, and Adolfo Bioy Casares became a quartet with … When you want to die you fall in love with yourself, you look for something touching that will save you.” ― Silvina Ocampo, Thus Were Their Faces. In addition we develop print anthologies, work with educators to bring literature in translation into classrooms, host events with foreign authors, and maintain an extensive archive of global writing. She remained a shadowy presence within the literary group which included her sister Victoria, the founder ofSur, Jorge Luis Borges, its most famous contributor, José Bianco,Sur’s director, and Adolfo Bioy Casares,enfant terribleand Silvina’s husband, to name just the obvious connections. None of her books are particularly ‘commercial’ and each of them is interesting for different reasons; what is striking is that such a personal writer is not widely known outside of Argentina.” Perhaps it is because Ocampo was not doing what was expected of women writers of her generation—producing work that reflected the preestablished literary and syntactic rules of the moment and expressing feelings and memories in a reasonable, structured way. Her stories take place in a liquid, viscous reality, where innocence quietly bleeds into cruelty, and the mundane seeps, unnoticed, into the bizarre. Considered one of mid-century Argentina’s most … 4 likes. Here’s a simple example in a story titled “Nocturne”: the term “ama de llaves” (literally “mistress of the keys”)—that is, “housekeeper”—in a sentence describing this character’s very busy and burdened everyday life. 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. María Agustina Pardini: How much did you know about Silvina Ocampo before these books came into your hands? 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. Études au Conservatoire national supérieur de musique et de danse de Paris; 1968-1969 : Assistant de Bruno Maderna au Mozarteum de Salzbourg; 1968-1973 : Chef invité des orchestres de la Résidence de La Haye et de Haarlem . 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." For so long that I suffered from the habit of hiding what I wrote: as if God could heal me and give me a piece of good news that never came . Silvina Ocampo has been described as having practiced the art of hiding in plain view. She had a rich, wildly personal imagination. Her translation of Gabriela Wiener’s Nine Moons is forthcoming from Restless Books in June 2020.​. She was mysterious, imaginative, irreverent, and modern, and so was her writing. I was among the very first to translate wonderfully subversive stories by Silvina, such as “Mortal Sin,” “Coral Fernandez,” and “The Lovers.” But, as I’ve said, until recently, it was hard finding a publisher for her. “Intervention” as in a surgery, like a total knee replacement, is what a translator does, like taking apart a knee and putting it back together again: it’s different, made of different, artificial (compared to natural) material, but it still serves its principal function. It draws revealing comparisons between these key Argentine writers through their shared obsession with childhood, arguing that an understanding of their attitudes to childhood is fundamental to an appreciation of their work. She is the author of Complete Stories, The Fury and Other Stories, Inventions of Memory, and many others. Silvina Ocampo inverse la donnée d'origine en substituant les espoirs secrets des personnages de la nouvelle, loin d'être positifs, à un sens général et convenu du mot. U of Pittsburgh, 2013. 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. Jessica Powell: The most useful thing for me in terms of grasping Silvina’s style was the experience of cotranslating the novel she cowrote in 1946 with her husband, Adolfo Bioy Casares, Where There’s Love, There’s Hate. Field Research Grant. It was certainly difficult but ultimately rewarding to keep up with Silvina’s unusual (and very much ingenious!) Silvina Ocampo (Buenos Aires, le 28 juillet 1903 - id. She wasn’t after success: maybe writing in relative obscurity gave her a freedom that would otherwise have been impossible. Give readers a window on the world. It is my lifesaver when the water of the river or the sea tries to drag me under. . Praise for Silvina Ocampo: "Ocampo wrote with fascinated horror of Argentinean petty bourgeois society, whose banality and kitsch settings she used in a masterly way to depict strange, surreal atmospheres sometimes verging on the supernatural." Le présent article se donne pour but de tester la validité de cette hypothèse. … 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. Katie Lateef-Jan is a PhD candidate in comparative literature with a doctoral emphasis in translation studies at the University of California, Santa Barbara. Suzanne Jill Levine: Intervention seems to me a good metaphor for translation. So when she was finally published decades later in English (following the example of French translations), her later stories were anthologized, but … I feel there is a larger answer to your question. . From that moment on, I felt my mission in life was to bring their unknown work to English readers. She incorporates colloquial Spanish, omits personal pronouns (especially the first-person narrator), plays with adjectives in a masterfully chaotic way, takes the fantastic genre to the extreme, explores the absurd, reflects on universal themes—such as childhood and the difference between social classes—from a new perspective, and gives the reader the freedom to interpret the ending. I met in her in Buenos Aires in 1971 and shortly after wrote to her to ask permission to translate a story and publish it in Fiction magazine. So we kept the repetition of keys, referring to many, keeping in mind that Spanish, rioplatense or otherwise, is naturally musical in its sounds, and we added the alliterative play of “keeper” and “keys” to suggest a woman bearing a big burden, thus: “housekeeper with many keys to keep,” as in “Eulalia was the seamstress, the housekeeper with many keys to keep, and sometimes she had the time to water the flowers and the lawn.”. While I could have translated both books by myself, the work was enhanced by these bright young translators and by what everyone in dialogue brought to the two books. Do you agree? Project "Writing in the Making: The Reconstruction of Silvina Ocampo and Clarice Lispector's Creative Processes.” Center for Latin American Studies. stream Not that there weren’t huge challenges involving local terms and references and just plain craziness. Suzanne Jill Levine: I worked with two different collaborators: The Promise was done with Jessica Powell, a former student of mine and now an accomplished published translator with whom I collaborated on a hilarious novella (recently made into a film) by Bioy and Silvina called Where There’s Love, There’s Hate. ��UFD�#�����6b���y�R���-�C��Zp� �~Gm��hY��I���ׯ��k7|O��^�B�P(n��%�6�;6�BJ�vn)�-Y���7�~��k@��E�L ��D��e8 ��l�GS[W��?A�g,L��|��֋���q��ը��:]-�+l��f߰P��gOΒ:�^w�y6�߄R���z��g�p�ݦ�J���C�a9��~�������j!L��nSD�/�\��FIW6g���z�S� ������I/�'À��wd�g�� Jo"�HJ-�#Cb�Q�*�\���YڽK��M�����3v�>ZԎ(�6{���O6[�!�26RI7cæ���9�8.��0U�22|�>b�}�_͔D��- �ZH����S�Cu�. The narrator’s repetition of the word “llaves” (“keys”) is a clue to the translator that the narrator is being gently sardonic. Among her honors and grants she has been a fellow of the National Endowment for the Arts, the Guggenheim Foundation, the National Endowment of Humanities, and the Rockefeller Villa Serbelloni in Bellagio, and has won several PEN awards, including the first PEN USA West Prize for Literary Translation (1989), the PEN American Center Career Achievement award (1996), and the 2012 PEN USA Literary Award for her translation Jose Donoso’s The Lizard’s Tale (Northwestern University Press). “Adrift” then occurred to me, an adjective used in English when Borges’s now famously Argentine sense of alienation was first introduced to readers as “adrift in metaphysics.”. Surrealist writer and poet Silvina Ocampo has been called "the best kept secret of Argentine letters," and two new translations have beautifully captured her evocative prose style … When I discussed with an Argentine scholar the meaning or intention of some of the more byzantine words and convoluted passages in these narratives, she said “Even in Argentina she was often impossible to understand.”. �fֱn�5�[��9��1�(.6,E %K)�M�K+\���^}��I���+�Q24AM�^ŵz��T�:��J��X6�'�`�j�kO�S Jessica Powell: Aside from rioplatense-specific vocabulary, I think what marks Silvina as specifically Argentine (of a certain literary circle and social class) is her particular style of humor. Nous marchions loin de la nuit, citant des vers au hasard, non loin de la mer. Suzanne Jill Levine), Read María Austina Pardini’s interview with four contemporary Argentine women writers, Read fiction by Maríana Enriquez and Samanta Schweblin, Read Suzanne Jill Levine’s essay “Many Voices: A Life in Translation”, Read WWB’s April 2018 issue of literature from Argentina, Published Oct 29, 2019   Copyright 2019 María Agustina Pardini. To conclude: Bioy and Silvina were wealthy in their heyday—the Ocampos were one of the richest families in Argentina in the 1920s when Argentina was the fifth richest country in the world—and could afford idiosyncrasy. To boot, she was associated with (and thus overshadowed by) a brilliant duo of male writers: the now world-famous Jorge Luis Borges, and her husband, Adolfo Bioy Casares; even Bioy himself was overshadowed, as is to be expected, by Borges. Silvina Ocampo et la Antologîa de la literatura fantâstica 265. semble pourtant évident que les difficultés de proposer un classement générique perdurent, devenant une constante de sa production. "Silvina Ocampo was once called the 'the best kept secret of Argentine letters,' and was, through her own work and that of those she championed, a key figure of modernism. So wrote Silvina Ocampo from her home in Buenos Aires in 1987. She also works as a translator of poetry. I found, when it came to translating The Promise, working on Where There’s Love, There’s Hate had been an excellent way to become closely acquainted with the peculiarities of Silvina’s literary sensibilities. “Silvina Ocampo’s prose is made of elegant pleasures and delicate terrors. Alejandra Pizarnik was born in Buenos Aires to Russian Jewish immigrant parents. María Agustina Pardini: Why do you believe these books had not been translated before? My collaborators will no doubt agree that the greatest challenge is Silvina herself. This is a book that is going to stick with me for a very, very long time mainly because of the beauty, intense originality, and strangeness of Silvina Ocampo's writing. Her translations from the Spanish have appeared in Granta, Review: Literature and Arts of the Americas, and ZYZZYVA. Words are “naturally” allusive, alluding to previous usage, whether literary or not. Silvina Ocampo Aguirre (July 28, 1903 – December 14, 1993) was an Argentine short story writer, poet, and artist. Her translation of Pablo Neruda’s book-length poem, venture of the infinite man, was published by City Lights Books in October 2017. Selon les stéréotypes de l’époque, la nouvelle représente justement la pratique rationnelle par excellence. Words without Borders opens doors to international exchange through translation, publication, and promotion of the best international literature. Project "Scribbles under the Surface: Latin American Avant Garde in their Drafts and Manuscripts." Her creative works and translations in the last decade include a five volume edition of the prose and poetry of Jorge Luis Borges for Penguin Classics, and, recently, newer writers like Luis Negrón, Eduardo Lalo, Guadalupe Nettel, and, for the Dorothy Project, Cristina R. Garza’s The Taiga Syndrome, a finalist for this year’s National Translation Award. 11 nouvelles, Musique, maestro !, Collectif, Flammarion. 4 0 obj Will we always be students of ourselves? Another part of the challenge was that, from the perspective of a certain class and in a certain era in an Argentina that practically no longer exists, Silvina boldly gave voice to marginal figures of her world: servants, women, children. Style: Musique contemporaine: Yves Prin est un compositeur français de musique contemporaine né le 3 juin 1933 à Sainte-Savine Biographie. Silvina Ocampo’s life was as original as her work. María Agustina Pardini: Katie, what do you believe will be her contribution to the English-speaking world? As a result of gaps between sentences, the reader senses that something is missing, that something is not being told, … (buenos aires) #travelcolorfully She was the recipient of a 2011 National Endowment for the Arts Translation Fellowship in support of her translation of Antonio Benítez Rojo’s novel, Woman in Battle Dress (City Lights, 2015), which was a finalist for the PEN Center USA Literary Award for Translation. Her first book was Viaje olvidado (1937), translated as Forgotten Journey (2019), and her final … She holds BAs in English and English Scientific and Literary Translation. Suzanne Jill Levine: As a graduate student in the 1970s, I had wonderful mentors, such as the brilliant Uruguayan literary critic Emir Rodríguez Monegal, and thus I discovered Adolfo Bioy Casares and Silvina Ocampo. She never answered him because she couldn’t believe it was the important American poet and so she thought, from the name, that it was a Brazilian samba musician. Not only because Forgotten Journey (the book of stories) is longer, but also, because it was written in the late 1920s and ’30s in an opaque style described in the answer to your first question, it was (I believe) the more difficult work. Her books include Manuel Puig and the Spider Woman (Farrar Straus Giroux and Faber & Faber, 2000) and The Subversive Scribe: Translating Latin American Fiction (Graywolf Press, 1991), reissued by Dalkey Archive Press, along with her classic translations of three novels by Manuel Puig. i_�W�����b��� ���y����0� M����Rx04��Rn!�AD� �ԇn�c� ,��LF? Jul 26, 2014 - stylifh silvina ocampo, author of some great short stories. 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. Katie Lateef-Jan: Ocampo offers a glimpse into the world of young girls—and how childhood was constructed—in early-twentieth-century Argentina. Every month we publish select prose and poetry on our site. It is clear to the reader that she matures as a writer, but do the themes and genres make them too incompatible for any connection to be drawn between them? Elle était l'épouse de l'autre célèbre écrivain argentin Adolfo Bioy Casares. They could assume the marginality that became their destiny, until literary prizes, publishers, and translators like myself (way back in the ’70s) insisted upon knocking on their door. x�]M�#�q����0� _�፟2�(z��Ò�jV����RW�)�BGؿ���������4���RĂ�]��/����{^ԟ�/�fUϛq3�L��b��,���t����������z]���7M��z����zM�����Ǜ�Y]�����Р��}U���^���~�|U��a3��M��7����/���z�~V���U=K_����֠�O=z�h���� ?��\����>����}5R��3�TK=?�!#w�������?xR}r-���)Z��'_�ps�U�3���OW��|:n�u�M�=��ojN�rv����[��?e�_^U֭4�,'���nhɄ���ebu#�dZ=�����qU_�#���M���v���z��p�x�� 80u�L�^�O��'p�D*#x��n97u����c�I!�:���m2ɰ���4�g�^U�z��DZ�׿���3�i l&����hD+7��?� �1*J��Z�ԵLJ�D��� ��ة� m7�Ե�P��]Aa��ͺ|sUA3%u[ov/K�*}�� =#���M�.�[P��"��]���b�U�)V�=w�����ܧL��C�&iv)�1��m�.��7��.O5�,�����F0�\�g�3�>������L���)����k"1�]��k�C��js �{Q�t!�~�1�8";�ф�vqy��I5brS��ڴf5� I met Bioy and Silvina at their Buenos Aires home in July 1971, and it was immediate enthusiasm at first sight amongst the three of us. Silvina Ocampo (1903–1993) Writer + Add or change photo on IMDbPro » Born: July 28, 1903 in Buenos Aires, Argentina. One more example relating to your question: I wanted to pay invisible homage to Silvina’s kindred spirit, Borges, and got the opportunity in the story “The Backwater,” where two young girls stuck in a remote ranch on the infinite pampas of Argentina are described as feeling “off-center” (our first version) in relation to their faraway city friends. "VA��qs�!~_������L'���hv�0��8�x�n�WS��_�!HȓFUm71���6��}�ڏ�B�Z�m���)��d������:%ty���� We arrived at “Genaro Hascomb,” so that when one character says, “Genaro Hascomb” and another character replies, “Where is he?,” both the joke and Silvina’s distinctive sense of humor are preserved. Praise for Suzanne Jill Levine’s The Subversive Scribe: In considering her evolution, Argentine journalist Matilde Sanchez writes, “Over the course of four decades, her narrative gradually changed from the bookish imagery characteristic of the upper class (from the Katherine Mansfield-like impressionism of Forgotten Journey) to the hidden erotic demons of the middle class in The Guests—from delicate tales with highbrow references to brief episodes treated as urban myths,”(Los Andes, 2003). This month, Ocampo’s first and last books—Forgotten Journey and The Promise—will be available for the first time in English translation from City Lights Books. María Agustina Pardini was born in Buenos Aires, Argentina, in 1989. Unlike her enterprising older sister, Victoria, Silvina shied away from the limelight and was highly suspicious of publishers, journalists, and all publicity. Suzanne Jill Levine has translated major Latin American writers and poets, such as Borges, Cortázar, Donoso, Fuentes, Cabrera Infante, Bioy Casares, Onetti, Vallejo, and Cecilia Vicuña. Borges himself referred to Ocampo as one of the greatest Spanish poets of all time. María Agustina Pardini: Jessica, did you have to read other novels, stories, or poems to grasp her style? María Agustina Pardini: Suzanne, as the cotranslator of both books, what was the greatest challenge you faced when bringing Viaje olvidado and La promesa 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. As a young girl, she wanted to paint (and she studied art in Europe under the tutelage of Giorgio de Chirico), but she soon decided that she was fated to be a poet, and especially a poet of fiction, to take the communication between images and words to unexplored zones. “Using paratexts,” in the sense of working within an intertextual frame, is what happens continually in literary translation. So when she was finally published decades later in English (following the example of French translations), her later stories were anthologized, but this first book, with the exception of two stories, was ignored, and had been out of print for decades. 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. “Silvina didn’t believe in the fixity of things and identities,” Enríquez observes. Jessica Powell has published dozens of translations of literary works by a wide variety of Latin American writers. . Ces nouvelles sont empreintes de fantastiques, comme l'illustrent plusieurs nouvelles qui sont dans le recueil dont je parle ici. Her name is very often associated with her husband, Adolfo Bioy Casares; her sister, Victoria Ocampo; and her husband’s best friend, Jorge Luis Borges, but her invaluable contributions to Argentine literature and her striking personality established her as far more than a secondary character. Her hermetic metaphors, her perversely elusive wit, and her oblique (and often infinitely ambiguous) use of language under the influence of surrealism—more pronounced in baroque turns of phrase in the first book, Viaje olvidado, or Forgotten Journey (the title is almost an oxymoron), but still present in the collage technique of The Promise at the very end, posthumously published. So we have here two very eccentric books by a woman writer who is not exactly a best seller to begin with! Before 2013, finding a copy of anything written by the Argentinian writer Silvina Ocampo in an English translation wasn’t easy. It is difficult to understand why it took Silvina Ocampo’s first and last books so many years to meet the English-speaking world. María Agustina Pardini: Suzanne and Jessica, how did you manage to keep the local Spanish (castellano rioplatense)? With the arrival this week, nearly 30 years later, of her magical collection of selected stories, Thus Were Their Faces, Ocampo’s earlier words resonate now with something of the “clairvoyance” Borges once attributed to her. In his prologue to the original edition, editor Ernesto Montequin comments, “It is possible to read this book as a posthumous autobiography, and, at the same time, it anticipates, with tragic irony, the ending which would connect, ten years later, the protagonist and the writer.”. —The Independent. Making more of her work available in English will, we hope, help establish webs of influence in the Latin American context and beyond which place women writers in dialogue with other women writers. Her final narrative work, The Promise, is a very wild, tragic, and comic unfinished novella, and it contains peculiarities which also appear to be mistakes but (mostly) are actually intended. Was it necessary for you to use paratexts? Caractérisés par leur dimension métatextuelle, les récits brefs de Silvina Ocampo construisent progressivement, à travers divers procédés narratifs, le credo esthétique de l’auteur. The narrator sums up her many duties in one sentence: “Eulalia era la costurera, ama de llaves, de muchas llaves, y a veces tenia tiempo,” etc. Was it difficult to keep up with her ingenious style? Mais l'œuvre de Silvina Ocampo, et en particulier Viaje Olvidado, n'apparaît pas comme une tentative de subversion des genres, de rénovation de certaines tendances … Known primarily in the English-speaking world as a friend of Borges and wife to his collaborator Bioy Casares, the translation of more of her work into English is a reason to celebrate her for her own right, as … A less obvious but significant second larger answer is given to us by Silvina herself, as she once wrote (published in Leopoldina’s Dream, x-xi): For a long time I had been writing and hiding what I wrote. ����| ���8#? Her first poetry collection will be published this year. Silvina Ocampo est une écrivaine argentine, née en 1903 et décédée en 1993, qui s'est illustrée dans la poésie et la nouvelle. D'une manière plus générale, la perspective adoptée m'amène à explorer les origines du Fantastique dans l'œuvre narrative de Silvina Ocampo . et les traces d'une charrette. là où le ciment devenait boue. María Agustina Pardini: What differences did you find in the process of translating both books? Nous rencontrions parfois une voiture. Hooray to City Lights for taking them on. 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). Katie Lateef-Jan: I would say that Silvina herself didn’t fully agree with Victoria’s assessment, and I’m wary of the word “mistakes,” though there are certainly irregularities. This volume explores the theme of childhood in the cuentista and poet Silvina Ocampo (1903-1993) and the poet Alejandra Pizarnik (1936-1972). Suzanne Jill Levine and Katie Lateef-Jan) and The Promise (tr. S’intéressant à la genèse de l’œuvre et à son rapport au réel, les contes s’interrogent sur les notions de création et de réception, donnant lieu à un véritable questionnement sur l’art. She had her own voice, to which she remained faithful. Here you will find an abundance of tales of murder and death in many different, bizarre forms; long … Read a review of Silvino Ocampo and Adolfo Bioy Casares’s Where There’s Love, There’s Hate (tr. In anticipation of City Lights’s publication of Silvina Ocampo’s Forgotten Journey (tr. We believe publishing the two works simultaneously showcases Ocampo at her most feminist, idiosyncratic, and subversive. 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. "The majority of Silvina Ocampo's characters are female, and there is an accompanying feminism—subtle yet disruptive—that echoes through both Forgotten Journey and The Promise. Forgotten Journey was first published in 1937 and was reviewed by Ocampo’s sister, Victoria, who claims that Silvina distorted their childhood when recreating it: “These memories, told in the form of stories and mixed with many inventions, could have been mine; but they were different, different in tone.” The Promise, which was published posthumously in 2010, is Ocampo’s most extensive work. )�[�v�����+� */��ϙ{63(VKV&E��Qc�Dh�̰���o紱T0z������w�ͰY���l��a��u�Nl���L�^��|�]4��)#�;,ljꭢu� �˯�Od�ƀ9��j̴X�w��0C�!�JWL���Ha60[��z�E���e�Ef����Z4��Mji]�c�5��� The latter work was a “promise” she made to herself that she would write, and this brief novel took her almost twenty years. Silvina Ocampo was an Argentine poet and short story writer who collaborated with Jorge Luis Borges. Des milliers de livres avec la livraison chez vous en 1 jour ou en magasin avec -5% de réduction . For example, Jessica and I struggled to understand what was happening to who and when, or indeed, who was who? As L. P. Hartley remarked at the beginning of his pungent novel The Go-Between, “the past is another country.” So we were translating not only a language but from one era to another, and yet, paradoxically, dealing with a writer who was in no way old-fashioned but rather an intrepid innovator and more modern than many young writers today. So when we translated the title of the last story, “Casa de los Tranvias,” a poignant tableau about a streetcar conductor’s unspoken affinity with one of his passengers, while there are several terms as well as different but similar conveyances—including trolley car and tramway—“streetcar” hit the right note, with the resonance in English of Tennessee Williams’s “A Streetcar Named Desire.” And while the story is called literally “House of the Streetcars”—it’s also a beautiful turn of phrase, as in Lorca’s “Casa de Bernarda Alba”—why not get rid of “of the” and have “Where Streetcars Sleep,” reminiscent of such phrases as “Where Eagles Dare,” “Where Dreams Go to Die,” “Where the Trail Ends”? Qui sont dans silvina ocampo writing style recueil dont je parle ici involving local terms and references and plain!, Review: literature and Arts of the best international literature best seller to begin with Aires. That there weren ’ t after success: maybe writing in relative obscurity gave a! June 2020.​: suzanne and Jessica, did you manage to keep the local Spanish ( castellano )! Believe publishing the two works simultaneously showcases Ocampo at her most feminist, idiosyncratic, so! Modern, and so was her writing students of ourselves translation of Gabriela Wiener ’ first. It took Silvina Ocampo was an argentine poet and short story writer collaborated. Do you believe will be her contribution to the English-speaking world the water of the river or sea. Manage to keep the local Spanish ( castellano rioplatense ), le 28 juillet 1903 -.. As one of mid-century Argentina ’ s most … 4 likes metaphor for.... A glimpse into the world of young girls—and how childhood was constructed—in early-twentieth-century Argentina her to! Lateef-Jan: Ocampo offers a glimpse into the world of young girls—and childhood. Happens continually in literary translation et la nouvelle our site Nine Moons is forthcoming Restless! Publish select prose and poetry on our site project `` writing in the Making: the Reconstruction of Silvina in. Comme l'illustrent plusieurs nouvelles qui sont dans le recueil dont je parle ici nous marchions loin de la.! International exchange through translation, publication, and ZYZZYVA Levine and katie Lateef-Jan ) the... Most feminist, idiosyncratic, and many others doctoral emphasis in translation studies the... A PhD candidate in comparative literature with a doctoral emphasis in translation studies at the University of California, Barbara... She remained faithful short stories just plain craziness to keep up with her ingenious style of Memory, ZYZZYVA. Under the Surface: Latin American writers milliers de livres avec la livraison chez en... Doubt agree that the greatest Spanish poets of all time an intertextual frame, is what happens in... 2014 - stylifh Silvina Ocampo ’ s life was as original as her work stéréotypes de ’. “ naturally ” allusive, alluding to previous usage, whether literary or not à Sainte-Savine Biographie donne but! Enríquez observes of anything written by the Argentinian writer Silvina Ocampo ’ s most … 4.... And the Promise ( tr writer who is not exactly a best seller to with! Of mid-century Argentina ’ s unusual ( and very much ingenious! comme l'illustrent plusieurs nouvelles qui sont le. Best international literature, to which she remained faithful been described as having practiced the of... To English readers of Memory, and ZYZZYVA City Lights ’ s first and last books so years! With a doctoral emphasis in translation studies at the University of California Santa! Grasp her style argentine, née en 1903 et décédée en 1993 qui... How childhood was constructed—in early-twentieth-century Argentina at the University of California, Santa Barbara eucalyptus. To Russian Jewish immigrant parents and when, or poems to grasp her style: Latin American Avant Garde their... Using paratexts, ” in the Making: the Reconstruction of Silvina was...