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Collection Nadir, 1983. 1st Edition . Soft cover. Very Good/No Jacket. En español y francés. Venice, Collection Nadir, 1983. 1ra edición. 12 x 19 cm, 73 pp. Leve curvatura de la esquina superior. Tapas algo deslucidas. Interior en excelente estado. The Book Cellar & Henschel.

RELICARIO. new. Em ""O inferno musical"" (?ltimo livro de Alejandra Pizarnik, publicado em 1971, um ano antes de sua morte), a poeta argentina escreveu: ""Quem me dera viver somente em ?xtase, fazendo o corpo do poema com meu corpo, resgatando cada frase com meus dias e com minhas semanas"". Esse fragmento tem um ar surrealista, entendido como uma continuidade entre o caminho criativo e a experi?ncia de vida da poeta. Mas, acima de tudo, resume aquela j?� famosa intensidade com que Alejandra escreveu. Um processo em que a leitura de diferentes tradi????es, a escrita cuidadosa, a compreens?o da poesia como ferramenta para perfurar paredes da linguagem e o reconhecimento de que tudo o que ela tentava captar no papel tinha que partir de si mesma, mas se transmutar em algo mais do que mem?�ria ou escava??o psicanal�tica

RELICARIO. new. Na Idade M?�dia, acreditava-se que a loucura era consequ?ncia do crescimento de sali?ncias ou tumores que se projetavam da testa: dois chifres retorcidos, talvez, expressando o inferno interior da loucura. Foi um tema recorrente na literatura da ?�poca, bem como inspira??o de artistas que procuravam compreender a loucura atrav?�s daquela imagem inquietante. N?o por acaso, pintores como El Bosco, Van Hemesen e Bruegel se inspiraram na estranha met?�fora, tentando compreender atrav?�s dela aquela escurid?o meridiana que habita a mente humana. Alejandra Pizarnik igualmente sonhou com a pedra da loucura para construir a imagem de sua dor. Provavelmente por isso, ""A extra??o da pedra da loucura"" (1968) ?� sua obra emblem?�tica. A palavra como uma vis?o do eu que se oculta, que se bate e se perpetua, e tamb?�m se despeda??a, abrindo-se em dois lados sem nome que nunca se encontram. Uma ideia quase destrutiva, mas ao mesmo tempo perfeitamente compreens�vel para uma autora que, durante a maior parte da vida, contornou os limites da ang?stia e se valeu dela para criar. [O livro traz pref?�cio de Nina Rizzi e posf?�cio do tradutor Davis Diniz]

1968 re-print. A former library book in shelf binding with all the expected stamps stickers and markings. Some shelf storage or usage wear present. The binding is tight and all pages are present. The pages appear unmarked. Individually inspected by Shadow. Pictures available upon request. Thanks for supporting an independent bookseller!

Washington, D.C.: Pan American Union, 1967. Softcover. Very Good. Vol. 1. Square octavo. 116pp. Illustrated with small portraits of the poets. Poems in both Spanish and English. Printed wrappers over stapled text block. Wrappers with moderate soiling and wear, staples oxidized, very good. Features poets from Argentina, Brazil, Chile, Costa Rica, Ecuador, El Salvador, Haiti, Mexico, Panama, and Uruguay. Each country has an introduction by a noted scholar, critic, or author (Chile introduced by José Donoso), and a brief biography is given for each poet. Over 50 poets are represented, including Octavio Paz, Alejandra Pizarnik, Nicanor Parra, and Enrique Lihn. *OCLC* seems to locate only two copies, one in the U.S. at the Organization of American States, formerly known as the Pan American Union, the publisher of this volume.

Vol. 1. Square octavo. 116pp. Illustrated with small portraits of the poets. Poems in both Spanish and English. Printed wrappers over stapled text block. Wrappers with moderate soiling and wear, staples oxidized, very good. Features poets from Argentina, Brazil, Chile, Costa Rica, Ecuador, El Salvador, Haiti, Mexico, Panama, and Uruguay. Each country has an introduction by a noted scholar, critic, or author (Chile introduced by José Donoso), and a brief biography is given for each poet. Over 50 poets are represented, including Octavio Paz, Alejandra Pizarnik, Nicanor Parra, and Enrique Lihn. *OCLC* seems to locate only two copies, one in the U.S. at the Organization of American States, formerly known as the Pan American Union, the publisher of this volume.

Buenos Aires: Siglo veintiuno editores, 1971.. FIRST EDITION, PRESENTATION COPY. Small 4to. (18 x 15.5 cm). pp. 76. Original card wrappers printed in black and pink. With an inscription in purple ink by Pizarnik to prestigious literary critic Jorge Cruz to f.f.e.p. reading, "Jorge Cruz, en verdadera estima personal y literaria - Sasha Pizarnik" [Jorge Cruz, in true personal and literary esteem]. Light marginal toning, inner hinge a bit cracked, rubbing to spine. First edition, inscribed, of this book by Alejandra Pizarnik in which she makes an inquisition about language and its functions. It is dedicated to the prestigious literary critic Jorge Cruz, who developed a renowned career for more than four decades in the prestigious newspaper LA NACION, where he began as a theatre critic. In 1957 he joined the Literary Supplement. There he contributed to disseminate the work of prestigious writers and made new authors known. Alejandra Pizarnik, in full Flora Alejandra Pizarnik (1936-1972, Buenos Aires) was an Argentine poet whose poems are known for their stifling sense of exile and rootlessness. Pizarnik was born into a family of Jewish immigrants from eastern Europe. She attended the University of Buenos Aires, where she studied philosophy and literature. Later she ventured into painting, studying with the Catalan Argentine painter Juan Batlle Planas. In 1960 she moved to Paris, where she worked for French publishing houses and magazines, published poetry, and translated into Spanish works of such writers as Henri Michaux, Antonin Artaud, Marguerite Duras, and Yves Bonnefoy. In 1965 she returned to Buenos Aires and published three of her eight collections of poetry, Los trabajos y las noches (1965; "The Works and the Nights"), Extracción de la piedra de la locura (1968; "Extraction of the Stone of Madness [or Folly]"), and El infierno musical (1971; "The Musical Hell"), as well as her famous prose work La condesa sangrienta (1965; "The Bloody Countess"), about the Hungarian countess Elizabeth Báthory. Pizarnik s first editions with inscriptions are seldom found.