Friday, August 01, 2025

Alejandra Pizarnik: Between Silence and the Chorus of the Dead

 

Alejandra Pizarnik (1936–1972) was an Argentine poet whose technical innovation transformed brevity from a limitation into an art form, using sparse language to evoke powerful emotional and existential depths. Her minimalist approach concentrated meaning, where each word—and the silences between them—carried immense weight. Through her fragmentary forms, Pizarnik gave voice to collective experience, delving into themes of death, silence, and the unconscious with remarkable intensity. In her most notable collection, Diana’s Tree, she synthesized vivid, sparse imagery with a polyvocal structure, where the dead and the living, the conscious and the unconscious, intertwine. Pizarnik's lyrical exploration of these realms establishes her as one of Latin American literature’s most important voices.

The fragmentary poetry of Alejandra Pizarnik presents us with a fundamental paradox: how does language that appears to dissolve meaning actually intensify it? Her collection "Diana's Tree" operates as both linguistic experiment and necromantic practice, transforming the act of reading into a conversation with the dead.

"I hear my voices, the chorus of the dead," she writes, positioning herself not as individual author but as medium for voices beyond singular consciousness. This line reveals the true architecture of her work—each sparse poem functions as a jumping off point into a sea of voices. Like listening to a conch shell the sound reverberates long after the shell is gone.

Pizarnik's poetry invites us to abandon conventional rationality, asking us to find meaning not within words themselves, but in the silences and gaps between them.

The minimalism challenges traditional approaches to literary meaning. Where earlier critical frameworks sought to illuminate darkness through rational analysis, Pizarnik writes in a
darkness that provides its own light. Her line "I have made the leap from me at dawn" resists conventional parsing—the self becomes a location one might depart, rather than a fixed point of consciousness. In this description of a dissolution process her identity transforms into something that exists between lives.

"Death is no mute. I hear the song of the mourners sealing the clefts of silence," she declares, positioning death as actively communicative rather than simply absent. This understanding transforms her fragmentary style from limitation into strategic reduction to essential forces. Her poems create spaces where meaning may emerge as an encounter rather than a reading. When she writes "Silence speaks of you," silence becomes a thing, a force, within the maw the ordinary meaning dissolves.

The multiplicity of voices throughout her work—"I cannot speak with my voice, so I speak with my voices"—indicates an understanding of poetry as fundamentally polyvocal. Her references to "a tribe of mutilated words looks for refuge in my throat, so that they won't sing—the ill-fated, the owners of silence" suggest she saw herself as giving voice to silenced or destroyed voices. The dead she channels include her own past selves, represented through frequent references to dolls and "dead girls" that function as versions of her own consciousness.

On one side precious words on the other splinters of thoughts

Her relationship to those of the dead walking beside her, "Death always at my side. I listen to what it says. And only hear myself," she notes, positioning death as constant companion and source of communication, even when that communication loops back to self-knowledge. Her eventual suicide becomes comprehensible as the ultimate dissolution of her suffering.

"And how many centuries has it been since I've been dead and loved you?" she asks, collapsing temporal boundaries between life and death, speaker and spoken-to.

What emerges from "Diana's Tree" is construction of heterogeneous assemblage—Spanish language, French surrealist influence, Argentine geography, feminine experience, alchemical tradition, voices of the dead—all connected through transformative processes that change each component while maintaining productive differences. This isn't synthesis but consistency—elements functioning together through mutual transformation.

Alejandra Pizarnik's exploration of dreams, the subconscious, and automatic writing is integral to understanding the nature of her poetic voice. Her work is deeply influenced by surrealist techniques, with an emphasis on accessing hidden or unconscious realms of thought. She often spoke of her writing as a means of channeling voices, not always her own, and of receiving words from places beyond the conscious mind.

In her diaries and interviews, Pizarnik discussed the automatic, almost involuntary nature of her creative process. For example, she wrote:

“I wrote and I write automatically, without thinking, with the same passion with which one speaks when dreaming.”
Alejandra Pizarnik, The Diaries of Alejandra Pizarnik

This reveals her belief that her writing was a kind of dreamwork—an extension of the unconscious, rather than a premeditated or constructed act of creativity. She acknowledged that writing was a way of receiving and transmitting voices, suggesting that words came from external sources:

"I hear my voices, the chorus of the dead."
Alejandra Pizarnik, Diana’s Tree

In this line from Diana’s Tree, Pizarnik speaks of the voices that infiltrate her work, often interpreting them as echoes of otherworldly presences. This aligns with her tendency to view poetry as a bridge between the conscious and the unconscious, where language is both a medium of expression and a means of connection to realms beyond the ordinary.

Her exploration of automatic writing can also be tied to the surrealist movement, which she admired, particularly in the way it aimed to bypass the restrictions of logical, conscious thought. The famous surrealist practice of writing or drawing without a preconceived plan resonated with Pizarnik's method:

“The words come out of me as if I were dreaming them.”
Alejandra Pizarnik, The Diaries of Alejandra Pizarnik

This quote further underscores her belief that her writing was closely tied to the dream state—an arena where boundaries between the real and the imagined blur, and where language becomes an untethered tool of exploration.

In her poetry, the subconscious often emerges as both a realm of freedom and a place of deep, unresolved tension. Her fascination with silence, absence, and emptiness in language reflects her attempt to express the unspeakable elements that arise from the unconscious mind.

Her work thus becomes a testament to the power of dreams and the subconscious, not merely as sources of inspiration but as mediums through which she could access something deeper than words can ordinarily convey.

Her poems lodge themselves in consciousness, continuing to irritate long after reading. Perhaps this is their purpose: not to satisfy understanding but to perpetually unsettle it, creating space for encounters with forces beyond rational discourse.

"But the silence is certain. This is why I write. I am alone and I write. No, I am not alone. There is someone here who is trembling," she concludes, acknowledging the fundamental paradox of her method.

Apparent solitude contains multitudes; silence speaks; the dead offer guidance to the living. Her poetry constructs desiring-machines that produce new subjectivities through systematic dissolution and reconstitution, proving that innovation often exists at the margins, in spaces between languages, traditions, and states of being.

In the end, Pizarnik's fragmentary work creates meaning through apparent meaninglessness by refusing to stay within prescribed boundaries of language, style, or subject matter. Her "Diana's Tree" grows in a medium where conventional interpretation cannot take root, offering instead a laboratory for transformation where readers encounter not poems about experience, but experience itself, crystallized into language that trembles between silence and speech, life and death, self and other.

In Pizarnik’s poetry, silence doesn’t merely follow or accompany words; it inhabits the same space, becoming a force that disrupts the flow of language, creating an encounter that resists closure or easy understanding. This resistance to closure is perhaps the entire intention, if not intended it is a direct result of the fragmentary nature. Like a partial morse message we strain down the copper wire searching for more meaning.

Intrigued by what I perceive as this conflict between sparseness of language and the richness of the words I searched for something from the poet about the collection, perhaps some elaboration on the fragmentary or terseness or her intention. At this juncture I discovered that the Pizarnik family sold her papers to Princeton University.

While Pizarnik’s poetry invites readers to engage with voices and silences that transcend boundaries, her own work is now subject to boundaries that limit access to the very materials that could illuminate the depth of her creative process.

While the Pizarnik collection at Princeton is open for research the ‘Conditions Governing Use’ specify: No photocopying, photography, or microfilming of the diaries or notebooks is permitted. Written permission is required for publication of selections from the diaries and notebooks.

This represents a troubling example of how literary estates can inadvertently create scholarly exclusivity. When the Pizarnik family sold her personal materials—diaries, manuscripts, correspondence, drawings, and notebooks spanning nearly two decades—to Princeton's Firestone Library, they placed crucial primary sources beyond the reach of most researchers, particularly those in Latin America where her work is most studied and valued. The archive's restrictions compound this problem: no photocopying, no photography, no microfilming of any diary or notebook material, with written permission required for any publication of selections. This means that even the privileged few who can travel to Princeton to examine the materials cannot document their discoveries or share them with the broader scholarly community.

The implications become even more disturbing when we consider what may remain unexamined in the collection. Series 7 contains "Clippings of AP's writings, dates not examined"—suggesting that potentially crucial material, including possible interviews or statements where Pizarnik discussed her own work, sits uncatalogued and unstudied. Series 6 references poems published in "Dialogos" in July-August 1972, just weeks before her death—material that could provide unique insight into her last creative period. The notation "dates not examined" serves to give rise to an important question,
have researchers systematically indexed the collection?
This creates an absurd situation where primary source materials that could revolutionize our understanding of one of Latin America's most significant poets.

Perhaps most troubling is the commodification of cultural heritage this arrangement represents. Pizarnik wrote extensively about marginalization, about voices that couldn't speak, about being silenced by establishment forces—and now her own voice, including her visual artwork and most intimate creative expressions is locked away in an American institution. The irony is devastating: a poet who challenged bourgeois respectability and institutional power has had her most personal expressions transformed into institutional property, accessible only to those with the economic privilege to travel to Princeton and the academic credentials to justify access.

It would seem that insights into Pizarnik's creative process, including potentially her direct commentary on works like "Diana's Tree," may remain forever inaccessible to the very communities and scholars who could best understand and interpret them. This arrangement raises concerns about the accessibility and democratization of Pizarnik’s work, turning what could be a rich resource for scholars into an exclusive possession.

It is ironic that they are more afraid of her dead

When Pizarnik was alive, she was a struggling poet battling mental illness, financial instability, and literary marginalization. The establishment largely ignored her - she could write whatever she wanted in her diaries, create her "little monsters" in her drawings, pour her most subversive thoughts onto paper, because she wasn't considered dangerous enough to matter. She was just another troubled young woman whose radical voice carried little institutional threat.

But now that she's dead and her reputation has grown, suddenly her words require strict institutional control. Now her diaries are too dangerous to photocopy. Now her notebooks need written permission for any quotation. Now her drawings must be locked away where only a select few can see them. The same thoughts that were dismissed as the ravings of a depressed young woman are now treated as cultural artifacts requiring maximum security protocols.

It's the classic pattern of how radical voices get neutralized: ignore them while they live, then control them once they're safely dead. Princeton gets to own a piece of literary history without having to deal with the messy reality of supporting living, breathing, difficult artists. They can collect her rebellion like a museum specimen, studying her subversion under controlled laboratory conditions.

The institutions that failed her in life now ‘profit’ from controlling her in death, turning her resistance into cultural capital. Pizarnik’s voice, once marginalized, is now imprisoned in an archive, silenced by the very forces she wrote against. Yet perhaps, from the ‘other side,’ her voice will continue to tremble—articulating the final paradox.

“It doesn’t matter if, when love calls, I am dead. I will come. I will always come if ever love calls.”

 

 

Almost unknown poem by Alejandra Pizarnik

Poem II

It doesn’t matter if, when love calls,
I am dead.
I will come.
I will always come
if ever
love calls.

“This poem, which I think merits a preliminary comment, was first and only published in the Buenos Aires magazine Poesía=Poesía in 1959. Two more poems appeared in that same publication, which were later included in the book Árbol de Diana , specifically in the "1959" section. We will never know why Pizarnik left this short text aside.” From  https://alejandrapizarnik.blogspot.com/

 

Poema casi desconocido de Alejandra Pizarnik


Poema II

No importa si cuando llama el amor
yo estoy muerta.
Vendré.
Siempre vendré
si alguna vez
llama el amor.

Este poema, que me parece merece un comentario previo, apareció publicado por primera y única vez en la revista bonaerense Poesía=Poesía en el año de 1959. En esa misma publicación, aparecieron dos poemas más que luego fueron incluidos en el libro Árbol de Diana, específicamente en el apartado "1959". No sabremos nunca por qué razón Pizarnik dejó a un lado este pequeño texto.

I am indebted to Laura and her most comprehensive blog for this poem from 1959.
https://alejandrapizarnik.blogspot.com/


 

Further Reading

 

1.       Zoran Rosko – Review of Alejandra Pizarnik, Extracting the Stone of Madness: Poems 1962–1972, Trans. by Yvette Siegert, New Directions, 2016.
https://zorosko.blogspot.com/2016/03/alejandra-pizarnik-outstanding.html

2.       Patricia Venti - Invisible Writing: The Autobiographical Discourse of Alejandra Pizarnik
https://patriciaventi.blogspot.com/2014/07/la-escritura-invisible-el-discurso.html

3.       Fiona J. Mackintosh - Self-Censorship and New Voices in Pizarnik's Unpublished Manuscripts
https://www.pure.ed.ac.uk/ws/files/11605694/Self_Censorship_and_New_Voices_in_Pizarniks_Unpublished_Manuscripts.pdf

4.       Fiona J. Mackintosh with Karl Posso - Arbol de Alejandra - Pizarnik Reassessed

https://www.scribd.com/document/515891128/Karl-Posso-Arbol-de-Alejandra-Pizarnik-Reassessed-Monografias-a

5.       An Alejandra Pizarnik (blog) by Laura
https://alejandrapizarnik.blogspot.com/

6.       Christine Legros - A Form to Dwell In: Narrative and ‘Rhetorical’ Unreliability in Alejandra Pizarnik’s Diaries
https://www.liverpooluniversitypress.co.uk/doi/10.3828/bhs.2022.19#bibliography

7.       Boston review - Three Poems
https://www.bostonreview.net/articles/npm15-yvette-siegert-alejandra-piznarik-translation-three-poems/

8.       Memoria Iluminada Alejandra Pizarnik
https://www.youtube.com/results?search_query=Memoria+Iluminada+Alejandra+Pizarnik

9.       Alejandra Pizarnik Papers, 1954-1972 (mostly 1960-1972) Princeton University Library

https://findingaids.princeton.edu/catalog/C0395

 

10.   The Diana Tree by Wilhelm Homberg (1652-1715). Cyclopedia (Chambers) - Volume 1 by Ephraim Chambers 1728
https://archive.org/details/Cyclopediachambers-Volume1

  

Wilhelm Homberg:


“Take four drams of filings of fine silver, with which make an amalgam, without heat, with two drams of quicksilver. Dissolve this amalgam in four ounces of aqua fortis, and pour the solution into three gallons of water. Stir it for a while until mixed, and then keep it in a glass vessel well stopped. To initiate the experiment, take about an ounce of the substance, and put it in a small vial; add to this a quantity the size of a pea of the ordinary amalgam of gold, or silver, which should be as soft as butter. Let the vial rest for two or three minutes. Immediately after this, several small filaments will visibly arise perpendicularly from the little bulb of the amalgam, which will grow and thrust out small branches in the form of a tree. The ball of amalgam will grow hard, like a pellet of white earth, and the little tree will be bright silver in color.”