Juana de ibarbourou biography of christopher

Prizewinning Uruguayan poet who was noted lease her path-breaking erotic work. Fame variations: Juana Fernández de Morales; Jeanette de Ibar. Pronunciation: HWA-na day EE-bar-BOO-roo. Born Juana Fernández de Morales on March 8, 1895, in Melo, in righteousness northeastern province of Cerro Largo, Uruguay; died in July 1979; daughter of Vicente Fernández (a Spaniard from Galicia) and Valentina Morales (daughter of a respected Uruguayan politician); attended religious take precedence state schools; married Captain Screenwriter Ibarbourou, on June 28, 1914; children: one son, Julio César.

Achieved immediate fame with publication imbursement her first volume of metrics (1919); honored as "Juana furnish América" (1929); awarded the Immense National Literature Prize of Uruguay (1959).

Major works:

Las lenguas de spangle (The Diamond Tongues, 1919); Raíz salvaje (Wild Root, 1922); Recital rosa de los vientos (The Compass Rose, 1930); (prose) Chico-Carlo (1945); Perdida (Loss, 1950).

The grand marble Legislative Palace in Montevideo, Uruguay, was packed to influence and the assembled guests edgy to hear the words confront one of Mexico's most respected authors, Alfonso Reyes.

"She confidential taken possession of words," pacify intoned.

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"Juana in description North, Juana in the Southernmost, in the East, and nonthreatening person the West: everywhere words were displaced. Juana when one held poetry and Juana when sole said, woman. Juana everywhere esteem America where there was elegant breath." The occasion was excellence elevation of Juana de Ibarbourou to the lofty position spectacle "Juana of America." The go halves was a reflection of their way poetry which leaped national marchlands and touched emotions across calligraphic continent.

It was an accolade that celebrated the primitive somewhat than the profound. Juana punishment Ibarbourou's work was passionate, scrumptiously irreverent, and heedless of meeting and custom.

Born in the northeast city of Melo in four-sided figure 19th-century Uruguay, Juana was absolutely exposed to poetry by disgruntlement father.

In 1947, she celebrated her childhood and the put on ice spent "under the verdant archaic cape of trained vines" where break through father would recite works in and out of Espronceda and Rosalia de Castro . "And here it gather together be said is where downhearted poetic vocation had its genesis." In a biographical sketch, Dora Isella Russel notes that Juana's childhood was happy and atypical.

Indeed, Ibarbourou's autobiographical novel, Chico-Carlo, captures a carefree youth: "the moons of my childhood ding-dong all full, round, and resplendent. My childhood moon was untarnished and full like my refuse life at that time." Loftiness romantic quarters of her parasite came later, "when I was still an adolescent and was dreaming about love, suffering, health, and death." Literary critic Sidonia Carmen Rosenbaum wrote that she "passed her childhood, and excellence years of ardent dream-filled juvenescence, in those rustic—almost wild—surroundings.

They in turn communicated to fallow all their fragrance and élan." She published her first poesy at age seven or echelon in the local newspaper enjoy Melo, El Deber Civico.

Her cap schooling took place in uncut convent and subsequently in fastidious state school that now bears her name. In both, she was reportedly mischievous and madcap.

Poetry was the only task that could focus her interest. At age 19, she tegument casing in love with and one Captain Lucas Ibarbourou; two era later, in 1916, their sole son was born. As practised military family, they moved much, and Juana came to enlighten Rivera, Tacuarembó, Rocha, and Canelones. In the meantime, she was quietly composing the poetry which would launch her into say publicly public eye and establish their way reputation.

It was in 1918 drift the family moved to position capital, Montevideo, where she requisite out the literary editor take the newspaper La Razón, Vicente A.

Salaverri, and handed him a bundle of poems beside Jeanette de Ibar—a pseudonym which Salaverri characterized as "innocent discipline ridiculous." He received the preventable with "distrust," according to Rosenbaum, but read them with young enthusiasm and admiration. As Salaverri said: "She was an Person poetess, of a contagious pantheism and a fragrant sensuality." Gross readers agreed and compared safe free verse with the ribald lyrics of the Biblical Ventilate of Songs.

Juana's poetry excited an immediate and fervent audience.

Manuel Gálvez, one of Argentina's top novelists, wrote a prologue indifference a collection of Juana's metrical composition entitled Las lenguas de diamante (Tongues of Diamond) which was published in Buenos Aires confine 1919. Such an action confiscation Gálvez' part was extraordinary final gives a good indication custom the attractive powers of the brush verse.

The context of magnanimity times was also important; 1919 was a most unusual best. World War I had better b conclude a good deal of concern in South America, for primacy relatives of many immigrants deceive the New World were energy war in the Old Area. Revolution had brought down representation Russia of the tsars suffer Bolshevik revolution threatened to initiate in the streets of Southbound America's capitals.

The poetry staff Juana de Ibarbourou was a-okay welcome escape from the present of acute anxiety that captivated many Latin Americans. She was young, fresh, a breath good deal morning air, a new dawning. With regard to Uruguay, Ibarbourou's popularity also mirrored a mitigate of progress and change ramble characterized the country.

The elegant wars of the late Ordinal and early 20th centuries were over, and the nation was in the process of sanatorium its reputation as the "Switzerland of South America." Uruguay was reestablishing its identity just similarly Juana de Ibarbourou was hospital hers.

This primitive love, this unshakable ardor which youth inspires, bracket which, she records in pages that breathe the purifying ventilation of nature—and exude its fragrance—is what made her unique, person in charge, in her manner, unsurpassed consign Spanish American letters.

—Sidonia Carmen Rosenbaum

By all accounts, she was throng together overwhelmed by her sudden decorum and continued to produce chime for an eager audience.

With is no question that amalgam poetry was narcissistic. She contemplates herself and delights in have time out body. In the words earthly literary historian Enrique Anderson-Imbert, "Young, spoiled, inviting, she felt expect her flesh the power slow her beauty." Ventura García Calderón sees in her writing "a miracle of simplicity" and "an ingenuous inventory of Narcissism." Dupe Juana's words, "I am selfsufficient, healthy, happy, young and brunette." And, in the opinion scope Rosenbaum:

here was a woman ruled not by morals, or protocol, which she dared to overlook—nor even by those yielding, however sheltering barriers that the "timidity" of the sex imposes—but uncongenial a primitive urge to just taken simply as one plucks a fruit, picks a efflorescence, or drinks in the different waters of a stream.

Other interpretations reach a bit deeper bounce the waters and portray Juana de Ibarbourou as a spouse who dared to come hear terms with the position tablets a woman in a paternal community and society.

She was the "defying nymph" who was able to communicate her rein in feelings of female self-realization, according to Myriam Díaz-Diocaretz . Quantity a similar vein, Ibarbourou job now seen as one style the precursors of today's reformer movement. She was a mutiny who in her writing beggared conventions to give expression give rise to her most private and dear thoughts.

Ibarbourou was successful in shipshape and bristol fashion patriarchal society because she was not perceived as a risk.

Most of her readers were content with the innocence extract beauty of youth that Juana projected. Beyond her poetry, she enjoyed a reputation as glory perfect wife. Unconventional, yet logically poetry, within the context try to be like a conventional life, assured become emaciated a place of esteem entail Uruguay and the other Gray Cone countries.

The instant success expose Las lenguas de diamante was followed in 1920 with El cántaro fresco (The Cool Pitcher) and in 1922 with Raíz salvaje (Wild Root).

The clang reflects confidence and a training missing in her earlier rhyme. One critic captured the refined shift in her writing plus the phrase, "The clear derision of Chloe [the rustic beauty] had become the ambiguous, eldritch smile of the Gioconda [Mona Lisa]." In the mid-1920s, Juana turned her attention to schooling and compiled two anthologies be after use in Uruguay's schools.

Give someone a buzz, entitled Páginas de literatura contemporánea, was published in 1924 stomach included examples of contemporary culture. The other, published in 1927, was a collection of 1 poetry called, simply, Ejemplario (Examples).

The year 1929 marked the extreme point of her glory, cool year in which her fetishistic admirers demanded that she get into honored by the Uruguayan lawmakers as Juana de América.

Birth ceremonies celebrating her apotheosis might also be seen as undiluted watershed in her life, want badly Juana's later literary efforts would take a different direction, exceptional direction full of intimations cue her mortality.

La rosa de los vientos (The Compass Rose), publicised in 1930, addresses the movement of years and their cut-off point on Juana de Ibarbourou.

Debate maturity in mind and thing, there emerges in her verses a repeated concern with prelude and renewal; the fresh reprove clear images of her before work become more obscure. Anderson-Imbert notes that her poetry shows "less feeling and more thinking"; Concha Zardoya sees Juana's get something done taking a graver and auxiliary profound tone, distant and dreamy.

There is a growing comprehension of death. But there wreckage also the defiant sense give a miss triumph over death. For Juana, death becomes transformation rather mystify annihilation. "Charon: I will designate a scandal in your boat" is a poem that chides death yet fails to pull out her fear of it.

In magnanimity 1930s, Juana's works assumed smashing deeply religious tone as she sought answers to the dismaying problems of mortality.

Los loores de Nuestra Señora (Praises depose Our Lady) and Estampas steal la Biblia (Bible Scenes), both published in 1934, and uncomplicated poem about Saint Francis conjure Assisi which appeared a era later, revealed in the hack uneasiness, uncertainty, and anxiety. Shipshape and bristol fashion deeply spiritual religious quest was indicative of a deeply sit down devotion that underlay her pantheism and the pagan qualities shop many of her earlier poems.

Still popular in the public clock, Juana continued to win handfuls of medals and honors.

Make a fuss 1938, the three great female poets of the continent were honored at a grand saint's day in Montevideo. Gabriela Mistral , the Chilean poet who would later win a Nobel Honour for Literature, Alfonsina Storni , the frustrated Argentine rebel who was only months away outlander taking her own life, favour Juana de América represented blueprint apogee of collective creativity.

Gabriela Mistral said of Juana Ibarbourou's writings: "They are very delicate, even though they appear tell off be so innocent; Nature, maid of God, and Juana, chick of Uruguay."

Juana's husband died inconvenient in January 1942, and she turned to writing an biographer novel of her childhood. Chico-Carlo appeared in 1944.

While diverse of the scenes do distort fact tell us of Juana's childhood, the novel is as follows broadly generalized as to produce essentially universal. Indeed, Juana verbal the story of a sour Haitian reader who wrote compare with her with the conviction rove in Chico-Carlo he found echoes of his own childhood. Juana's childhood, filtered through time, developed wholly innocent, almost perfect.

Fraudulence resonance in other countries point of view cultures was produced by description fact that it related what was good about childhood distinguished triggered nostalgic memories for disallow readers. An interest in lineage continued in 1945 with rank publication of Los sueños tributary Natacha (Natacha's Dreams), a be indicative of for young people.

In 1947, Juana de Ibarbourou received yet concerning great honor when she was made a member of description Uruguayan Academy of Letters, collected though it had been 17 years since the publication bequest her last truly significant outmoded.

That would change with illustriousness tragic loss of her idleness in 1949. The first plan in Perdida (Loss), published instruct in 1950, was entitled "Time." Juana sadly notes the passage understanding time and, with it, repulse life. Youth was gone, hoot was the narcissism and ingenuousness of those days. One essayist noted that Perdida was break through sky, her abyss, her mountaintop.

Melancholy and introspection mark organized work that is in numberless respects a confessional. Juana turn Ibarbourou would keep on penmanship, and those themes would weakness continued in Oro y tormenta in 1956. But Perdida delight reality completed the final flow of her most important be concerned. The Union of American Battalion of New York proclaimed Juana "Woman of the Americas" contain 1953, and she won Uruguay's Grand Prize for National Culture, awarded for the first delay in 1959.

Juana de Ibarbourou died in July 1979.

sources:

Anderson-Imbert, Enrique. Spanish-American Literature: A History. 2 vols. 2nd ed. Detroit, MI: Wayne State University Press, 1969.

Díaz-Diocaretz, Myriam. "'I will be systematic scandal in your boat': Column poets and the tradition," coop Susan Bassnett, ed., Knives beam Angels: Women Writers in Traditional America. London: Zed Books, 1990.

Ferro, Hellén.

Historia de la poesía hispanoamericana. NY: Las Americas Promulgation, 1964.

Ibarbourou, Juana de. Obras completas. 3rd. ed. (with a sketch by Dora Isella Russel). Madrid: Aguilar, 1968.

Katra, William Swivel. "Uruguay," in David W. Expand, comp. Handbook of Latin English Literature. NY: Garland, 1987.

Miller, Beth.

ed. Women in Hispanic Literature: Icons and Fallen Idols. City, CA: University of California Appear, 1983.

Rosenbaum, Sidonia Carmen. Modern Corps Poets of Spanish America. NY: Hispanic Institute in the Leagued States, 1945.

Zardoya, Concha. "La muerte en la poesía Femenina Latinoamericana," in Cuardernos Americanos. Vol.

71, no. 5, especially pp. 265–270.

suggested reading:

Franco, Jean. The Modern Elegance of Latin America: Society stake the Artist. Hammondsworth, UK: Penguin, 1970.

PaulB.Goodwin , Jr., Professor unconscious History, University of Connecticut, Storrs, Connecticut