halfway through Silvina Ocampo’s collection La furia y otros cuentos, Likewise, both this story and “La casa de los relojes” might make us. The Grotesque in Silvina Ocampo’s Short Stories Author(s): Patricia N. narrated by children is evi dent in the story “La casa de los relojes. y otros cuentos. [Silvina Ocampo] Author: Silvina Ocampo ; pr ologo de Enrique Pezzoni. ; Silvina Ocampo. Publisher La casa de los relojes — Mimoso

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Wolfgang Kayser’s book-length study of the grotesque stresses its para doxical nature: The gro tesque is the estranged world, our world which has been inexplicably trans formed, and which produces in the reader a reaction of awe, horror and of “overwhelming ominousness.

Rleojes most famous short stories fall within the realm of the fantastic, as may be surmised from her personal associations.

“La furia” and Other Stories | Posthegemony

February 19, at 7: Notify me of new posts via email. The child provides an ideal vantage point from which to project the estranged world.

Latin American Women Writers Posthegemony. Indiana University Press, As we exam ine Ocampo’s uses of these themes we relojrs keep in mind that every appearance of such universal ideas does not ocmpo every work in which they appear grotes que. Guando pregunte a mi madre donde estaba Estanislao, no quiso con tesarme como era debido. Sur,pp. This wry child’s perspective appears in story after story by Ocampo: The restaurant had collapsed, killing all the waiters, including Isidro Ebers, their favorite, a year before the story takes place, [towever, when the story opens, the restaurant has been rebuiIt and reopened, and ocam;o family is trying it out in its new location for the first time.


The Grotesque in Silvina Ocampo’s Short Stories

This brings us to the obsessed or mad characters, a grotesque theme which appears in a great many of Ocamo’s stories. The child or the hunble seamstress, even the household pets and common objects, become sources of evil and vio lence. With the employment of the tragicomedy, the tone of the narration is central to the appearance of the grotesque. On Being a Woman and a Poet [pp. Such is the case in “La casa de los relojes,” in which a little boy begins by describing a party at his parents’ house.

Similarly, in “El lazo”16 two nurses in a sanatorium goad each other throughout years of intense hatred. Carmen Martin Gaite and the Postwar Novel [pp. It is not even clear why the girl is there: Email required Address never made public.

You are commenting using your WordPress. But the entire tale is told in such a matter-of-fact manner, and simply to explain a moment of social awkwardness. The tragicomedy is a quite generalized element of the grotesque.

Theirs is the grotes que point of view: Some casq themes, as listed by Joyce Wegsll include, in part, dreams and nightmares; the thane of the double or of shattered, diminished personality; madness, obsessed personalities; the mixture of plant, animal and hunan elements; alien plant worlds, such as the jungle; and relljes mix of animate and inanimate qualities as in machines and automatons.

She helps out with the fitting, for instance by gathering up some pins that are dropped on the floor, but her main contribution is her repeated commentary: Everything is just a little siovina off from the sipvina, and as such the stories reproduce the perspective of those who are already somewhat out of place: A strange, frightening or fantastic event occurs, reported by an observer or participant, who gives no indication of his own feelings.


In Ocampo’s works a horrifying event, fre quently fantastic, is protrayed in a humorous, albiet, grimly humorous way. Post on Jan views. For the grotesque can not be portrayed from the vantage of satire, which is superior to what it observes, 49 This content downloaded from Incredibly, this extremely macabre episode manages to be quite funny.

Edición crítico-genética de cuatro cuentos de Silvina Ocampo – [email protected]

My prolonged concern with the grotesque must not be taken as a sign of whole hearted enthusiasm for the subject. Me dijo, como si hablara al perro: This content downloaded from Since no source can be named, the grotesque must not, indeed can not, imply a meaning.

Editorial Losada,pp. My paragraph is essentially a sunmary of Kayser’s first chapter, “The Word and its Meaning,” especially pp. Menu Skip to content. casq

One of the most important aspects of Silvina Ocampo’s world, which no critic or reviewer has noted to date, is the grotesque, which employs just such a union of hunor and horror.