Imagen y visualidad en la última poética de Alejandra Pizarnik: el vacío vocativo

Abstract

After her arrival in Paris in 1960, Alejandra Pizarnik confides in a letter to her psychoanalyst, León Ostrov, about the emergence of memories she had long believed buried. Then, she shares her 'greatest' delight in the city of the Louvre Museum: admiring paintings, and she expresses a yearning to claim ownership of the facade of a ruined house, still adorned with lilac-colored glass in its windows, which she imagines whispering: 'I have awaited you for so long'. The questions evoked in the letters are pivotal to a comprehensive understanding of Pizarnik's later poetic work. The interwoven experiences of her two journeys to France, the awakening of memories, the imperative to locate a dwelling akin to a home, and the occasional transition of poetic creation into the realm of visual art converge around her final writings, embodying an increasing awareness of the Jewish diaspora, the experiences of the Grand Tour to France, and the silent mastery of a poetry exiled from conventional language. The aim of this article is to interpret this amalgamation in light of the author's ultimate publication, EL INFIERNO MUSICAL (1971), where potential connections between poetry and prose lead to a deliberate omission of visual imagery.