{"id":140930,"date":"2019-11-15T11:08:18","date_gmt":"2019-11-15T16:08:18","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=140930"},"modified":"2019-11-15T11:30:59","modified_gmt":"2019-11-15T16:30:59","slug":"the-other-ocampo-sister-overshadowed-no-more","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2019\/11\/15\/the-other-ocampo-sister-overshadowed-no-more\/","title":{"rendered":"The Other Ocampo Sister, Overshadowed No More"},"content":{"rendered":"
\"\"<\/a>

Silvina Ocampo.<\/p><\/div>\n

Silvina Ocampo was the youngest of six sisters who grew up in Argentina when it was one of the richest countries in the world, and when the Ocampo family was one of the richest families in Argentina.<\/p>\n

Silvina was part of a magical circle whose nucleus was formed by Jorge Luis Borges and, among others, the younger man who would become her husband, Adolfo Bioy Casares. Each member of this circle created his or her own works, and also worked in collaboration. While each writer had his or her own style, as the Sur group\u2014around the important journal Sur<\/em>, founded by Silvina\u2019s eldest sister, Victoria, in consultation with the New York writer Waldo Frank\u2014they shaped a literary cultural identity and a new literary genre. In their collaborative work, the trio of Silvina Ocampo, Jorge Luis Borges, and Adolfo Bioy Casares became a quartet with the creation of yet another writerly persona (or personae). For example, Bioy and Silvina (married in 1940; he was eleven years younger) wrote with four hands a detective thriller spoof, literally Those Who Love, Hate<\/em>. In 1940, Borges, Bioy, and Silvina published a famous anthology of fantastic literature, and when Bioy and Borges wrote together, the writer they created had various pseudonyms (taken from the names of their ancestors) like \u201cBustos Domecq\u201d or \u201cBenito Suarez Lynch.\u201d Silvina contributed to those literary ventures and inventions as well, but she didn\u2019t sign on as an official contributor, perhaps because her collaboration was exclusively oral.<\/p>\n

For many years, Victoria was the only famous Ocampo sister, a celebrity in the intellectual circle coalescing in the thirties and forties, known as much for her elegant beauty as for her intelligence. Among the illuminati whose friendship she cultivated were Jos\u00e9 Ortega y Gasset, Virginia Woolf, Paul Val\u00e9ry, Lawrence of Arabia, Federico Garc\u00eda Lorca, Gabriela Mistral, and Rabindranath Tagore; she had passionate affairs with a number of distinguished writers (including Roger Caillois and Pierre Drieu La Rochelle, who, unlike Victoria and most of those close to her, was pro-Axis and committed suicide at the end of World War II); she commissioned Borges to translate Woolf\u2019s Orlando<\/em> and other works (we readers in Spanish have read that version for generations, and are familiar with the legend that Borges crafted it with his mother, another four-handed duet). In addition to being an editor in chief and a cultural entrepreneur, Victoria was a self-styled patroness, and her generosity was legendary, as when, for example, Tagore visited Buenos Aires in 1924, and Victoria sold a diamond tiara to put him up in a luxury hotel for two months. <\/p>\n

In contrast with her sister\u2019s flamboyant life, Silvina wanted to go unnoticed, to be invisible. She believed she was ugly and refused to go to parties most of the time, saying, \u201cWhere would I be going with a face like this?\u201d She would also claim \u201cI am the etcetera of the family\u201d and \u201cI do not like to socialize, I prefer intimacy.\u201d According to Mariana Enriquez (a member of the Ocampo family and author of Silvina\u2019s biography The Kid Sister<\/em>), \u201cShe preferred dim, shadowy places, especially in her damp apartment in the Recoleta Quarter.\u201d<\/p>\n

But Silvina was no hermit. She was a seductive woman who enjoyed the company of her male friends (great writers, of course), though her intimate world was very different from her older sister\u2019s. While Victoria wrote her memoirs in several volumes, Silvina shied away from the public eye, and perhaps nothing damaged Silvina\u2019s prestige more than the first review of her first book, written by Victoria, in which the latter defines her stories as \u201cautobiographical\u201d and classes her narratives as awkward (totally not true, I must add, because Silvina\u2019s first book, Forgotten Journey<\/em>, is masterful). The fact is that Forgotten Journey<\/em>\u00a0has nothing to do with \u201cmemoirs\u201d: the author is not telling us the story of her life here, although, like all writers, she has pillaged the trunk filled with her memories.<\/p>\n

She has often been compared with Julio Cort\u00e1zar, famous for his imaginative tales of fantasy, but the road she took as a short story writer was different. While in his fabulous stories Cort\u00e1zar discovered the unreal in everyday life, Silvina enters real, detailed, intimate spaces, which she observes with an eye that is intimate, real, and detailed, and yet an eye from another world. That other, singular, untranslatable world is Silvina Ocampo\u2019s.<\/p>\n

Silvina was, besides being a poet and fiction writer, an artist who studied painting with Giorgio de Chirico and Fernand L\u00e9ger\u2014and she shared with Bioy a passion for photography, though she herself did not like to be photographed.<\/p>\n

In the stories of Forgotten Journey<\/em> (1937), as in the rest of her fiction, one notes a trace of the gothic novel, an affinity for fantastical tales, her De Chirico training (\u201cThere is more mystery in the shadow of a man walking on a sunny day than in all the religions of the world,\u201d De Chirico wrote), as well as the photographic instinct to escape time by capturing it, and the vertigo of cinema.<\/p>\n

But there is another Silvina Ocampo who molds all of these ingredients: a cruelty unconscious of itself, with no self-restraint, uncontrollable, and without the slightest remorse. About this side of her Borges wrote: \u201cThere is an aspect that I have yet to understand, a strange love for a kind of innocent or oblique cruelty.\u201d That \u201cyet to understand\u201d Borges speaks of is part of the charm of Silvina Ocampo\u2019s stories: there is always something unresolved, the inevitability of a plot or scheme transcending the narrative itself, announcing an unexpected vision. What escapes our grasp is what is actually being represented, and what gives the author\u2019s stories their power.<\/p>\n

But the aspect Borges focuses on, this \u201cyet to understand,\u201d is, however, quite understandable, and not only from a woman reader\u2019s point of view. What Silvina feels and expresses in her stories is the need to be cruel in order to pull an inner trigger, as Blas Matamoro explains: \u201cThe children of the upper class bourgeoisie do not have any fundamental motivation to oppose their social order, thus their familiar situation on the sidelines as it were, engenders a partial opposition to a fundamental institution of that order, that is, the family. Rather than taking on Revolution, the enfants terribles<\/em> take on Evil.\u201d<\/p>\n

In an interview with novelist Mempo Giardinelli, Silvina Ocampo said: \u201cI wrote all my life. Ever since I was very little. And I wrote so much that the teachers I had, when I\u2019d show them what I had written, would tell me: \u2018Come on, don\u2019t write so much, you\u2019re wasting all the paper in the house.\u2019 It\u2019s a \u2018lack of economy,\u2019 they said.\u201d<\/p>\n

But it\u2019s not to contest a \u201clack of economy\u201d that her stories are brief. We actually have before us long, complex stories that make no effort to be efficient or concise: each one of them indulges excess, filled with subterranean literary implications. They gain impact by not seeking efficiency. They are tremendously powerful because they delight in excess unpretentiously, with a fresh air of spontaneity. The short story for Silvina is a \u201cnatural\u201d genre, as she remarked in the same interview: \u201cI don\u2019t like when I write expansively. Because when I do so, when my writing is lengthy it is too effusive and seems superfluous. \u2018Look,\u2019 I say to myself, \u2018I think this is too much \u2026\u2009\u2019\u2009\u201d<\/p>\n

The poetic geometry of her stories is illustrated in these words from Silvina: \u201cI think the short story is music.\u201d<\/p>\n

\u2014Translated from the Spanish by Suzanne Jill Levine<\/em><\/p>\n

 <\/p>\n

Carmen Boullosa is one of Mexico\u2019s leading novelists, poets, and playwrights. She has published fifteen novels. Her works in English translation include <\/em>They\u2019re Cows, We\u2019re Pigs; <\/em>Leaving Tabasco; <\/em>Cleopatra Dismounts; <\/em>Jump of the Manta Ray, with illustrations by Philip Hughes; and <\/em>Texas: The Great Theft.<\/p>\n

Suzanne Jill Levine is a noted translator of Latin American prose and poetry by distinguished writers such as Guillermo Cabrera Infante, Julio Cort\u00e1zar, Carlos Fuentes, Jose Donoso, Manuel Puig, Severo Sarduy, and Adolfo Bioy Casares. Her most recent published translation is Cristina Rivera Garza\u2019s <\/em>The Taiga Syndrome.<\/em><\/p>\n

\u201cSilvina, Faithful to the Imagination,\u201d by Carmen Boullosa, from <\/em>Forgotten Journey<\/a>,<\/em> by Silvina Ocampo. Copyright \u00a9 2019 by Carmen Boullosa. Translated from the Spanish by Suzanne Jill Levine and Katie Lateef-Jan, reprinted with the permission of City Lights Books<\/a>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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