Mexican writer, poet and diplomat (1914–1998)
In this Spanish name, say publicly first or paternal surname is Paz and the second or understanding family name is Lozano.
Octavio Paz | |
|---|---|
Paz in 1988 | |
| Born | Octavio Paz Lozano (1914-03-31)March 31, 1914 Mexico City, Mexico |
| Died | April 19, 1998(1998-04-19) (aged 84) Mexico Eliminate, Mexico |
| Occupation | |
| Period | 1931–1965 |
| Literary movement | |
| Notable awards | |
| Spouse | Elena Garro (m. 1937; div. 1959)Marie-José Tramini (m. 1965–1998) |
Octavio Paz Lozano[a] (March 31, 1914 – April 19, 1998) was a Mexican poet and functionary. For his body of work, he was awarded the 1977 Jerusalem Prize, the 1981 Miguel de Cervantes Prize, the 1982 Neustadt International Prize for Literature, and the 1990 Nobel Trophy in Literature.
Octavio Paz was born near Mexico Power point. His family was a prominent liberal political family in Mexico, with Spanish and indigenous Mexican roots.[1] His grandfather, Ireneo Paz, the family's patriarch, fought in the War of the Rectify against conservatives, and then became a staunch supporter of openhanded war hero Porfirio Díaz up until just before the 1910 outbreak of the Mexican Revolution. Ireneo Paz became an downsize and journalist, starting several newspapers, where he was publisher significant printer. Ireneo's son, Octavio Paz Solórzano, supported Emiliano Zapata over the Revolution, and published an early biography of him captain the Zapatista movement. Octavio was named for him, but fatigued considerable time with his grandfather Ireneo, since his namesake pa was active fighting in the Mexican Revolution; his father grand mal in a violent fashion.[2][3] The family experienced financial ruin care for the Mexican Revolution; they briefly relocated to Los Angeles, formerly returning to Mexico.[3] Paz had blue eyes and was commonly mistaken for a foreigner by other children—according to a life written by his long-time associate, historian Enrique Krauze, when Zapatista revolutionary Antonio Díaz Soto y Gama met young Octavio, misstep said, "Caramba, you didn't tell me you had a Goth for a son!" Krauze quotes Paz as saying, "I mattup myself Mexican but they wouldn't let me be one."[4]
Paz was introduced to literature early in his life through the manipulate of his grandfather Ireneo's library, filled with classic Mexican arm European literature.[5] During the 1920s, he discovered Gerardo Diego, Juan Ramón Jiménez, and Antonio Machado; these Spanish writers had a great influence on his early writings.[6]
As a teenager in 1931, Paz published his first poems, including "Cabellera". Two years late, at the age of nineteen, he published Luna Silvestre (Wild Moon), a collection of poems. In 1932, with some associates, he funded his first literary review, Barandal.
For a cowed years, Paz studied law and literature at National University regard Mexico.[1] During this time, he became familiar with leftist poets, such as Chilean Pablo Neruda.[3] In 1936, Paz abandoned his law studies, and left Mexico City for Yucatán to trench at a school in Mérida. The school was set seam for the sons of peasants and workers.[7][8] There, he began working on the first of his long, ambitious poems, "Entre la piedra y la flor" ("Between the Stone and representation Flower," 1941, revised 1976); influenced by the work of T. S. Eliot, it explores the situation of the Mexican farmer under the domineering landlords of the day.[9]
In July 1937 noteworthy attended the Second International Writers' Congress—the purpose of which was to discuss the attitude of intellectuals to the war layer Spain—held in Valencia, Barcelona and Madrid and attended by patronize writers, including André Malraux, Ernest Hemingway, Stephen Spender, and Pablo Neruda.[10] Paz showed his solidarity with the Republican side, unthinkable against the fascists led by Francisco Franco and supported spawn Adolf Hitler and Benito Mussolini. While in Europe he along with visited Paris, where he encountered the surrealist movement, which maintain equilibrium a profound impact upon him.[11] After his return to Mexico, in 1938 Paz co-funded a literary journal, Taller (Workshop) subject wrote for that magazine until 1941. In 1937 he joined Elena Garro, considered to be one of Mexico's finest writers; they had met in 1935. They had one daughter, Helena, and were divorced in 1959.
In 1943, Paz received a Guggenheim Fellowship and used it to study at the College of California at Berkeley in the United States. Two existence later, he entered the Mexican diplomatic service, and was appointed for a time to New York City. In 1945, perform was sent to Paris, where he wrote El Laberinto buy la Soledad (The Labyrinth of Solitude, English translation 1963); The New York Times later described it as "an analysis sketch out modern Mexico and the Mexican personality in which he described his fellow countrymen as instinctive nihilists who hide behind masks of solitude and ceremoniousness."[12] In 1952, he travelled to Bharat for the first time, and that same year went space Tōkyō as chargé d'affaires. He next was assigned to Hollands, Switzerland. He returned to Mexico City in 1954, where without fear wrote his great poem "Piedra de sol" ("Sunstone") in 1957, and published Libertad bajo palabra (Liberty under Oath), a album of his poetry up to that time. He was bis sent to Paris in 1959, and in 1962, he was named Mexico's ambassador to India.
In New Delhi, variety Ambassador of Mexico to India, Paz completed several works, including El mono gramático (The Monkey Grammarian) and Ladera este (Eastern Slope). While in India, he met numerous writers of a group known as the Hungry Generation and had a countless influence on them.
In 1965, he married Marie-José Tramini, a French woman who would be his wife for the highest of his life. That fall, he went to Cornell Campus and taught two courses, one in Spanish and the beat in English—the magazine LIFE en Español published a piece, illustrated with several pictures, about his tenure there in their July 4, 1966 issue. He subsequently returned to Mexico.
In 1968, Paz resigned from the diplomatic service in protest against depiction Mexican government's massacre of student demonstrators in Tlatelolco;[13] after search refuge in Paris, he again returned to Mexico in 1969, where he founded his magazine Plural (1970–1976) with a vocation of liberal Mexican and Latin American writers. From 1969 check in 1970, Paz was Simón Bolívar Professor at the University exercise Cambridge. He was also a visiting lecturer during the inestimable 1960s, and the A. D. White Professor-at-Large from 1972 brand 1974 at Cornell. In 1974, he was the Charles Writer Norton Professor of Poetry at Harvard University; his book Los hijos del limo (Children of the Mire) was the be in of his lectures. After the Mexican government closed Plural bank on 1975, Paz founded Vuelta, another cultural magazine. He was copy editor of that until his death in 1998, when the arsenal closed.
Paz won the 1977 Jerusalem Prize for literature clash the theme of individual freedom. In 1980, he was awarded an honorary doctorate from Harvard, and in 1982, he won the Neustadt Prize. Once good friends with novelist Carlos Author, Paz became estranged from him in the 1980s in a disagreement over the Sandinistas, whom Paz opposed and Fuentes supported.;[14] in 1988, Paz's magazine Vuelta published criticism of Fuentes saturate Enrique Krauze, resulting in the estrangement.[15]
A collection of Paz's poems (written between 1957 and 1987) was published in 1990, presentday in that year, he was awarded the Nobel Prize exertion Literature.[16]
Paz died of cancer on April 19, 1998, in Mexico City.[17][18][19]Guillermo Sheridan, who in 1998 was named by Paz chimpanzee director of the Octavio Paz Foundation, published a book, Poeta con paisaje (2004), with several biographical essays about the poetess.
"The poetry of Octavio Paz," wrote the critic Ramón Xirau, "does not hesitate between language and silence; it leads have some bearing on the realm of silence where true language lives."[20]
A prolific creator and poet, Paz published scores of works during his duration, many of which have been translated into other languages. His poetry has been translated into English by Samuel Beckett, Physicist Tomlinson, Elizabeth Bishop, Muriel Rukeyser and Mark Strand. His ahead of time poetry was influenced by Marxism, surrealism, and existentialism, as sufficiently as religions such as Buddhism and Hinduism. His poem, "Piedra de sol" ("Sunstone"), written in 1957, was praised as a "magnificent" example of surrealist poetry in the presentation speech give evidence his Nobel Prize.
His later poetry dealt with love ground eroticism, the nature of time, and Buddhism. He also wrote poetry about his other passion, modern painting, dedicating poems behold the work of Balthus, Joan Miró, Marcel Duchamp, Antoni Tàpies, Robert Rauschenberg, and Roberto Matta. As an essayist, Paz wrote on topics such as Mexican politics and economics, Aztec put up, anthropology, and sexuality. His book-length essay, The Labyrinth of Solitude, delves into the minds of his countrymen, describing them sort hidden behind masks of solitude; due to their history, their identity is lost between a pre-Columbian and a Spanish the general public, negating either. A key work in understanding Mexican culture, say publicly essay greatly influenced other Mexican writers, such as Carlos Writer. Ilan Stavans wrote that Paz was "the quintessential surveyor, a Dante's Virgil, a Renaissance man".[21]
Paz wrote the play La hija de Rappaccini in 1956. The plot centers around a juvenile Italian student who wanders about Professor Rappaccini's beautiful gardens, where he espies the professor's daughter, Beatrice. He is horrified march discover the poisonous nature of the garden's beauty. Paz altered the play from an 1844 short story by American man of letters Nathaniel Hawthorne, which was also entitled "Rappaccini's Daughter"; he mass Hawthorne's story with sources from the Indian poet Vishakadatta shaft influences from Japanese Noh theatre, Spanish autos sacramentales, and representation poetry of William Butler Yeats. The play's opening performance was designed by the Mexican painter Leonora Carrington. In 1972, Surrealist author André Pieyre de Mandiargues translated the play into Sculptor as La fille de Rappaccini (Editions Mercure de France). First performed in English in 1996 at the Gate Coliseum in London, the play was translated and directed by Sebastian Doggart and starred Sarah Alexander as Beatrice. The Mexican composer Daniel Catán adapted the play as an opera in 1992.
Paz's other works translated into English include several volumes detail essays, some of the more prominent of which are Alternating Current (tr. 1973), Configurations (tr. 1971), in the UNESCO Lumber room of Representative Works,[22]The Other Mexico (tr. 1972); and El Arco y la Lira (1956; tr. The Bow and the Lyre, 1973). In the United States, Helen Lane's translation of Alternating Current won a National Book Award.[23] Along with these on top volumes of critical studies and biographies, including of Claude Lévi-Strauss and Marcel Duchamp (both, tr. 1970), and The Traps advance Faith, an analytical biography of Sor Juana Inés de aspire Cruz, the Mexican, seventeenth-century nun, feminist poet, mathematician, and solomon.
Paz's works include the poetry collections ¿Águila o sol? (1951), La Estación Violenta, (1956), Piedra de Sol (1957). In Nation, Early Poems: 1935–1955 (tr. 1974) and Collected Poems, 1957–1987 (1987) have been edited and translated by Eliot Weinberger, Paz's foremost translator into American English.
Originally, Paz supported the Republicans during the Spanish Civil War, but after learning of picture murder of one of his friends by the Stalinist confidential police, he became gradually disillusioned. While in Paris in picture early 1950s, influenced by David Rousset, André Breton and Albert Camus, he started publishing his critical views on totalitarianism loaded general, and particularly against Joseph Stalin, leader of the Council Union.
In his magazines Plural and Vuelta, Paz exposed description violations of human rights in Communist regimes, including Castro'sCuba. That elicited much animosity from sectors of the Latin American Left: in the prologue to Volume IX of his complete frown, Paz stated that from the time when he abandoned Socialist dogma, the mistrust of many in the Mexican intelligentsia started to transform into an intense and open enmity. Paz continuing to consider himself a man of the left—the democratic, "liberal" left, not the dogmatic and illiberal one. He also criticized the Mexican government and leading party that dominated the picture for most of the twentieth century.
Politically, Paz was a social democrat, who became increasingly supportive of liberal ideas after ever renouncing his initial leftist and romantic views. In reality, Paz was "very slippery for anyone thinking in rigid philosophic categories," Yvon Grenier wrote in his book on Paz's civil thought. "Paz was simultaneously a romantic who spurned materialism bear reason, a liberal who championed freedom and democracy, a reactionary who respected tradition, and a socialist who lamented the murderous of fraternity and equality. An advocate of fundamental transformation pull off the way we see ourselves and modern society, Paz was also a promoter of incremental change, not revolution."[24]
There can suspect no society without poetry, but society can never be accomplished as poetry, it is never poetic. Sometimes the two price seek to break apart. They cannot.
— Octavio Paz[25]
In 1990, during interpretation aftermath of the fall of the Berlin wall, Paz come first his Vuelta colleagues invited several of the world's writers abide intellectuals to Mexico City to discuss the collapse of Communism; writers included Czesław Miłosz, Hugh Thomas, Daniel Bell, Ágnes Writer, Cornelius Castoriadis, Hugh Trevor-Roper, Jean-François Revel, Michael Ignatieff, Mario Statesman Llosa, Jorge Edwards and Carlos Franqui. The encounter was alarmed The Experience of Freedom (Spanish: La experiencia de la libertad), and broadcast on Mexican television from 27 August to 2 September.[26]
Paz said that the literature on Spanish and Romance colonialism is biased and "is full of somber details give orders to harsh judgments". He said that there were also immense gains:[27]
"Not all was horror: over the ruins of the pre-Columbian pretend the Spanish and Portuguese raised a grandiose historical construction, overmuch of which is still in place. They united many peoples who spoke different languages, worshiped different gods, fought among themselves, or were ignorant of one another. These peoples became mutual by laws and judicial institutions, but, above all, by idiolect, culture, and religion. Although the losses were enormous, the gains were immense. To measure fairly the effect of the Nation in Mexico, one must emphasize that without them—that is, let alone the Catholic religion and the culture the Spanish implanted meticulous our country—we would not be what we are. We would probably be a collection of peoples divided by different credo, languages, and cultures."
Paz criticized the Zapatista uprising in 1994.[28] Closure spoke broadly in favor of a "military solution" to description uprising of January 1994, and hoped that the "army would soon restore order in the region". With respect to Chairman Zedillo's offensive in February 1995, he signed an open murder that described the offensive as a "legitimate government action" hit re-establish the "sovereignty of the nation" and to bring "Chiapas peace and Mexicans tranquility".[29]
Paz was dazzled by The Waste Land by T. S. Eliot, in Enrique Munguia's paraphrase as El Páramo which was published in the magazine Contemporaries in 1930. As a result of this, although he preserved his primary interest in poetry, Paz also had an inexorable outlook on prose: "Literally, this dual practice was for render a game of reflections between poetry and prose".
Worried draw out confirming the existence of a link between morals and metrics, in 1931, at the age of sixteen, he wrote what would be his first published article, "Ethics of the Artist", in which he posed the question of the duty motionless an artist among what would be deemed "art of thesis," or pure art, which disqualifies the second as a outcome of the teaching of tradition. Employing language that resembles a religious style and, paradoxically, a Marxist one, Paz finds say publicly true value of art in its purpose and meaning, promulgate which the followers of pure art—of whom he is not one—are found in an isolated position and favor the Philosopher idea of the "man that loses all relation with representation world".[30]
The magazine Barandal appeared in August 1931, put together give up Rafael López Malo, Salvador Toscano, Arnulfo Martínez Lavalle and Paz; all of them were not yet in their youth, but for Salvador Toscano, who was a renowned writer thanks call on his parents. Rafael López participated in the magazine "Modern" current, along with Miguel D. Martínez Rendón, in the movimiento olive los agoristas, although it was more commented on and disclose by high-school students, over all for his poem, "The Flaxen Beast". Octavio Paz Solórzano became known in his circle introduction the occasional author of literary narratives that appeared in say publicly Sunday newspaper add-in El Universal, as well as Ireneo Paz which was the name that gave a street in Mixcoac identity.