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By Milo Manara

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In her theatrical experience, moreover, art was implicitly democratic, an impulse that wove through Storni’s art of living, even as her poetry grew more hermetic. This training, along with Storni’s work as a drama teacher and role as a performing woman in Buenos Aires literary life, lay at the core of her gendered critique of Argentine modernity and her transmutation from poetisa to writer and intellectual. 3 Beyond homemade scenarios of her own invention, her first public performance in the male role of Saint John the Baptist provided an early crossover experience with the performativity of gender.

She crossed paths with the Argentine vanguards, with Martín Fierro writers at their gatherings at Norah Lange’s home in the 1920s, and with Roberto Arlt at the Signo tertulia in the early 1930s. But even as her own experimentalism increased, Storni’s relationship to vanguard groups was awkward. Born in 1892, she was seven or eight years older than the typical Florida or Boedo writer and found her first provisional intellectual home among the writers gathered around the prestigious journal Nosotros, who in a 1923 survey of new literary trends designated themselves the predecessors of the vanguard generation.

11 Above all, Storni censured women’s reiteration of social rules to the detriment of their own agency. The ironic “Diario de una niña inútil,” for example, traces a young’s woman’s failure to produce an original diary as she recounts her pursuit of a husband through the ten commandments of the Secret Association of Useless Girls in Defense of Their Interests. Her diary degenerates into a litany of rehearsing these injunctions about clothing, bodily attitude, and comportment, and the protagonist observes with 36 !

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Bolero by Milo Manara

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