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Melancholia is, I believe, a musical problem: a dissonance, a change in rhythm. While on the outside everything happens with the vertiginous rhythm of a cataract, on the inside is the exhausted adagio of drops of water falling from time to tired time. For this reason the outside, seen from the melancholic inside, appears absurd and unreal, and constitutes ‘the farce we all must play’. But for an instant – because of a wild music, or a drug, or the sexual act carried to its climax – the very slow rhythm of the melancholic soul does not only rise to that of the outside world: it overtakes it with an ineffably blissful exorbitance, and the soul then thrills animated by delirious new energies

Alejandra Pizarnik

Stichwörter: melancholy depression

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An unchangeable colour rules over the melancholic: his dwelling is a space the colour of mourning. Nothing happens in it. No one intrudes. It is a bare stage where the inert I is assisted by the I suffering from that inertia. The latter wishes to free the former, but all efforts fail, as Theseus would have failed had he been not only himself but also the Minotaur; to kill him then, he would have had to kill himself

Alejandra Pizarnik

Stichwörter: melancholy depression

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But, who is Death? A figure that harrows and wastes wherever and however it pleases. This is also a possible description of the Countess Bathory. Never did anyone wish so hard not to grow old; I mean, to die. That is why, perhaps, she acted and played the role of Death. Because, how can Death possibly die?

Alejandra Pizarnik

Stichwörter: death

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Because no one has more thirst for earth, for blood, and for ferocious sexuality than the creatures who inhabit cold mirrors

Alejandra Pizarnik

Stichwörter: sex lust blood mirrors

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Dile que los suspiros del mar
Humedecen las únicas palabras
Por las que vale la pena vivir

Alejandra Pizarnik

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Una mirada desde la alcantarilla
puede ser una visión del mundo,
la rebelión consiste en mirar una rosa
hasta pulverizarse los ojos.

Alejandra Pizarnik