"Art is an invention of aesthetics, which in turn is an invention of philosophers... What we call art is a game.""Deserve your dream.""If we are a metaphor of the universe, the human couple is the metaphor par excellence, the point of intersection of all forces and the seed of all forms. The couple is time recaptured, the return to the time before time.""Literature is the expression of a feeling of deprivation, a recourse against a sense of something missing. But the contrary is also true: language is what makes us human. It is a recourse against the meaningless noise and silence of nature and history.""Man does not speak because he thinks; he thinks because he speaks. Or rather, speaking is no different than thinking: to speak is to think.""Social criticism begins with grammar and the re-establishing of meanings.""Solitude is the profoundest fact of the human condition. Man is the only being who knows he is alone.""To read a poem is to hear it with our eyes; to hear it is to see it with our ears.""We are condemned to kill time, thus we die bit by bit.""What distinguishes modern art from the art of other ages is criticism.""Wisdom lies neither in fixity nor in change, but in the dialectic between the two.""Writers, you know, are the beggars of Western society."
Paz was born to Octavio Paz Solórzano and Josefina Lozano. His father was an active supporter of the Revolution against the Díaz regime. Paz was raised in the village of Mixcoac (now a part of Mexico City) by his mother Josefina (daughter of Spanish immigrants), his aunt Amalia Paz, and his paternal grandfather Ireneo Paz, a liberal intellectual, novelist, publisher and former supporter of President Porfirio Díaz. He studied at Colegio Williams. Because of his family's public support of Emiliano Zapata, they were forced into exile after Zapata's assassination. They served their exile in the United States.
Paz was introduced to literature early in his life through the influence of his grandfather's library, filled with classic Mexican and European literature. During the 1920s, he discovered the European poets Gerardo Diego, Juan Ramón Jiménez, and Antonio Machado, Spanish writers who had a great influence on his early writings. As a teenager in 1931, under the influence of D. H. Lawrence, Paz published his first poems, including "Cabellera". Two years later, at the age of 19, he published Luna Silvestre ("Wild Moon"), a collection of poems. In 1932, with some friends, he founded his first literary review, Barandal. By 1939, Paz considered himself first and foremost a poet.
In 1935, Paz abandoned his law studies and left for Yucatán to work at a school in Mérida for sons of peasants and workers. There, he began working on the first of his long, ambitious poems, "Entre la piedra y la flor" ("Between the Stone and the Flower") (1941, revised in 1976), influenced by T. S. Eliot, which describes the situation of the Mexican peasant under the greedy landlords of the day.
In 1937, Paz was invited to the Second International Writers Congress in Defense of Culture in Spain during the country's civil war, showing his solidarity with the Republican side and against fascism. Upon his return to Mexico, Paz co-founded a literary journal, Taller ("Workshop") in 1938, and wrote for the magazine until 1941. In 1938 he also met and married Elena Garro, now considered one of Mexico's finest writers. They had one daughter, Helena. They were divorced in 1959. In 1943, Paz received a Guggenheim fellowship and began studying at the University of California at Berkeley in the United States, and two years later he entered the Mexican diplomatic service, working in New York for a while. In 1945, he was sent to Paris, where he wrote El Laberinto de la Soledad ("The Labyrinth of Solitude"), a groundbreaking study of Mexican identity and thought. In 1952, he travelled to India for the first time and, in the same year, to Tokyo, as chargé d'affairs, and then to Geneva, in Switzerland. He returned to Mexico City in 1954, where he wrote his great poem "Piedra de sol" ("Sunstone") in 1957 and Libertad bajo palabra (Liberty under Oath), a compilation of his poetry up to that time. He was sent again to Paris in 1959, following the steps of his lover, the Italian painter Bona Tibertelli de Pisis. In 1962 he was named Mexico's ambassador to India.
In India, Paz completed several works, including El mono gramático (The Monkey Grammarian) and Ladera este (Eastern Slope).While in India, he came into contact with a group of writers called the Hungry Generation and had a profound influence on them.In 1963 he broke up with Bona and married Marie-José Tramini, a French woman who would be his wife for the rest of his life. In October 1968, he resigned from the diplomatic corps in protest of the Mexican government's massacre of student demonstrators in the Plaza de las Tres Culturas in Tlatelolco. He sought refuge in Paris for a while and returned to Mexico in 1969, where he founded his magazine Plural (1970—1976) with a group of liberal Mexican and Latin American writers. From 1970 to 1974 he lectured at Harvard University, where he held the Charles Eliot Norton professorship. His book Los hijos del limo ("Children of the Mire") was the result of those lectures.After the Mexican government closed Plural in 1975, Paz founded Vuelta, a publication with a focus similar to that of Plural, and he continued to edit that magazine until his death. He won the 1977 Jerusalem Prize for literature on the theme of individual freedom. In 1980 he was awarded an honorary doctorate from Harvard, and in 1982 he won the Neustadt Prize. A collection of his poems (written between 1957 and 1987) was published in 1990. In 1990, he was awarded the Nobel Prize." Literature 1990 In India he met the Hungryalist poets and was of immense help to them during their 35 month long trial.
Octavio Paz died of cancer in 1998.
Guillermo Sheridan, who was named by Paz as director of the Octavio Paz Foundation in 1998, published a book, Poeta con paisaje (2004) with several biographical essays about the poet's life up to 1968.
A prolific author and poet, Paz published scores of works during his lifetime, many of which are translated into other languages. His poetry, for example, has been translated into English by Samuel Beckett, Charles Tomlinson, Elizabeth Bishop, Muriel Rukeyser and Mark Strand. His early poetry was influenced by Marxism, surrealism, and existentialism, as well 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 of his Nobel Prize. His later poetry dealt with love and eroticism, the nature of time, and Buddhism. He also wrote poetry about his other passion, modern painting, dedicating poems to the work of Balthus, Joan Miró, Marcel Duchamp, Antoni Tapies, Robert Rauschenberg, and Roberto Matta. Several of his poems have also been adapted into choral music by composer Eric Whitacre, including "Water Night", "Cloudburst", and "A Boy and a Girl".
As an essayist Paz wrote on topics like Mexican politics and economics, Aztec art, anthropology, and sexuality. His book-length essay, The Labyrinth of Solitude (Spanish: El laberinto de la soledad), delves into the minds of his countrymen, describing them as hidden behind masks of solitude. Due to their history, their identity is lost between a pre-Columbian and a Spanish culture, negating either. A key work in understanding Mexican culture, it greatly influenced other Mexican writers, such as Carlos Fuentes.
Paz wrote the play "La hija de Rappaccini" in 1956. The plot centers around a young Italian student who wanders about Professor Rappaccini's beautiful gardens where he spies the professor's even more beautiful daughter, Beatrice. He is horrified when he discovers the poisonous nature of the garden's beauty. Paz adapted the play from a 1844 short story by Nathaniel Hawthorne that was also entitled "Rappaccini's Daughter". He combined Hawthorne's story with sources from the Indian poet Vishakadatta and influences from Japanese Noh theatre, Spanish autos sacramentales and the poetry of William Butler Yeats. The play's opening performance was designed by the Mexican painter Leonora Carrington. First performed in English in 1996 at the Gate Theatre in London, the play was translated and directed by Sebastian Doggart and starred Sarah Alexander as Beatrice. In 1972, Surrealist author André Pieyre de Mandiargues translated the play into French as La fille de Rappaccini (Editions Mercure de France). Mexican composer Daniel Catán turned the play into an opera in 1992.
Paz's other works translated into English include several volumes of essays, some of the more prominent of which are Alternating Current (tr. 1973), Configurations (tr. 1971), The Labyrinth of Solitude (tr. 1963), The Other Mexico (tr. 1972); and El Arco y la Lira (1956; tr. The Bow and the Lyre, 1973). Along with these are volumes of critical studies and biographies, including Claude Lévi-Strauss and Marcel Duchamp (both, tr. 1970), and The Traps of Faith, an analytical biography of the Mexican 16th-century nun, feminist poet, mathematician, and thinker Sor Juana de la Cruz.
His works include the poetry collections ¿Águila o sol? (1951), La Estación Violenta, (1956), Piedra de Sol (1957), and in English translation the most prominent include two volumes which include most of Paz in English: Early Poems: 1935—1955 (tr. 1974), and Collected Poems, 1957—1987 (1987). Many of these volumes have been edited and translated by Eliot Weinberger, who is Paz's principal translator into American English.
Originally Paz showed his solidarity with the Republicans during the Spanish Civil War, but after learning of the murder of one of his comrades by the Republicans themselves he became gradually disillusioned. While in Paris in the early 1950s, influenced by David Rousset, André Breton and Albert Camus, he started publishing his critical views on totalitarianism in general, and against Stalin in particular.
In his magazines Plural and Vuelta, he exposed the violations of human rights in the communist regimes, including Castro's Cuba. This brought him much animosity from sectors of the Latin American left. In the prologue to Volume IX of his complete works, Paz stated that from the time when he abandoned communist dogma, the mistrust of many in the Mexican intelligentsia started to transform into an intense and open enmity. Nonetheless, Paz always considered himself a man of the left; the democratic, "liberal" left, not the dogmatic and illiberal one.
In 1990, during the aftermath of the fall of the Berlin wall, Paz and his Vuelta colleagues invited several of the world's writers and intellectuals to Mexico City to discuss the collapse of communism, including Czes?aw Mi?osz, Hugh Thomas, Daniel Bell, Ágnes Heller, Cornelius Castoriadis, Hugh Trevor-Roper, Jean-François Revel, Michael Ignatieff, Mario Vargas Llosa, Jorge Edwards and Carlos Franqui. The Vuelta encounter was broadcast on Mexican television from 27 August to 2 September.
