Horacio Quiroga

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Horacio Quiroga
BirthplaceSalto, Uruguay
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Quiroga, Horacio


Born Dec. 31, 1878, in Salta; died Feb. 19, 1937, in Buenos Aires. Uruguayan writer.

Quiroga spent almost his entire life in Argentina. His first collection of verses, The Coral Reefs (1901), was influenced by French modernist poets of the early 20th century. His subsequent works were influenced by E. Poe. The collections Stories of Love, Madness, and Death (1917), Stories of the Jungle (1918; Russian translation, 1957), The Savage (1920), Anaconda (1921; Russian translation, 1960), The Exiles (1926), and On the Other Side (1935) contain many realistic short stories and tales about nature, which the author depicted as a force that is tragically hostile to man. Quiroga also dealt with themes of the fantastic, “that which cannot be grasped by the mind,” and pathological psychology. Many of his stories are permeated by pessimism and fatalism.


Cuentos, vols. 1–13. Montevideo, 1940–45.


Kuteishchikova, V. N. Roman Latinskoi Ameriki v XX veke. Moscow, 1964.
Jitrik, N. H. Quiroga. Buenos Aires [1959].
Rodriguez Monegal, E. El desterrado: Vida y obra de Horacio Quiroga. Buenos Aires, 1968.
Rela, W. H. Quiroga. Guía bibliográfica. Montevideo [1967].
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Of course, there is always room for criticism: I miss Marco Denevi's very short fictions; I would have liked to see Daniel Moyano's work included; I would have relocated Dabove to 25 cuentos argentinos del siglo XX; and I wonder if Horacio Quiroga can be left out.
He covers uncanny visions: Ruben Dario, Julio Cort[sz]zar, and Salvador Elizondo; family portraits: Horacio Quiroga, Juan Rulfo, Silvina Ocampo, and Virgilio Pinera; and politics of the image: Julio Cort[sz]zar and Tom[sz]s Eloy Martinez.
Mansilla, Horacio Quiroga, Vargas Llosa, Garcia Marquez, and Carlos Fuentes-Alonso discovers a counternarrative that is an attempt to forswear modernity or to keep it at bay.