SOURCE: “Alfonsina Storni's Mundo de siete pozos: Form, Freedom, and Fantasy,” in Kentucky Romance Quarterly, Vol. XXII, No. 2, 1976, pp. 185–97.

In the following essay, Titiev argues that, in Mundo de siete pozos, form take precedence over content, concluding that the collection is unified by formal rather than thematic elements of each poem.

It seems safe to assume that by the time Alfonsina Storni published Mundo de siete pozos, in 1934, form had in general become more important to her than content. Her first four collections (1916–1920) contained a variety of structures, and all but the initial book had a principal theme, love. Love was also the favored subject in Ocre (1925), which consisted almost entirely of sonnets in consonant rhyme, and in Poemas de amor (1926), a justifiably neglected book of prose poems. In Mundo de siete pozos, however, there is no longer any predominant theme; there is a predominant form. It is...